At the Venice Architecture Biennale 2025, themed Intelligens: Natural. Artificial. Collective., African architects and designers have taken center stage, showcasing the continent’s unparalleled creativity and vision. Curated by Carlo Ratti, this 19th edition, running from May 10 to November 23, 2025, transforms the Giardini, Arsenale, and select collateral venues into a global platform for architectural excellence, featuring over 750 participants. Building on the groundbreaking 2023 Biennale led by Ghanaian-Scottish architect Lesley Lokko, which spotlighted Africa’s architectural prowess, the 2025 edition amplifies African voices through national pavilions, collaborative projects, and the main exhibition. From Togo’s historic debut to Morocco’s sustainable oasis, African architects are redefining global design with projects rooted in vernacular wisdom, sustainability, and speculative futures. This editorial for Africans Column celebrates the contributions of Tosin Oshinowo, Olalekan Jeyifous, Limbo Accra, Mariam Issoufou, Sonia Lawson, Jeanne Autran-Edorh, Fabiola Büchele, Kabage Karanja, Stella Mutegi, Aziza Chaouni, Hassan Fathy, Jean-François Zevaco, Salima Naji, École Africaine des Métiers de l’Architecture et de l’Urbanisme, Thandi Loewenson, and Mae-ling Lokko. Their work in the Giardini and Arsenale, honored by Special Mentions for Oshinowo and the British Pavilion, underscores Africa’s leadership in addressing climate, cultural, and urban challenges. Yet, the vast scope of the Biennale suggests other African talents, such as Burkina Faso’s Francis Kéré or rising stars from Rwanda or Senegal, may be contributing to unlisted projects, enriching the continent’s narrative. We invite readers to explore the official Biennale website (labiennale.org) to uncover additional African voices shaping this global stage. Through their innovative designs, African architects are not just participating—they’re setting the pace for a sustainable, inclusive future. Join us as we dive into their transformative contributions at the 2025 Biennale, a proud moment for Africa’s architectural renaissance.

The Main Exhibition: African Urbanism Takes Flight

Tosin Oshinowo’s Alternative Urbanism: The Self-Organized Markets of Lagos

In the Arsenale’s main exhibition, Intelligens, Nigerian architect Tosin Oshinowo captivates with Alternative Urbanism: The Self-Organized Markets of Lagos, a project that clinched a Special Mention for its bold reimagining of urban resilience. Based in Lagos and leading Oshinowo Studio, she unveils the organic brilliance of Lagos’ markets, where traders craft dynamic urban systems without formal blueprints. Her installation, brimming with intricate mappings, vibrant photographs, and interactive models, showcases how these markets adapt to economic and environmental shifts through collective ingenuity. Oshinowo’s work challenges Western urban planning norms, presenting Lagos as a global model for community-driven design. Visitors are immersed in the markets’ pulse through projections that simulate their spatial choreography, offering a sensory journey into Nigeria’s urban heart. The Special Mention, announced on the Biennale’s opening day, celebrates Oshinowo’s ability to elevate local practices into a universal narrative of sustainability. Aligned with Ratti’s theme of collective intelligence, the project highlights how African urbanism can inspire resilient cities worldwide. Oshinowo’s prominence suggests other Nigerian architects, perhaps unlisted, may be exploring similar urban themes in the main exhibition, urging readers to dig deeper into the Biennale’s catalog. Her work is a testament to Africa’s capacity to lead global conversations on adaptive urban design. This installation stands as a beacon of Nigerian innovation, inviting architects to rethink cities through the lens of community agency.

