Adjaye Associates has revealed the design for the International Children's Cancer Research Centre (ICCRC) in Kyebi, Ghana. Commissioned by the Wish4Life Foundation, the project marks a step in the development of pediatric healthcare in West Africa. Situated on a 225,000-square-meter site along the eastern slopes of the Atewa Range, the ICCRC is envisioned as an integrated facility dedicated to healing, research, education, and community engagement. It will be the first center in the region solely focused on the treatment of childhood cancers. The project is currently on view at the Time Space Existence exhibition, part of the Venice Architecture Biennale 2025, held at Palazzo Bembo until 23 November 2025.
Kéré Architecture has revealed the design of a masterplan and series of buildings dedicated to the cultural and spiritual heritage of the Ewé people in the town of Notsé, in Togo. Commissioned by the Kothor Foundation, the center incorporates a sanctuary, several temples, a large-scale open-air amphitheater, as well as cultural functions such as exhibition halls, an auditorium, restaurants, and a reconstruction of the ancient royal palace of the Ewé Kingdom. The project, Francis Kéré's first in Togo, started construction in October 2024 and is scheduled for completion in February 2026.
Traveling on land through vast regional areas of African countries has been an inefficient ordeal, particularly in West Africa. Google Maps optimistically estimates it would take 53 hours to drive nonstop from Lagos, Nigeria's largest city, to Dakar, Senegal's capital. However, this estimate doesn't account for the poor road infrastructure, complex border crossings, and socio-economic challenges that realistically extend the journey to about a week.
This is why the ongoing Trans-West African Coastal Highway project offers a great opportunity to connect and unlock the region's potential. This project, also known as TAH 7, is a transnational highway initiative linking 12 West African coastal nations, from Mauritania in the northwest to Nigeria in the east. Its gradual construction opens new avenues for freight movement, rail infrastructure, and, more importantly, innovative forms of architecture around borders, addressing their unique socio-cultural functions.
Located north of Dakar, near the city's airport, is an architectural composition of triangular volumes known as the International Trade Fair Centre, Dakar, Senegal. Also known as the Foire Internationale de Dakar or FIDAK, this structure is an iconic example of 60s modernism in West Africa. It synthesizes the complexity of simple forms within vernacular spatial patterns. Completed in 1974, it reflects the post-colonial ambition of the country and has grown as an adaptive spatial framework for major cultural events and exhibitions.
There is an increasing character of abandoned buildings in many African cities and Limbo Accra; a spatial design practice, roots itself in the experimentation of their repair, reuse, and transformation. The practice views these buildings as a unique architectural typology that includes key city landmarks, from the abandoned Independence house in Lagos to the incomplete airport tower in Accra, amongst others. They see them as major opportunities for modern public space and as symbolic sites for spatial justice. Through techniques such as photogrammetry, Limbo Accra has been creating a digital archive of these buildings and collaborating with artists and designers to propose new prospects for them. ArchDaily had the opportunity to speak with Dominique Petit-Frère, the co-founder of Limbo Accra, about the collective character of these buildings, Limbo Accra’s approach to their transformation, and navigating challenges in the adaptive reuse of these structures.
Alero Olympio (1959-2005) was an architect and builder known for an intimately ecological approach to architecture. Born in Ghana, she divided her practice between Ghana and Scotland. She focused on work that prioritized people and was sincerely committed to social and environmental sustainability, prioritizing using locally sourced materials.
Her work legacy includes physical buildings like the Kokrobitey Institute, her advocacy for earthen constructions, research on sustainable forestry products, and so much more. However, a gap exists in the institutionalized archives of her work, leading to the current ongoing efforts to build a comprehensive archive of her contributions. The 2024 Womxn in Design and Architecture (WDA) annual conference organized by Princeton University School of Architecture made a significant contribution. It featured exhibitions, seminars, and panel discussions that reflected on Alero Olympio's legacy and examined the architectural insights her work continues to offer.
