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Heritage

What Ghana’s foreign‑built landmarks tell us about its global relationships

Irene Appeaning Addo, University of Ghana

The call to prayer echoes across the neighbourhood as people congregate under the sweeping domes and tall minarets of Ghana’s National Mosque in Accra. For many, it is a place of faith, community and national pride. Yet, few pause to consider that this landmark – now firmly part of Accra’s skyline – was funded and built by Turkey.

This detail points to a bigger story. Some of Ghana’s most important public buildings are shaped by global relationships as much as local needs. And those relationships are not just economic; they are deeply political.

Therefore buildings are not just functional. They are powerful expressions of political power, used to describe and project ideas about hierarchy, state authority, solidarity and modernity.

As a result, architecture can be used to explore the identity and ideology of African states and international partners who choose to finance or donate new buildings to Africa featuring western architectural aesthetics.

I am a scholar of African architecture. I collaborated with scholars from different areas of expertise, including political scientists, on a project that studied the connection between architecture and power in Africa. From Ghana, two projects were used to illustrate international relations in architecture, highlighting the interplay of power and agency. One was the National Mosque and the other was the seat of Ghana’s government, Jubilee House, an edifice funded by the government of India.

Ghana and India’s ties can be traced to their co-founding of the Non-Aligned Movement. These were a group of states not formally aligned with major power blocs during the cold war. Ghana and Turkey’s relationship goes as far back as 1957. Turkey is one of the leading investors in Ghana’s economy.

Our work established that when a country finances and constructs a major building abroad, it leaves a visible and lasting imprint on another nation’s landscape. The building becomes part of everyday life while reflecting the influence of its external sponsor. These buildings normalise the presence of the sponsoring nation and are a constant reminder of its political interests.

History written in buildings

Foreigners have been shaping Ghana’s built environment for centuries, from colonial forts along the coast to post-independence modernist projects designed by international architects.

Ghana’s architecture tells a layered story of power and exchange. During the colonial era, Europeans constructed forts and castles that dominated coastal landscapes. These were not just military structures; they were symbols of control and gateways to global trade networks, including the transatlantic slave trade. Sections of these buildings were later repurposed as schools, embedding education within spaces marked by violence and coercion.

This dual legacy highlights how architecture can carry multiple, often conflicting meanings over time.

After independence, Ghana sought to project a new national identity through modern architecture.

Foreign architects were commissioned to design housing, universities and civic buildings that would signal progress and global relevance. This moment reflected both aspiration and dependence: a desire to appear modern on the world stage, combined with reliance on external expertise and resources.

‘Soft power’

Today, Ghana continues to engage with global partners through architecture and infrastructure development. The National Mosque is one example. Backed by Turkey with the active involvement of Ghanaian Muslims, it represents both religious solidarity and diplomatic outreach underpinned by local agency.

Its scale, design and prominence make it a visible marker of Turkey’s presence in Ghana. The National Mosque Complex is modelled after the Ottoman-era Sultan Ahmed Mosque in Istanbul, Turkey. The national mosque in Accra features domes, semi-domes and arcaded porticos. These are the characteristics of Ottoman architecture, a predominant classical style for mosques in Turkey and the Islamic world.

Another example of political “gift” is Jubilee House, the seat of government. While financed and constructed with support from India, it incorporates the form of the Akan stool, a deeply significant symbol of authority in Ghanaian culture. This blending of external funding with local agency and symbolism shows that these projects are not simply imposed. They are shaped through negotiation.

Across the continent, similar patterns can be seen. China has funded major government buildings, including the African Union headquarters in Addis Ababa and the Zimbabwe parliamentary complex. These projects are often described as “gifts”, but they also reflect strategic relationships and long-term influence. Political scientist Innocent Batsani-Ncube has illustrated how China’s large-scale investment in the Zimbabwe parliament is used as a proxy for its sustained activities in and around African parliamentary institutions.

Ghana’s case

It is easy to view foreign-funded infrastructure as purely beneficial, especially given Ghana’s development needs. But architecture is never neutral. Buildings embody power relationships in terms of the scale, materiality, the architectural features and the location in urban areas.

They reflect who has the resources to design, finance and construct, and whose ideas are ultimately realised in physical form. A mosque, a parliament or a presidential palace is not just a functional space; it is a statement about identity, legitimacy and global belonging of both the sponsor and the recipient country. In this sense, architecture becomes part of diplomacy. It is a way of making relationships visible – and durable.

Describing these projects simply as soft power, however, does not capture the full picture. Soft power theory often assumes that influence flows smoothly from powerful countries to less powerful ones.

Ghana’s experience suggests something more complex. Buildings cannot simply be “exported” like films or fashion. They are rooted in specific places, histories and communities. This creates friction.

