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< Back Le fonds rotatif : un outil communautaire de cofinancement pour le développement des villes Pauline Leporcq, Bénédicte Hinschberger, Bea Varnai Le fonds rotatif pour la rénovation urbaine est un mécanisme de financement solidaire et inclusif, créé dans l’objectif d’apporter des réponses à un double défi : les revenus limités et l’exclusion bancaire des populations vulnérables des villes sénégalaises d’une part, et d’autre part le déficit d’infrastructures urbaines résilientes, d’habitat digne et d’accès aux services essentiels auquel elles sont confrontées. Cet outil de financement - porté par la FSH et son ONG d’appui technique, urbaSEN - s’inspire de la tontine, caisse d’épargne solidaire traditionnelle, dans laquelle cotise un groupe de personnes issues le plus souvent du même quartier. Les montants épargnés sont confiés à tour de rôle à chacun des membres du groupe, permettant d’améliorer l’économie familiale ou de réaliser des projets spécifiques. Le remboursement des moyens financiers mis à disposition se fait selon les modalités accordés par le groupe. En focalisant ce mécanisme sur les besoins liés à l’habitat et au cadre de vie, le fonds rotatif permet depuis 2015 aux populations vulnérables de bénéficier de prêts pour la réhabilitation de leurs logements et de co-financer des aménagements urbains. Le fonds est géré par la Fédération Sénégalaise des Habitants (FSH), réunissant des groupements d’épargne communautaire qui portent des projets de sensibilisation, de communication et de formation sur le droit au logement et à l’amélioration du cadre de vie depuis 2014. Aujourd’hui, la FSH se déploie dans toute la banlieue de Dakar, dans les régions de Thiès (2019), Louga (2019), Ziguinchor (2022) et de Fatick (2024) et réunit près de 18 000 membres. Le fonds rotatif autonomise les municipalités et les habitants du Sénégal, favorise la collaboration et améliore l'accès au financement pour le développement local La commune de Djiddah Thiaroye Kao située dans la banlieue de Dakar est composée majoritairement de quartiers spontanés et abrite plus de 160 000 habitants. L’habitat y est principalement auto-construit de manière incrémentale, le plus souvent avec des matériaux de faible qualité et une absence d’encadrement de professionnels qualifiés. Étant l’une des plus densément peuplée du pays, la commune fait face à de nombreux défis sociaux, économiques et environnementaux. Le déficit d’infrastructures d’eau et d’assainissement conduit à des problèmes de santé, aggravés par de fortes inondations. Sensibilisation avec un groupe sénégalais, Bénédicte Hinschberger 2022 Dans le contexte d’inondations particulièrement dévastatrices de la fin des années 2000, les habitants s’organisent pour apporter des solutions aux problématiques liées à l’habitat et au cadre de vie. Cette dynamique, appuyée par des professionnels issus de l'aménagement, la mobilisation sociale et la planification urbaine, permet d’engager le processus de restructuration urbaine de la commune, et donne naissance à la Fédération Sénégalaise des Habitants en 2014. Dès le début, une attention particulière est portée à l’accès au financement pour réaliser des aménagements, ouvrages et activités de renforcement pour les membres de la Fédération. C’est ce qui amènera à la création du fonds rotatif. A la même période (2013), l’Etat sénégalais lance l’Acte III de la décentralisation, qui délègue aux communes la gestion, l’organisation et la planification de leurs territoires. Mais ce transfert de compétences ne s’accompagne pas des moyens nécessaires pour organiser techniquement et financièrement la structuration des services communaux. Déjà en grandes difficultés, les communes peinent à mettre en œuvre l’Acte III, et donc à offrir aux habitants des services et des infrastructures de qualité dont ils ont grandement besoin pour améliorer leur cadre de vie. Les ressources financières des communes proviennent principalement des fonds de l’Etat (fonds d’équipement des collectivités locales, et fonds de dotation) disponibles auprès du Trésor Public. Cependant, leur gestion est collective pour l’ensemble des communes, ce qui rend très inégale l'accès aux ressources et complique le processus de décaissement des sommes préalablement budgétisées par les communes. De fait, la réactivité et la capacité d'agir des communes pour répondre aux besoins des populations locales sont limitées. Les ressources communales sont également alimentées par différentes taxes, mais ceci reste de l’ordre du résiduel et ne permet pas d’assurer une bonne gestion organisationnelle