At the Venice Architecture Biennale, a Chorus of African Voices

“For us to look ahead, we really need to go back to the past,” Karanja said, calling for a return to “a state of true honesty” as a solution to the environmental and social damage suffered by modern life. proposed. “It may sound romantic, but we are trying to take this kind of crisis seriously,” he added.

Rocco is a respected architecture teacher, critic, and best-selling novelist who has helped guide many participants. The Future Laboratory emphasizes the role of storytelling in the creation of architecture, what that discipline is, what its necessity is, and how it transforms society through creativity and inclusivity rather than violence and chaos. I am asking if it can be changed.

“The more we can expand the collective pool of people to get an idea of ​​what the world could be and to think imaginatively, the better,” said the founder. Zena Tavares, along with his brothers Gaika Tavares and Kibwe Tavares, said: A creative collaboration called Basis with GKZ. Loosely inspired by the traditional West African storytellers known as djali, their installation ‘Djali’ showcases short stories within a computer-augmented fictional world set in the future. Viewers can interact with the display to move between scenes and explore different stories and settings enhanced with artificial intelligence and augmented reality.

“This is a tool to explore how this technology can affect us and define us,” Kibwe Tavares said. “Every time there is a change in technology, we see a change in the way people build. How people paint. How people see and experience the world. Only we have a voice.” How will the world unfold when you can’t raise it?”

The global influence of young African architects is also a theme. The Tavares brothers grew up in South London to parents from Jamaica and Grenada who considered themselves Pan-African. “We have always been encouraged to consider ourselves from the African diaspora,” Gaika Tavares said.

Founder of architecture firm Counterspace, Sumayya Vallee was born in South Africa to Indian Muslim parents and lives in London and Johannesburg. Her collaborator Maud Msbahi, raised in Libya and Tunisia, is an artist and graduate student at Princeton University in New Jersey. In their work “African Post Office”, embedded literal pillars (totems, minarets, musical instruments and audio speakers of the same diameter) are accompanied by sounds such as devotional chants and bird calls recorded around the world. pillars) are on display.

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