Courtesy of FDL, ADAGP 2014 | Le Corbusier in Chandigarh with the plan of the city and a model of the Modular Man, his universal system of proportion, 1951
The Victoria & Albert Museum is set to present an expansive exhibition focused on Tropical Modernism, an architectural movement that emerged in the late 1940s. British architects Jane Drew and Maxwell Fry were instrumental in developing this approach, combining modernism’s functional goals with local climate adaptations in warm and humid weather. This movement, which embodies Britain's unique contribution to international modernism, evolved against a backdrop of anti-colonial resistance, blending colonial architectural principles with local needs.
The home is a fundamental expression of architectural movements within the fabric of a city. As one of the smallest typologies, it is the simplest canvas to exhibit the design ethos of any particular era. African cities have continuously negotiated the meaning of their residential dwellings, from traditional architecture to colonial architecture, and the influx of post-colonial modern architecture. Vernacular architecture explored homes with spatial patterns rooted in cultural dexterity, envelopes built with indigenous materials and forms, endowed with traditional motifs. These were in stark contrast to colonial homes that featured a range of imported architectural styles across the continent, neglecting their climatic and cultural contexts while amplifying social class.
Architecture in the Global South often embodies a rich cultural heritage and craftsmanship, incorporating vibrant colors, intricate patterns, and symbolic elements. It also tackles the challenges faced by developing economies, such as limited resources, rapid urbanization, and social inequality, by promoting inclusive and community-driven design solutions. As installations and pavilions serve as radical templates for interrogating these architectural ideals and seeking innovative solutions, we present the top architectural installations as part of our year-in-review. They encompass curated exhibitions like the Venice Architecture Biennale, as well as permanent pavilion structures in specific contexts that delve into local materials, waste reuse, and the reinterpretation of historical narratives.
Located 270km north of Dakar, the capital of Senegal, and near the border with Mauritania, is the Island of Saint-Louis. It is a prominent colonial city in West Africa, known for its blend of Mediterranean architecture with a tropical climate. Saint-Louis was founded by the French Colony in 1659 as its first trading post on the Atlantic coast of Africa. It later became the capital of French West Africa (AOF) and Senegal. However, it lost this status in 1902, which led to its economic decline.
This complex history has made Saint-Louis a melting point for different layers of architecture and urbanism. The island showcases a grid urban form with double-storey villas, which is typical of 19th-century French colonial urbanism. Additionally, it features tropical courtyards, shaded balconies, 1920s art déco houses, and early '30s modern civic buildings. However, due to its economic and infrastructural isolation, this architecture and urban heritage have continuously degraded. Therefore, it seeks new interventions for the conservation, restoration, and re-adaptation of the city.
Rammed earth is one of the oldest methods of constructing walls and still holds great potential for modern earth construction. One aspect of this potential is the gift of its colors and layers, which become visible as the formworks are removed, revealing a layered character. As a process that involves the layer-by-layer compression of gravel, sand, silt, and clay, its resulting appearance is a horizontal stratification of earth tones, material content, and curing procedures. This colorful appearance of rammed earth walls can be controlled and explored through patterns, texture, pigmentation, and natural clay colors, offering an opportunity to push its boundaries within architecture.
Tropical Africa boasts vast forests that cover 3.6 million square kilometers of land in West, East, and Central Africa. These forests provide valuable timber resources that significantly impact sectors, such as the furniture, fuel, and paper industries. However, interestingly, timber is seemingly absent in the contemporary architecture of the countries in this region. While architectural taste plays a role, the main reasons for this absence can be attributed to the wood industries' inability to meet the requirements of availability, affordability, aesthetic appeal, durability, and climatic and structural performance of timber. The wood industry in tropical Africa is mainly composed of informal and small-scale operations, focused primarily on sawing logs rather than refining wood for architectural or structural purposes. Despite this, the large number of informal enterprises in the region presents an opportunity to reshape the wood industry and utilize the local forestry resources to construct timber buildings.