interne de la commune avec un budget prévisionnel annuel structuré et le recrutement de ressources humaines sur le long terme. Ainsi, le développement du fonds rotatif s’inscrit dans le contexte général de précarité financière des communes sénégalaises et du difficile accès des populations vulnérables aux outils de financement traditionnels. Il démontre la pertinence d’outils de financement citoyen accessibles au plus grand nombre, pour pallier la difficulté à mobiliser des ressources publiques locales, résultat d’un cadre juridique et institutionnel inadapté aux besoins réels des autorités locales et de leurs habitants. Le fonds constitue ainsi un vecteur de collaboration entre les habitants et les communes à travers la mobilisation d'un apport financier des habitants aux projets locaux. Il contribue ainsi à légitimer leur place dans la définition et la mise en œuvre de projets d'aménagements et de quartiers. Le fonds rotatif au Sénégal permet la réhabilitation des logements et des infrastructures par la communauté, améliorant la collaboration locale et les projets de développement cofinancés Le mécanisme du fonds rotatif est adossé à un dispositif d’accompagnement technique qui garantit la qualité des travaux et sa bonne utilisation : des technicien.nes réalisent un diagnostic du logement/du quartier/des ouvrages à rénover et accompagnent le ménage dans le choix des artisans et le suivi des travaux à l’échelle de la parcelle et du quartier. En effet, le fonds permet de financer la réhabilitation de l’habitat, le développement d’activités génératrices de revenus (AGR) par les groupes d’habitant.es, et la co-conception et co-construction d’ouvrages semi-collectifs d’eau et d’assainissement (puisards partagés entre quelques familles, branchements AEP) et d’aménagements publics de plus grande ampleur (drains, regards, pavages drainants, bassins, tampons, espaces verts et d'infiltration des eaux de pluie, etc.) A l’échelle de la commune de DTK qui compte plus de 100 groupements membres de la FSH, soit environ 3 000 personnes fédérées, ce dispositif a permis la réhabilitation de 408 maisons et une cinquantaine de chantiers sont encore en cours auprès de différents bénéficiaires. De plus, à l’échelle du quartier, plusieurs ouvrages ont été réalisés dans une approche de co-conception entre les différentes parties prenantes (élus, points focaux de la commune, Office National de l’Assainissement (ONAS), techniciens, habitants). Au total - 3 arrêtoirs d’eau, 6 déversoirs raccordés au réseau existant, 445 mètres de canalisation, 6 regards circulaires, un caniveau superficiel muni d’un pavage drainant raccordé au système de drainage existant - ont été réalisés. Le total du budget des travaux de 35 605 962 CFA a été cofinancé par la commune (50 %), les habitants (5 %) et subventionné par le projet (45 %). Dans tout le Sénégal, ce sont plus de 1 000 maisons qui ont été réhabilitées, et près de 300 ouvrages communautaires. Le fonds rotatif autonomise les résidents, favorise le développement urbain participatif et inspire des initiatives similaires à travers l'Afrique de l'Ouest, renforçant la résilience et la collaboration Les ouvrages collectifs co-conçus et co-financés par les habitant.es traduisent concrètement dans l’espace public la portée du fonds rotatif en tant qu’outil de renforcement du pouvoir d’agir des habitant.es . Grâce à leur apport financier, ces dernier.es ne sont plus seulement bénéficiaires d’infrastructures réalisées par d’autres groupes d’acteurs, mais au cœur des processus de décision qui les définissent et les produisent. Les habitants participent au dialogue territorial qui permet de faire évoluer positivement et durablement la situation locale et les conditions de vie par un meilleur niveau d’équipement. De plus, la participation financière des habitant.es motive leur contribution à la bonne gestion et à la maintenance des ouvrages. Des modalités de gestion spécifiques sont ainsi définies pour chaque type d’ouvrage, impliquant les groupes d’habitants de la zone et visant à garantir leur pérennité. Bénéficiaire de la FSH Sénégal 2022 Crédit Equipe média urbaSEN Ces ouvrages mis en œuvre de manière participative sont le résultat d’une démarche intégrée - sociale, environnementale et financière - qui garantit leur réplicabilité à long terme. Celle-ci est accentuée par les activités de formation des artisans locaux qui sont mises en œuvre en lien avec les projets. Ces formations contribuent à une meilleure structuration du tissu économique local et à une amélioration de la qualité des ouvrages et des logements réalisés. Articulées à d’autres moyens