Olalekan Jeyifous’ Speculative Futures

Nigerian-American architect Olalekan Jeyifous, based in Brooklyn, electrifies the Arsenale’s main exhibition with speculative designs that build on his 2023 All-Africa Protoport (AAP), envisioning decolonized African cities with zero-emission transport hubs. His 2025 contribution fuses indigenous knowledge with green technologies, proposing urban futures that prioritize sustainability and cultural identity. Jeyifous’ installations, featuring meticulous drawings and digital renderings, challenge Eurocentric urban models, positioning African cities as pioneers in climate-responsive design. Beyond the Arsenale, he contributes to the collateral event unEarthed / Second Nature / PolliNATION at the Giardini della Marinaressa, curated by Anne-Lise Velez, which transforms Venice’s lagoon into a biodiverse garden with 60 plant types and 10 pollinator species. His ephemeral installations explore interspecies architecture, addressing food security and environmental justice through organic forms. A symposium, moderated by Aaron Betsky and featuring Jeyifous alongside Elizabeth Diller, amplifies his Afrofuturist vision, sparking global dialogue on sustainable urbanism. Interactive projections engage visitors in reimagining urban ecosystems, making his work a standout in the Biennale’s speculative narrative. Jeyifous’ dual presence underscores his influence, but other diaspora architects, perhaps from Nigeria’s vibrant creative scene, may be involved in unlisted projects, meriting further exploration. His designs inspire pride in Africa’s ability to shape the future of global cities. This visionary contribution reaffirms the continent’s role in pushing architectural boundaries.

Limbo Accra’s The Ritual, The Void, The Repair

Ghana’s Limbo Accra, founded by Dominique Petit-Frère and Emil Grip, commands attention in the Arsenale with The Ritual, The Void, The Repair, a project that reimagines West Africa’s unfinished concrete structures as spaces of possibility. This installation transforms abandoned frameworks into sites for social, cultural, and ecological reinvention, challenging Western notions of architectural completion. Through striking photography, scale models, and immersive projections, Limbo Accra depicts communities in Ghana and Nigeria repurposing these “liminal” spaces. The project’s ritualistic approach to repair aligns with Ratti’s theme of collective intelligence, showcasing African urban contexts as global inspirations. Interactive touchscreens allow visitors to simulate community-led transformations, fostering engagement with the process of urban renewal. By embracing incompletion as a creative canvas, Limbo Accra redefines architectural value, offering a participatory model for cities worldwide. The installation’s focus on West African urbanism highlights Ghana’s rising architectural influence, but other Ghanaian architects may contribute to unlisted adaptive reuse projects, warranting a deeper dive into the Biennale’s records. The project’s multimedia richness ensures a lasting impact, encouraging architects to see imperfection as opportunity. Its resonance with global urban challenges underscores Africa’s leadership in innovative design. Limbo Accra’s work is a proud declaration of Ghana’s creative ingenuity, inviting the world to learn from African urbanism.

National Pavilions: Africa’s Architectural Heritage Shines

The Togo Pavilion: Considering Togo’s Architectural Heritage

Togo’s historic debut at the Arsenale, Considering Togo’s Architectural Heritage, is a triumph for African representation, commissioned by Sonia Lawson, Founding Director of Palais de Lomé, and curated by Jeanne Autran-Edorh and Fabiola Büchele of Studio NEiDA. This pavilion weaves a rich narrative of Togo’s architectural legacy, from ancient clay structures to modernist landmarks like the brutalist BOAD headquarters. Lawson, a Togolese cultural leader, positions the pavilion as a celebration of Togo’s built heritage, offering sustainable solutions for a warming world. Autran-Edorh, a Togolese architect, and Büchele, a German-Togolese curator, curate an immersive experience with scale models, archival photographs, and interactive displays that trace Togo’s architectural evolution. Visitors can explore tactile clay and timber samples, experiencing the thermal efficiency of vernacular mud-based constructions. The pavilion juxtaposes these traditional techniques with modernist influences, illustrating their relevance to climate-compatible design. Aligned with Ratti’s theme of natural intelligence, the exhibition showcases Togo’s architectural eccentricity as a global inspiration. The curators’ collaborative approach reflects the collective intelligence embedded in Togo’s building traditions, from pre-colonial villages to contemporary experiments. Other Togolese architects, potentially linked to EAMAU, may be involved in unlisted educational initiatives, suggesting a broader presence worth investigating. This pavilion is a proud milestone for Togo, affirming Africa’s place in global architectural discourse.