African societies' cultures are intrinsically linked to color. From fabrics to clothing, products, sculptures, and architecture, various societies explore rich and vibrant colors that are vivid, expressive, and joyful. Through different shades, hues, contrasts, motifs, and ornamentations, colors are embraced as an unspoken language, a palette for storytelling, and a sense of cultural identity. Although the use of color in African societies may seem decorative on the surface, it is extremely symbolic, with a deep sense of history behind it. Traditional African architecture is a prime example. Ethnic societies have endowed their homes with color through ornaments and motifs, expressed it with religious and cultural patterns, employed it on facades to tell familial stories, and created labyrinths of communal architecture that not only celebrate color but explore its ethnic meaning.
Willow Technologies is a material research and building technology practice that has been selected as part of ArchDaily's 2023 Best New Practices. Founded by Ghanaian-Filipino designer and architectural scientist Mae-Ling Lokko, it operates in the gap between research, development, and diffusion of bio-based building materials. Working with agro-waste and bio-based materials usually incurs technical questions regarding scalability, industrial production, standardization, fireproofing, and mechanical strength. Exploring this data is where Willow Technologies situates itself, but peculiarly through the lens of developing regions in West Africa. Through comprehensive works with coconuts, moringa, rice, and other indigenous crops, Lokko’s practice has been able to investigate and catalog the material character of various crops, their possible by-products, local transformation techniques, and the prospect and challenges of scalability as building materials.
In Lagos, a city with a complex urban fabric that includes historical buildings and vast interpretations of contemporary architecture, lies PatrickWaheed Design Consulting (PWDC). This design practice, Co-led by Adeyemo Shokunbi, aims to contribute to a Nigerian architectural language through the renaissance of local materials. Through explorations anchored in local laterite, they have developed the material as a modern finishing technique, investigated its potential as a natural dye, discovered new ways to employ its thermal properties, and now build the research prospect of other local materials. I had the opportunity to speak with Architect Shokunbi, who discussed the initial inspirations and investigations during the construction of two building projects (Mad House & Abijo Mosque) in Lagos. These projects brought the Laterite finishing technique to life and now help build the case for a Nigerian architectural language.
As one takes a visual tour through the city, one might spot structures that break the rhythm of finished architectural products. These are buildings encased in grids of metal or wooden sections, sometimes wrapped in colored nets, that communicate a moment of construction, repair, renovation, or demolition. They are called scaffolding systems, temporary structures built in the city to aid in the erection or maintenance of buildings. However, they have evolved to speak their own architectural language. As city-making is a continuous process, scaffolds serve as beacons, proposing silhouettes of the height, shape, or forms of new buildings. They step into the sidewalks, acting as shade or obstructions to the flow of human and vehicular traffic. In contrast to the permanence of architecture, they exhibit a sense of temporality that helps communicate time, the growth of neighborhoods, and the evolution of a city.
The final installment of The Architect's Studio series at the Louisiana Museum of Modern Art showcases the works of Cave_bureau, an architectural studio from Kenya. The exhibition explores the volcanic caves of Kenya, emphasizing the concept of "reversed futurism." Cave_bureau believes that by studying the past, they can develop sustainable solutions for the future.
In the south of Burkina Faso, sharing borders with the northern environs of Ghana is Tiébélé; a small village exhibiting fractal patterns of circular and rectangular buildings, housing one of the oldest ethnic groups in West Africa; the Kassena tribe. With vernacular houses dating back to the 15th century, the village’s buildings strike a distinctive character through its symbol-laden painted walls. It is an architecture of wall decoration where the community uses their building envelope as a canvas for geometric shapes and symbols of local folklore, expressing the culture’s history and unique heritage. This architecture is the product of a unique form of communal collaboration, where all men and women in the community are tasked with contributing to the construction and finishing of any new house. This practice serves as a transmission point for Kassena culture across generations.