de lutte contre les inondations (sensibilisation, messages d’information avant les pluies, réalisation d’ouvrages structurants de drainage par les acteurs publics), elles contribuent à augmenter effectivement la résilience des quartiers face au risque climatique. Récemment, cet outil de financement a inspiré d’autres fédérations d’habitants organisées dans la sous-région ouest-africaine. Des mécanismes similaires ont été développés au Burkina Faso (2021) et en Guinée Bissau (2023) et se déclinent selon les besoins et réalités locales. Actuellement, les représentants des fédérations de ces différents pays portent la volonté de se réunir en confédération sous-régionale avec leurs voisins afin de partager des savoirs, des outils et des méthodes innovantes de construction et de financement de la ville. Le fonds rotatif améliore les conditions de vie au Sénégal, en favorisant la finance communautaire et en favorisant la transparence entre les résidents et les autorités locales Par l’amélioration des conditions de vie d’environ 150 000 habitants du Sénégal, et 1 milliards de francs CFA de prêts accordés depuis 2015, le fonds rotatif a démontré sa pertinence en tant qu’outil financier pour l’amélioration du cadre de vie des populations défavorisées. Le portage “habitant” de l’outil et sa reconnaissance par les autorités locales assurent une appropriation forte et une démultiplication de son envergure grâce à la sensibilisation des habitants et la formation des communes dans l’élaboration de budgets participatifs pour appuyer ces dynamiques. L’ensemble de ces innovations renforcent la transparence et la confiance entre les acteurs publics locaux et les populations. Ainsi, le fonds rotatif s’inscrit comme un outil stratégique de plaidoyer pour la reconnaissance de la finance communautaire par les acteurs publics et les bailleurs internationaux et le renforcement de l’inclusion financière des populations. Previous Next

< Back Cameroon museums: The language of symbols for cosmo-architecture The Route des Chefferies is a program in Cameroon that focuses on safeguarding and promoting heritage for over twenty years. It aims to restore and create spaces that promote the heritage of populations, chiefdoms, and the region as a whole. The program has led to the nomination of several traditional buildings to the World Heritage list with UNESCO. The contemporary architecture of the museums and heritage huts is inspired by the traditional aspects of the Grassfields, contributing to the scenographic development of the territory. The Museum of Civilizations is an interpretation center of Cameroonian civilizations, open to the public since 2010. It features a nautical base, beach volleyball court, playground, craft center, and a Garden of Civilizations. The Royal Museum of Foumban combines tradition and modernity, featuring the coat of arms of the Bamoun Sultanate. The Bamendjinda community museum highlights the specificities of the Bamendjinda chiefdom under the theme "Arts-Tradition and Slavery." The Route des Chefferies is a program of safeguarding and promotion of heritage in Cameroon, which, for about twenty years. It works in the restoration and creation of spaces aimed at promoting the heritage of the populations, the chiefdoms, and the region as a whole. This program, innovative in Africa, integrates a large pole dedicated to the development of the territory, to architecture, and to the design of heritage. This pole works on the cultural and tourist development of the territory by proposing buildings and places imbued with an «African» scenography that allows for the reinforcement of a rural cultural centrality. The urbanity here is specific because it navigates in a world where the living rub shoulders with the world of the ancestors, the invisible world. It also contributes to the rehabilitation of traditional buildings in danger, and participates in their safeguard in the case of various programs. Thus, since 2018, the restoration work carried out by several chieftaincies has led to the nomination of several traditional buildings (traditional palaces of Bandjoun, Bapa, Batoufam, Mankon, Bafut ...) to the list of World Heritage with UNESCO. The contemporary architecture of the museums and heritage huts (14 heritage huts have been built to date) is fundamentally inspired by the traditional aspects of the Grassfields, which will be recalled in the first part of this article, in order to contribute to the scenographic development of the territory, notably through the creation of cultural buildings detailed in the second part, all within the framework of work in communion