The Morocco Pavilion: The Tent – Towards a New Oasis

Morocco’s The Tent – Towards a New Oasis, curated by Amine Slimani and Abdelmalek El Belghiti in the Arsenale, reimagines the traditional Moroccan tent as a sustainable solution for arid climates. This pavilion features a lightweight, modular structure crafted from eco-friendly materials, integrating natural ventilation and solar panels to create a cooling microclimate. Slimani and El Belghiti draw on nomadic principles to propose scalable urban designs, aligning with Ratti’s focus on natural and artificial intelligence. Digital simulations allow visitors to explore how tent-inspired architecture can transform desert cities, complemented by case studies of Moroccan ksar fortifications and oases. Tactile woven textiles and rammed earth samples immerse visitors in the sensory qualities of nomadic design. The pavilion’s emphasis on sustainability reflects Morocco’s leadership in eco-friendly architecture, resonating with the Biennale’s circularity manifesto. Interactive displays simulate environmental impacts, encouraging visitors to rethink urban planning in extreme climates. The project’s blend of tradition and innovation positions Morocco as a global model, but other Moroccan architects, such as those tied to Chaouni’s restoration projects, may have unlisted contributions, meriting further exploration. This installation captivates with its elegant simplicity, offering a vision of architecture that harmonizes with nature. Morocco’s pavilion is a proud testament to Africa’s sustainable ingenuity, inspiring global architects.

The Egypt Pavilion: Let’s Grasp the Mirage

The Egypt Pavilion, Let’s Grasp the Mirage – A Game of Delicate Balance from a Small Egyptian Oasis to a Big Planet, anchors the Arsenale with an interactive exploration of sustainability. Curated by Egyptian architects Salah Zikri, Ebrahim Zakaria, and Emad Fikry Fouad, the pavilion transforms Egypt’s oasis ecosystems into a metaphor for global environmental stewardship. Visitors engage in a “game of equilibrium,” interacting with sensory models of sand, water, and vegetation that simulate the balance between tradition and transformation. Digital interfaces project the consequences of human actions on oasis landscapes, emphasizing architecture’s role as a responsive system. The curators highlight siwa mud-brick constructions, showcasing their thermal efficiency and sustainability through archival drawings. Ambient desert sounds transport visitors to Egypt’s oases, fostering a visceral connection to the landscape. Zikri, Zakaria, and Fouad’s collaborative approach embodies Ratti’s theme of collective intelligence, proposing that small-scale interventions can inform global climate strategies. The pavilion’s accessibility and thought-provoking narrative make it a standout, but other Egyptian architects, inspired by Hassan Fathy, may contribute to unlisted projects, warranting further investigation. This installation invites visitors to reimagine architecture as a living dialogue with the environment. Egypt’s pavilion is a powerful celebration of African innovation, cementing the continent’s leadership in sustainable design.

Collaborative Pavilions: Africa’s Global Influence

The British Pavilion: GBR – Geology of Britannic Repair

The British Pavilion, GBR: Geology of Britannic Repair, in the Giardini, is a groundbreaking UK-Kenya collaboration co-curated by Kabage Karanja and Stella Mutegi of Nairobi-based Cave Bureau, alongside Owen Hopkins and Kathryn Yusoff. Awarded a Special Mention for its transdisciplinary approach, this pavilion confronts colonial extraction in the Great Rift Valley, proposing architecture as a tool for ecological and social healing. Karanja and Mutegi present earth-based installations using clay and stone, evoking the Valley’s landscapes and re-centering architecture’s relationship to geology. Zimbabwean designer Thandi Loewenson contributes Lumumba’s Grave, a series of graphite drawings that honor Congolese leader Patrice Lumumba while critiquing colonial legacies, using graphite’s shimmer to connect earth, history, and justice. Ghanaian-Filipino architect Mae-ling Lokko showcases bio-based installations from agricultural waste, drawing on African vernacular techniques for sustainable construction. The pavilion’s tactile plaster and earth models invite visitors to engage with the materiality of repair. The Special Mention celebrates the pavilion’s cross-cultural dialogue, highlighting African perspectives on global challenges. Other African architects, perhaps from Cave Bureau’s network, may be involved in unlisted contributions, meriting further investigation. This pavilion is a proud showcase of African ingenuity, bridging Kenyan, Zimbabwean, and Ghanaian narratives with global impact. It stands as a testament to architecture’s reparative potential, inspiring pride across the continent.

