Articles by Matthew Maganga

The urban settlements we inhabit today exist in their present form due to a host of reasons. There are cities that have grown due to their proximity to water – such as the growth of Dar es Salaam to the major port city it is today. There are the planned capital cities scattered around the world, governments of countries such as Brazil and Nigeria building cities from scratch from the input of acclaimed architects. There are also the settlements that exist and grow because of certain industries, such as Silicon Valley in the American state of California being home to giants of the technology industry. There’s an industry, however, that has spawned both pulsating cities and abandoned towns – the mining industry.

The urban metropolises of our planet are home to an abundance of stories. They are home to stories of wealth, of innovation, and of architectural marvels. They are home, too, to stories of inequality, inequity and of urban divides – places where one’s income determines the quality of the spatial environment around them. Within these stories has developed an increasing advocation for making cities “smarter”, the goal being to use data and digital technology to build more efficient and convenient urban environments.

A quick glance today at the cities of the African continent reveals a rich diversity of urban settlements, ranging in type from rural enclaves to sprawling metropolises. That quick glance also reveals a larger picture of cities that are continuously adapting and evolving as we enter the decade of the 2020s – yet this evolution in many places is taking place at the expense of those who are less fortunate. This is not happening in a vacuum, as the reason why a lot of African cities look as they do today is a result of a segregated organization during colonial rule.

The way our world looks like today is a result of centuries and centuries of human migration, of complex natural phenomena that has resulted in the geographic appearance of the world’s continents today. We understand this world through our lived experiences, but we also understand this world through a two-dimensional man-made invention – maps. Maps define the many contested borders of the world and have been used in an oppressive capacity, in particular places, for example, segmenting off sections of a place from marginalised societal groups.

The ongoing COVID-19 pandemic has seen inequalities laid bare, especially when it pertains to the unequal allotment of architectural resources to people. The start of the pandemic saw Europeans who could afford it, for example, leaving the urban metropolises they lived in and going away to their second homes in the countryside. We’ve also seen how poorer people in places like New York, for example, do not have adequate access to green spaces – a critical part of human well-being. And within this conversation is also the issue of social housing – known by multiple names around the world – and how the social housing that gets designed in the present and in the future should respond to ever-changing global needs.

When we look at African architecture, we see the architectural diversity of a continent which has been shaped and moulded into its present form by a combination of internal and external factors. When we look at African architecture, there is also a tendency for certain regions to take precedence over other parts of the continent. The Tropical Modernist works of Maxwell Fry and Jane Drew in Ghana and Nigeria, for example, are extremely well documented. So is the extremely well-preserved colonial-era architecture of the Eritrean capital of Asmara. Yet, there seems to be parts of the continent that “slip under the radar” in African architectural conversations – and the book Architectural Guide: Sub Saharan Africa is a welcome addition to African architectural scholarship.

When examining the world of African cinema, there are few names more prominent than that of Senegalese director Ousmane Sembène. His films ‘La Noire de…’ and ‘Mandabi’, released in 1966 and 1968 respectively, are films that tell evocative stories on the legacies of colonialism, identity, and immigration. And whilst these two films are relatively slow-spaced, ‘slice-of-life stories, they also offer a valuable spatial critique of the setting where the films are based, providing a helpful framework to understand the intricacies of the post-colonial African city, and the contrast between the African and European metropolises.

When examining the world of African cinema, there are few names more prominent than that of Senegalese director Ousmane Sembène. His films ‘La Noire de…’ and ‘Mandabi’, released in 1966 and 1968 respectively, are films that tell evocative stories on the legacies of colonialism, identity, and immigration. And whilst these two films are relatively slow-spaced, ‘slice-of-life stories, they also offer a valuable spatial critique of the setting where the films are based, providing a helpful framework to understand the intricacies of the post-colonial African city, and the contrast between the African and European metropolises.

The world is home to thousands and thousands of national parks – spaces allocated for conservation, hosting land usually left in its natural state for people to visit. The term “national park” itself differs in meaning around the world. In the United Kingdom, for example, the phrase simply describes a relatively undeveloped area that attracts tourists. In the United States, this terminology is a lot more rigid, describing 63 protected areas operated by the United States National Park service.

When we talk about vernacular architecture, we’re talking about an architectural style specific to a region – architecture that relies on the use of local knowledge and materials to construct buildings. It’s the Beehive Houses of Harran in Turkey, to the traditional Malay Houses found throughout southeast Asia. The vernacular architecture of various places continues to be a source of inspiration for contemporary architects, as they look to create sustainable architectural responses well-suited for their context.