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An interesting book and reappraisal of 20thC Modernist architecture by Freddy Gibberd’s grandson has been published by Phaidon http://uk.phaidon.com/store/architecture/ornament-is-crime-9780714874166/  

I was especially pleased to see Kenneth “Winky” Scott’s house in Accra included:

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More here: https://www.theguardian.com/artanddesign/gallery/2017/jul/19/modernist-architecture-photography-corbusier-concrete-gibberd-hill

2016 Grantees for Conserving Modern Architecture Initiative Announced

TAG is delighted that the Getty Foundation has awarded a ‘Keeping it Modern’ heritage grant to the Children’s Library in Accra, Ghana – the first time this prestigious award has been made to a building in Africa. This will fund building research into the material fabric of the library, as well as programme of events to keep the space activated and enjoyed.

The library was designed by Nickson and Borys (see Notes from Accra ) in late 1950s / early 1960s (the building appears in J. M. Richard’s New Buildings of the Commonwealth, 1961) and has already received some sympathetic restoration in more recent times, as well as some less fortunate interventions (such as the aluminium front door).

The latest project will be in safe hands under the leadership of the ArkiAfrica team, http://archiafrika.org/wp-content/uploads/2013/03/march-13-invite.jpg  and we will post updates on the project here.

Getty press release and information on the other awards here: http://blogs.getty.edu/iris/2016-grantees-for-conserving-modern-architecture-initiative-announced/

 

Good bye Kumasi, Accra, Ghana….

We revisited the Manhyia Palace archives and made notes on the relevant documents to be consulted before dashing off to board the local propeller plane back to Accra. Gazing at the dusty spread of Kumasi – we wondered whether the current airport terminal was adjacent to the original Norman and Dawburn small airport project designed in the 1950s? Suggestions of an earlier architectural history seemed to be revealed in the present day profiles of the domestic airport buildings viewed as we taxied down the empty runway for takeoff.

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‘Tropical Modernism’ on the 10GHC note, The Bank of Ghana in Accra

Accra was in the grips of a major traffic jam, cooler and drier than Kumasi, it proved overbearingly hot to spend more than half an hour getting from the airport to Jamestown to see the exhibition of the Delft-Accra, urban transformation collaboration project we visited on our arrival in Ghana. We met a transformed space and were given a tour by curator and ArchiAfrika member Joe Addo. Joe also spoke of his further plans for the activation of various parts of the Jamestown neighbourhood. A further visit to the National Museum offices, and another slow trip on Accra’s congested highway to the international airport concluded the trip, with Ghana’s independence day holidays over the weekend we weren’t the only ones heading out of town.

Our project continues; the Ghanaian team (Prof. Rexford Assasie Oppong and Irene Appeaning Addo) will begin planning their research trip to the UK in the autumn, and we have considerable sources to continue consulting in the meantime.

 

Notes from Accra Part 2

Our journey continued with visits to Tessano ‘East’ which had a few remnants of the original site and service planned estate, best exemplified by the police station and a few administrative blocks, which often defined the colonial housing plan layout. A visit to the University of Ghana, at Legon followed. Designed in the late 1940s by Harrison Barnes and Hubbard, the leafy campus sits upon on a hill, high above Central Accra. The campus architecture has a curious oriental aesthetic which defines the its identity, with a number of significant buildings including the Balme Library and the Main Hall. In the African Studies department we joined our British Academy project associate, Dr Irene Appeaning Addo, for a very productive meeting.

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Tisano East Police Quarters

 

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The Grand Hall and Tower at Legon University, Accra

A trip to the Korle Gonno Housing Estate followed, using then new drained highway over the Korle Bu inlet and past the University of Ghana Hospital. The Korle Gonno Estate demonstrated a very early example of decant housing as from conversations with an older resident of the estate it was found out that many of the original residents had been moved from the Jamestown area of Accra to Korle Gonnu, a few miles down the coast. The estate was more intact than Tessano, with a number of the original buildings still evident.

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Korle Gono Housing Estate: regulated street patterns and services

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Korle-Gono Model, c.1920? Photograph held in the National Archives, Kew, UK.

A walk around the “Ringway” estate ,where we resided took us to the “Osu” layout and a road which had a pair of suspected James Cubitt-designed residences . A second visit just before departure from Accra confirmed this, although their external facades had been significantly altered. The pair of residences are now in use by the diplomatic corps.

Building on our Ghana theme I’d like to share an excellent paper recently published by a good friend of the TAG blog, Dr. Lukasz Stanek from Manchester University.

 “When seen from Labadi Road, the buildings of  Accra’s International Trade Fair (ITF) appear among abandoned billboards, scarce trees that offer shade to resting taxi drivers, and tables where coconuts, bottled water, sweets, and telephone cards are sold next to the road.

 The buildings neighbor the La settlement, where streets meander between houses, shops, bars, schools, and shrines,  while on the other sidof Labadi Road, at the seashore, luxurious housing estate is under construction next to upscale hotels that overlook Labadi Beach. Kwame Nkrumah, Ghana’s leader after the country achieved independence (1957), initiated the fair as a prestige project, but it was opened on 1 February 1967 by Joseph Arthur Ankrah the chairman of the National Liberation Council, who led the putsch that toppled Nkrumah in 1966. Once conveying a sense of radical moder-nity, the buildings have suffered from underinvestment and insufficient maintenance, but most of them are still in use, rented for exhibitions that take place every few months, for political rallies, and for religious services.
From 1962 to 1967, the Ghana National Construction Corporation (GNCC), the state office charged with design, construction, and maintenance of governmental buildings and infrastructure in Nkrumah’s Ghana, designed and con-structed the ITF. The designers of the fair were two young architects from socialist Poland, Jacek Chyrosz and Stanisław Rymaszewski, who worked with the Ghanaian Victor (Vic)  Adegbite, the chief architect. Chyrosz and Rymaszewski  were employed by the GNCC on a contract with Polservice, the so-called central agency of foreign trade, which mediated the export of labor from socialist Poland.
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“Made in Ghana Pavilion” 1967, International Trade Fair, designed by Jacek Chyrosz, Stanislaw Rymaszewski and Vic Adegbite

 

 At the GNCC, they worked together with Ghanaian architects and foreign professionals, many from socialist countries. This collaboration reflected the alliance of Nkrumah’s government with socialist countries, which was demonstrated at the fair by the exhibitions of Czechoslovakia, the German Democratic Republic (GDR), Hungary, and Poland (Figure 3). At the same time, the Ankrah administration used the fair to facilitate Ghana’s reopening toward the West. Hence, the Soviet Union and the People’s Republic of China (PRC), two major allies of Nkrumah, were absent.

 By contrast, the two pavilions not to be overlooked were those of Great Britain, Ghana’s former colonial ruler and its main trade partner, and the United States, which granted Ghana loans for its many infrastructural projects in the 1960s, in particular the Akosombo Dam, financed jointly with the United Kingdom and the World Bank. India was represented as a member of the Commonwealth rather than as a member of the Non-Aligned Movement, since Nkrumah’s attempt to position Ghana among Egypt, India, and Yugoslavia as one of the leading nations of the movement was abandoned after the change of the regime. Collaboration among African countries was particularly favored, not as a way of carrying on Nkrumah’s vision of pan-African union but with a more modest aim, that of the stimulation of trade among African countries. Displays representing African countries were gathered in the round Africa Pavilion at the end of the ramp through which visitors entered the fair, before they moved on to Pavilion A (the “Made in Ghana” pavilion) and the pavilions rented to other countries and Ghanaian state firms.”