The Qatar Pavilion: Beyti Beytak

The Qatar Pavilion, Beyti Beytak. My Home is Your Home. La mia casa è la tua casa, spans the Giardini and Palazzo Franchetti, featuring African architects Aziza Chaouni (Morocco), Minette Da Silva (South Africa), Hassan Fathy (Egypt, posthumous), and Jean-François Zevaco (Morocco, posthumous). This pavilion celebrates hospitality across the Middle East, North Africa, and South Asia, showcasing designs that foster shared cultural values. Chaouni’s Sidi Harazem Bath Complex Rehabilitation (2019–ongoing) highlights her sustainable restoration of Moroccan modernist architecture through archival materials and models. Da Silva contributes contemporary South African communal designs, reflecting the country’s vibrant social architecture. Fathy’s New Gourna village, displayed via archival drawings, exemplifies Egyptian vernacular’s sustainability, while Zevaco’s brutalist Moroccan works blend European and North African influences. The Giardini’s bamboo installation by Yasmeen Lari complements a broader exhibition at Palazzo Franchetti. The pavilion’s focus on cultural exchange aligns with Ratti’s theme of collective intelligence, inviting visitors to reconsider architecture’s role in bridging divides. Detailed renderings and material samples immerse visitors in the architects’ visions, emphasizing hospitality’s universal relevance. Other North African architects, perhaps from Algeria, may be among the pavilion’s 30 studios, warranting further exploration. This pavilion is a proud platform for African voices, celebrating their contributions to inclusive design.

The French Pavilion: Vivre avec / Living with

In the Giardini, Vivre avec / Living with features Moroccan architect Salima Naji and Togo’s École Africaine des Métiers de l’Architecture et de l’Urbanisme (EAMAU). This pavilion explores sustainable coexistence with nature, humans, and artificial intelligence, aligning with Ratti’s transdisciplinary vision. Naji, renowned for her earth and stone restorations, presents Moroccan ksar projects through detailed models and material samples, highlighting vernacular sustainability. EAMAU showcases Togo’s collaborative architectural education, contributing research on climate-responsive design with drawings and digital simulations. Interactive displays simulate the environmental impact of these designs, engaging visitors in sustainable systems. Naji’s oasis restorations emphasize thermal efficiency, while EAMAU’s focus on local materials underscores African ingenuity. The pavilion’s rammed earth panels immerse visitors in the materiality of eco-friendly design. Other Togolese architects, potentially unlisted, may be involved in EAMAU’s initiatives, meriting further investigation. This pavilion highlights African contributions to global sustainability, fostering cross-cultural dialogue. It is a proud celebration of Morocco and Togo’s leadership in eco-conscious architecture, inspiring the continent and beyond.

Special Projects: Africa’s Sustainable Blueprint

The Rolex Pavilion by Mariam Issoufou

Nigerien architect Mariam Issoufou, founder of atelier masōmī, presents the Rolex Pavilion in the Giardini, a special project that embodies sustainable craftsmanship. Crafted with compressed earth blocks and Nigerien vernacular techniques, this pavilion integrates passive cooling and modular construction, creating a visually striking microclimate. Issoufou’s Hausa-inspired patterns captivate visitors, blending cultural heritage with modern sustainability principles like solar shading. Detailed renderings and material samples allow exploration of the pavilion’s earthen textures and woven elements. Aligned with Ratti’s circularity manifesto, the project showcases how African traditions can inform low-impact global architecture. Issoufou’s prominence, built on her 2023 Biennale contributions, positions her as a trailblazer in sustainable design. The pavilion’s shaded interiors offer a cooling experience, highlighting its relevance for arid climates. Interactive displays explain the construction process, emphasizing collaboration with local artisans. Other Nigerien architects, perhaps from atelier masōmī’s network, may contribute to unlisted projects, suggesting a broader African presence worth exploring. This pavilion is a proud symbol of Niger’s architectural excellence, inspiring Africa and the world.