For example, Ghana’s engagement with foreign-built projects often involves negotiation over design, symbolism and use. Local government officials, religious leaders and communities play a role in shaping outcomes.

In the case of the National Mosque, Ghanaian Muslim communities were not passive recipients. Their advocacy and social influence were crucial to the project’s realisation. Similarly, the incorporation of the Akan stool in Jubilee House reflects an effort to assert cultural identity. These examples show that foreign influence is most often mediated by local contexts.

Ghanaian actors’ agency in these processes has limits, however. Many decisions about large-scale projects are made by political elites. As a result, the interests reflected in these buildings may not represent the broader population.

These examples point to broader questions. Do foreign-funded buildings contribute to long-term development, or are they primarily symbolic? How can Ghana ensure that such projects reflect local priorities and needs? And what does it mean to build a national identity in a world shaped by global partnerships?

The links among soft power, public and cultural diplomacy, and development across the continent will continue to be subjects of research.

International relations scholars Joanne Tomkinson and Julia Gallagher contributed to the research that this article is derived from.

Irene Appeaning Addo, Associate Professor of African Architecture, University of Ghana

This article is republished from The Conversation under a Creative Commons license. Read the original article.

We returned to Accra to take down the Kingsway Stores exhibition. It’s currently in storage at the emerging and wonderful Si Hene Foundation. The future of the exhibition is quite exciting – the details are still being resolved, but it’s certainly going to travel around Ghana and onto Nigeria (details to follow – and we’ll post updates here). Si Hene has it’s own collection of Kingsway archive material too – so it’s the ideal spot. The exhibition was dismantled and transported on the motorbike-truck.

I gave a talk to the archivist-curator-artists at Si Hene on our work, methods, practice and community engagement. This was great fun and the quality of the projects being produced here is astonishing.

After dismantling the exhibition there was time to search out some new, old, and modified structures. First on the list was the School of Law from 1959.  Designed by Zdzisław Borysowicz of Nickson and Borys. I came across an archival image of the building in the Borys archives – and was eager to visit…

The kind people at the School allowed us to explore and take some photos. 



Check out the curved brise soleil – how was this cast with such accuracy? It’s a similar size and proportion to the nearby Library also designed by Borys – but this time curved. This would involve some very tricky and geometrically complex formwork and there doesn’t appear to be a climatic/comfort reason for doing so? There was also the usual terrazzo and concrete with crustacean aggregate – all carefully finished.  The most dramatic part of the design is the zig-zag concrete solar shading. This is projecting from the main facade – and appears to hang, unsupported. It’s audacious and brave. There’s new glazing been added behind, but the overall effect is just about retained… The brise Soleil features on the south and north facing facades – was tropical modernism becoming more of a ’style’ than a pragmatic solution by this stage?

Borys designed some of the finest buildings in West Africa. In Accra alone this includes the library, Padmore Memorial Library, PRAAD, Court extension, the law school – and as we went onto see, some excellent housing too.

There’s a fascinating villa in the Borys archive. It’s a house for “Mr and Mrs Pepera, Accra, Ghana”. Pepera was an industrialist and business owner and his family owned some large plots of land across the city. He commissioned Borys to design a house on Switchback Road in Accra. One of the facades contains a distinct mosaic mural. With the help of Allotey Bruce Konuah the family told us that the house had been redeveloped, but the mural survived. We went to take a look. It seems that the house has been rebuilt in a similar style and the mural has either been remade, or possibly partially preserved. 

There’s a few other interesting dwellings on the same stretch of Switchback Road – how long they’ll remain isn’t certain – the land value and rapid development is forcing vast highrise construction here and these villas set within large landscaped gardens are at risk. 

There are some smaller clinics and hospitals along this road too, with accompanying residences. 

The new @adjayeassociates offices opened earlier this month in Accra. It’s an impressive structure with generous interior and exterior spaces for exchanges, meetings, displays, and studios.  The gallery contains some of the most beautiful and carefully crafted models we’ve seen. 



Stabilised rammed earth (swishcrete) features heavily on the exterior – mirroring the marble clad vertical fins and approach of Lasdun’s Takoradi bank . The most startling aspect of the design is the decision to raise the structure up from the ground level. The structural span is vast and courageous, with the entirely building appearing to perch on a large round concrete drum form at one end (it’s a kind of inhabitable piloti containing a fire escape). It’s quite an unusual gesture to only use as a means of escape.

The structural solution is impressive – but it left me wondering why was it done? Is it referencing the modernist piloti concept, or the colonial bungalow model, or perhaps the former US embassy in Accra ? The underpass could make for a great outside studio, exhibition space, or a spot for a planted garden and evaporation pool – but it’s only used to provide shade for parked cars at the moment… Perhaps the landscaping and activation of the space will follow – it takes time to bed into a space like this – and the roof garden and kitchen makes up for it with views to the ocean and across the city. 