with local craftsmen and artists, but also with the elements offered by nature in the Grassfields. The Museum of Civilization The Museum of Civilizations is an interpretation center of the civilizations of Cameroon open to the public since November 20, 2010. This building, located on the shores of Lake Dschang, has become an authentic place of leisure and culture thanks to its nautical base (2005), its beach volleyball court, its playground (2006), its craft center (2010) and very soon a Garden of Civilizations. After an introductory presentation of Cameroon over the centuries, the visitor is invited to discover the Cameroonian people in its identity both plural and fusional: the peoples of the forest with their totemic expression, the peoples of the sea with the revival of the Ngondo cultural festival, the Sudanese-Sahelian peoples with their lamidats, chieftaincies, sultanates and the peoples of Grassfield with their mysterious chieftaincies. It is an interpretation center that promotes an integrated approach to cultural heritage that allows visitors, especially local communities, to reconnect with their roots while learning about the cultures of other regions. This approach is part of cultural tolerance, an important vector of cultural diversity. The contemporary African architecture, signed by the architect Sylvain Djache Nzefa, founder of La Route des Chefferies, is characterized by the symphony of symbols: spider, buffalo, elephant woman, Abbia jettons, and local languages. The Museum of Civilization, with its multiple functions, is endowed with history, knowledge, and intelligence. In the world of the living, in the Bamileke cosmogony, men and animals dialogue, and this dialogue is also done in representation. Among the living, the one who possesses the sum of all experiences is the old man. Everywhere in Black Africa, the old man «was» considered to be the wise man, the connoisseur, the one who «held» the truth, through his multiple experiences. It is his knowledge that is symbolized through the spider. According to Pierre Harter: The spider-mygale, symbol of knowledge, often takes the form of a small single or double circle, with four crossed legs and not eight, which makes it possible to compose on certain mask headdresses or certain engravings of libation horns, a sort of diamond or square mesh net. The spider thus appears as the central element of the architecture of the Museum of Civilization: it is taken here as an architectural element that gives rhythm to the façade. The façade is treated as a mask through blue moldings. There is a desire to hide what is behind. Let us not forget that in the Negro-African, the masks speak; the wearer is possessed by his mask. Here, the wearer is the museum. The mask representing the spider expresses the contents of this building, that is, knowledge. The buffalo and elephant masks symbolize strength, power, grandeur, and wealth. Another façade of the museum is covered with alphabets and the word «welcome» written in several languages and dialects spoken in Cameroon. The eye is busy here capturing the multitude of information, codes, landmarks, which are symbols representing the objectives, the roles of the building namely: educate, preserve, transmit, innovate... Through these symbols, a man approaches what is knowledge, intelligence, society, cosmology, and cosmogony. The motifs used for the moldings on the facades are stylized forms of masks, motifs such as the spider, the buffalo, the woman, and the elephant. The act of building or conceptualizing objects and habitats is seen as a support for knowledge and understanding of the other. It leads to a review of all that is at stake in the constitution and foundations of the different civilizations of Cameroon. The visitor is thus led to question his cultural identity by a better knowledge of himself, which facilitates in principle the dialogue between civilizations. The Museum of Civilization is developing an African museographic experience that aims to put the public at the heart of the process through didactic support and contextual settings that allow visitors to immerse themselves in the heart of Cameroonian cultures. It is not so much a matter of showing as of creating an experience of a visit by provoking sensations and emotions. Realized by a Franco-Cameroonian team, the content of the exhibition is based on a scientific and interdisciplinary approach (history, archaeology, ethnography, sociology, architecture, and heritage...). Dynamic and educational. The exhibition has been conceived, in space and time, in such a way as to integrate current events. With