Collateral Events: Africa’s Global Reach

The International Children’s Cancer Research Centre by David Adjaye

At Palazzo Bembo, a collateral event, Ghanaian-British architect David Adjaye’s International Children’s Cancer Research Centre in Kyebi, Ghana, shines for its African significance. Presented by Adjaye Associates, this project integrates biophilic design with Akan cultural heritage, using organic forms and local materials to create a healing environment for pediatric cancer care. Architectural models, immersive projections, and detailed renderings showcase the center’s natural light and ventilation strategies. Adjaye’s design addresses Ghana’s healthcare challenges while demonstrating the global applicability of African principles. The installation’s focus on community engagement, with displays of artisan collaborations, aligns with Ratti’s theme of collective intelligence. Interactive timelines allow visitors to explore the construction process, highlighting its social impact. Adjaye’s 2023 Biennale contributions suggest he may have unlisted projects in the main exhibition, meriting further investigation. Other Ghanaian architects, potentially tied to Adjaye’s initiatives, may contribute to unlisted collateral events, warranting a deeper dive. This project inspires pride in Ghana’s architectural innovation, reinforcing Africa’s global influence. The Palazzo Bembo display is a powerful reminder of architecture’s transformative potential.

Recognition and Legacy: Africa’s Moment

Special Mentions for African Brilliance

The 2025 Biennale honored African architects with prestigious awards, affirming their global impact. Tosin Oshinowo’s Alternative Urbanism: The Self-Organized Markets of Lagos earned a Special Mention for its innovative portrayal of Lagos’ markets as models of collective intelligence and urban resilience, praising her elevation of local practices into a universal narrative. The British Pavilion, GBR: Geology of Britannic Repair, co-curated by Kabage Karanja and Stella Mutegi with contributions from Thandi Loewenson and Mae-ling Lokko, also received a Special Mention for its transdisciplinary approach to reparative architecture. The pavilion’s focus on the Great Rift Valley and earth-based materials was lauded for fostering cross-cultural dialogue. These awards, announced on the opening day, highlight Africa’s leadership in sustainable, inclusive design. The recognition reflects Ratti’s commitment to diverse voices, aligning with the Biennale’s vision of a collaborative future. Other African architects, perhaps from South Africa or Nigeria, may have received unlisted accolades, meriting further research in the awards documentation. These honors inspire pride across the continent, cementing Africa’s role in shaping architectural innovation. The Special Mentions resonate beyond Venice, influencing global conversations on design’s transformative power. Africa’s architects are not just participants—they’re trailblazers redefining the built environment.

Conclusion: Africa’s Architectural Ascendance

The African architects at the Venice Architecture Biennale 2025—Tosin Oshinowo, Olalekan Jeyifous, Limbo Accra, Mariam Issoufou, Sonia Lawson, Jeanne Autran-Edorh, Fabiola Büchele, Kabage Karanja, Stella Mutegi, Aziza Chaouni, Hassan Fathy, Jean-François Zevaco, Salima Naji, École Africaine des Métiers de l’Architecture et de l’Urbanisme, Thandi Loewenson, and Mae-ling Lokko—are redefining global architecture with unparalleled creativity. Their projects in the Giardini and Arsenale, from the main exhibition to national and collaborative pavilions, showcase Africa’s mastery of sustainability, heritage, and innovation. The Special Mentions for Oshinowo and the British Pavilion celebrate their global resonance, honoring their contributions to inclusive design. By blending vernacular wisdom, like Togo’s mud constructions and Morocco’s nomadic tents, with modern technologies, these architects offer solutions for a climate-challenged world. Their work challenges Eurocentric norms, proposing decolonized, community-driven models that embody Ratti’s Intelligens. The Togo, Morocco, and Egypt pavilions, alongside contributions to the UK, Qatar, and French pavilions, affirm Africa’s ascendance. Yet, other talents, like Francis Kéré or emerging voices from Kenya or Rwanda, may be involved in unlisted projects, enriching this narrative. Visit labiennale.org to explore more African contributions and join us in celebrating this vibrant showcase. The 2025 Biennale is Africa’s moment to shine, inspiring a sustainable, equitable future. At Africans Column, we’re proud to champion these architects as they lead the world toward a brighter built environment.