Going back to the ‘rammed earth’ – it would be good to know the cement content. Are we really dealing with a pigmented concrete solution here rather than adobe ? 

Very grateful @phelim_owusu for kindly giving us a tour and to @k_of_i for organising the visit.

Finally a visit to the Danish embassy – a villa set in gardens in North Ridge. Architect unknown – but a careful design that blended the garden and interiors – perfect setting for the art exhibition, performance, and gathering.

Our new monograph on the city of Freetown, Sierra Leone has (finally) been published – open access and you can download it here. It’s a major output stretching to 240 pages across a chunky 250x250mm format and is the third book in our series on sharing the archives of the United Africa Company. The other two books are on Kingsway Stores and The Photocard collection.

Our approach in Freetown was to identify and write brief historical narratives on the city’s development using archival photographs mainly from the Unilever UAC collection, alongside recent photographs. Archival work took place at Unilever, Bodlean Library, UK National Archives, as well as at Fourah Bay in Freetown – and this informed our fieldwork and photography. The approach is a classic ‘before and after’ set of images with descriptions. There isn’t an architectural guide book or detailed study of Freetown and it’s architecture – which is quite shocking considering the quality of the work and the architects involved (including Nickson and Borys; Jame Cubitt; Ronald Ward and many others….)

As well as covering the major buildings in the city we include an extended essay on Fourah Bay College, and a write up on Bonthe at Sherbro that we were fortunate to visit. We’re particularly proud of the Bonthe work – and there is certainly a lot more research to undertake into its history and architecture.

Thank you to Dr Noor Ragaban for designing the book – and to Paul Robinson and Ewan Harrison for co-authoring and undertaking the archival and fieldwork with me. As always we’re super grateful to the archivists and historians at UARM – Unilever Archives and Records Management team led by Claire Tunstall.

Bringing the Kingsway Stores Home: Our Exhibition Opens in Accra 15 Jan – Easter

On 15th January, we celebrated the opening of “Shopping Emporiums of West Africa: The Kingsway Stores” at Jamestown Cafe and Gallery in Accra, marking a significant milestone in our ongoing research into the architectural and commercial legacy of the United Africa Company. The launch evening brought together an engaged audience including President of the Ghana Institute of Architects Tony Asare, Dr Abena Busia, and Ronnie Micallef, the incoming High Commissioner of Malta in Accra, for what proved to be a thought-provoking discussion about retail modernism, colonial commerce, and architectural heritage in West Africa. David Kojo Derban gave a wonderful opening talk to contextualise the exhibition, along with a wider welcome from cafe and gallery owner architect Joe Owusu Addo.

The exhibition represents the culmination of over 5 years of collaborative research examining the Kingsway department store chain, which operated across West Africa throughout much of the twentieth century. Working alongside Unilever archivist Claire Tunstall and colleagues Ewan Harrison, Rixt Woudstra, Paul Robinson, and Michele Tenzon, we’ve traced the fascinating story of these iconic shopping emporiums from their inception through the independence periods of West Africa and beyond.

This work forms part of our broader investigation into the United Africa Company, published last year by Bloomsbury as “Architecture, Empire, Trade.” In our recent Journal of Design History article, co-authored with Ewan Harrison, Irene Appeaning Addo, and Oluwaseun Muraina, we wrote that “Kingsway responded to independence by instrumentalizing a particularly modernist domesticity through a series of didactic marketing efforts and the construction of boldly modernist new stores.” The article reveals how these stores weren’t simply places of commerce but architectural statements where “modernism is here revealed as complexly imbricated with colonial and neocolonial profit-seeking.”

The exhibition itself has journeyed from Liverpool to Ghana, carefully packed and stored at Jamestown Cafe before being installed in early January. Two freestanding pavilions display archival photographs from the Unilever Archive, accompanied by newly commissioned 3D-printed models created by Liverpool School of Architecture students and archival films that bring the stores’ bustling atmosphere to life. The pavilions themselves, fabricated using CNC routers by our expert technical team at Liverpool lead by James Galliford, echo the modernist architectural language of the stores they document.

What makes presenting this exhibition in Accra particularly meaningful is the opportunity to share this research in the very city where the first Kingsway store stood. The ruins stand next door to the gallery – a poignant reminder of this commercial and architectural heritage. Through collaboration with Allotey Bruce Konuah, we’ve extended the exhibition beyond the gallery walls with vinyl street banners installed on both the gallery exterior, creating a dialogue between past and present. The banners also contain QR codes so visitors and passers-by can freely download the catalogue.

Our commitment to sharing this research extends beyond this single exhibition. We were interviewed on Asaase Radio morning show and it was great to share our work with a broader audience across Ghana. Following the exhibitions run in Accra through to Easter, we hope to tour the exhibition to other venues, continuing the conversation about how retail modernism, colonial commerce, and architectural heritage intersect. This exhibition reminds us that architecture is never merely about buildings; it’s about the economic, social, and political systems that produce them.

A few brief updates on Accra:

I revisited the PWD Junior Staff quarters in Osu. See https://transnationalarchitecture.group/2019/02/08/housing-in-accra-junior-staff-quarters-from-1961/ for a brief history of the estate. According to Michael Hirst who worked on Tema‘s Community 1 housing in the late 1950s, the Osu estate took it’s inspiration from their work. The houses are holding up well – it’s the landscaping that needs urgent attention.

The two major projects under construction in the city that we reported on in 2022 – Cathedral and Marine Drive have both stalled, and both projects are now under-review and reassessment – leaving behind faded hoardings and large vacant sites. At least the Community Centre and Ghana Club have some reprieve.

I also visited the Rex Cinema and Opera Cinema – both still looking excellent with their small scale intriguing entrance portals hiding their vast open-air screening areas.

The Kingsway Exhibition has been sent to Accra and carefully stored at the Jamestown Cafe for a few months now. We were finally able to unpack the vast pallet on Friday morning and spent the weekend constructing the two pavilions and installing the light boxes and panels.

The exhibition is being extended and reimagined through a further collaboration with Allotey Bruce Konuah on a series of vinyl street banners that will be installed on the exterior walls of the gallery space, as well as on the old ruined Kingsway Stores portico located next door.

The opening night is 15th January and all welcome. The exhibition will remain until Easter before it moves on…

Thank you to James Galliford and the Liverpool School of Architecture Technical Team for their expertise on the fabrication and installation, and to Claire Tunstall and Unilever Archives team for all their help and support sourcing the images and visuals.

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.

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

The July-August 2025 edition of the Architectural Review has published an extended 9-page feature article written by Lois Quartey and Julia Gallagher on the Accra Community Centre, Ghana. The building designed by Maxwell Fry and Jane Drew, with Theo Crosby as the lead assistant, opened in 1951 and quickly became an important educational, cultural, and social hub in the city. It was paid for by the United Africa Company in an attempt to foster local support after its ‘Swanmill’ HQ was looted and burned following the 1948 Accra riots. TAG provided some drawings and photographs that accompany the article.

The primary thrust of the piece is to raise awareness of this significant historic structure – especially how it was used in the independence campaigns and beyond – and to stress just how vulnerable this building is. Currently being used as a mere store and at risk from the Marine Drive development plan – the article expands on what we covered here https://transnationalarchitecture.group/2022/06/22/accras-renaissance-fishing-harbour-marine-drive-and-a-new-cathedral/ back in 2022.

It’s a deceptively simple and even ordinary building at first sight – but after spending time exploring it’s two interconnected courtyards and assembly hall it quickly begins to feel at home, climatically comfortable, and a nice place to be. It’s also a significant structure because of its design pedigree and especially because of its political significance – so many important speeches, gatherings, and events took place here in the advent to independence and beyond. It’s also home to one of the largest installations by leading artist Kofi Antubam – that alone should secure its future. Our model that replicates one made by Fry and Drew featured in the recent V&A Tropical Modernism exhibition too.

If foreign and leading agencies such as the V&A museum and Architectural Review are prepared to give this seemingly humble building exposure, critique, and cause for preservation – surely the case can be made to restore this heritage structure and to weave it into the wider Marine Drive masterplan. Champions of Ghanaian culture https://www.design233.com/articles/in-trust-for-the-people are behind saving these works and raising awareness, but much more needs to be done.

To deliberately allow a ‘managed decline’ and slow demolition is a tragic waste and short sighted view of the building’s rich political history.

Accra’s James Fort is an iconic monument for Ghana and modern Africa. This lecture explores the fort’s evolution -from its role as a trading post in the early European-African encounters, through its significance during the trans-Atlantic trade and enslavement, to its later use as a modern colonial prison in the post-independence era. It also explores its connection to Ghana’s liberation movement, particularly its role in imprisoning Dr. Kwame Nkrumah and other political leaders during their resistance to British rule. Today, this monument represents the resilience, talent and creative potential of a sustainable future for Ghana and its youthful population.

Lecture by: Elsie Owusu OBE; Ghanaian-British architect and urban designer. She is principal of Elsie Owusu Architects, with projects in UK, Nigeria and Ghana. Talk given to Gresham College on 27 March 2025 https://www.gresham.ac.uk/watch-now/james-fort?mc_cid=71e42fe509&mc_eid=ca0f8caf85