more than 500 objects, 1500 illustrations, video spaces, the museography integrates in an important way the traditional African materials worked in a contemporary approach by the local craftsmen (varnished or burned bamboo, banana bark, obom bark, cowries, beads, raffia, earth, coconuts...) This is the first time that we discover how traditional skills can be highlighted in contemporary scenography. The Museum of Civilizations does not find its justification in the existence of a collection of objects of its own; the pieces presented illustrate the discourse chosen by the designers and come mostly from loans and deposits of the chieftaincies. Royal Museum of Foumban The Bamoun Sultanate is located in the Western Region of the Republic of Cameroon in Central Africa. The Sultanate is at an altitude of 1200 meters and covers an area of 7,625 Km². The current Sultan, Ibrahim MBOUOMBOUO NJOYA, 19th of this dynasty, animated by the immeasurable concern to safeguard this rich multi secular heritage bequeathed by his ancestors, has undertaken for nearly two years, the construction of a new museum adapted to the museum rules and spacious enough to contain all the objects of the collection. The architect Issofa MBOUOMBOUO has thought of a symbolic architecture that combines tradition and modernity and which, in itself, is enough to be a museum. This symbolic architecture is a set composed of the coat of arms of the Kingdom such as: 1 - Double bell: Symbol of patriotism. It is an instrument used by the King to stimulate and galvanize his troops at the front. 2 - The spider: Symbol of work. The King wants his people to be as hardworking as the spider who spends all his time weaving webs. 3 - Snake with two heads : Symbol of the simultaneous victory of the Bamoun people on two fronts. It symbolizes the power of the Kingdom. The result of this masterpiece is the first vector of communication of this museum, through its cosmogonic architecture, following the example of the Museum of Civilization in Dschang. Heritage hut, community museum of the Bamendjinda chiefdom: art, tradition and slavery Its permanent exhibition, unique in the region and in Cameroon, highlights all the specificities of Bamendjinda under the theme «ARTS-TRADITION AND SLAVERY». The Bamendjinda chieftaincy has been marked by slavery, whether it be slave trade or customary slavery. Some cultures still commemorate this past. Its historical and social consequences are perceptible in its plastic production, in its cultural expressions, in the organization and functioning of its chieftaincy. SM TANEFO, the current chief of the Bamendjinda, actively participates in the work of memory on this part of the history of Cameroon. The Bamendjinda community museum plays a role in the collective memory at the social, cultural, educational, and economic levels. Through objects, illustrations, paintings, videos, and a library, this museum is accessible to the general public. It is playful, complete, and enhances the cultural heritage of the chiefdom. The visitor, through the decorations, is led to discover not only Bamendjinda from its origins to today, but also the history that has marked the social organization of the chieftaincies of the West and of Cameroon. The architect Sylvain DJACHE NZEFA once again highlights on the main façade of the museum a mask called «Katso mask» or «Batcham mask». This mask is generally used in secret societies and its presence on the façade is a sign of celebration of this object. Slavery is a historical phenomenon common not only to the Bamendjinda people, but to Cameroonians, Africans, and many others. It is our past, our history, our heritage, our future. This museum is the embodiment of the memory and cultural vitality of the Bamendjinda people. Heritage case of the Bapa chiefdom, rock village The permanent exhibition of this museum has 7 spaces related to the central theme: «MAN, NATURE AND BELIEFS». The spaces defined by the Bapa traditional chief, SM David SIMEU, are the following: Discovering: which presents the history and relations between Bapa and the neighboring villages, and the organization of the chieftaincy and the place of the secret societies; Soak up: presents the nature and physical geography of Bapa; Create and build, presents the different poles of activity found in Bapa, as well as the evolution of architecture, from bamboo constructions with interpretations of weavings, to earthen brick construction and spouted earth; Savor, highlights the gastronomy of the 4 cultural areas of Cameroon, the methods of conservation of traditional foods and the food prohibitions of the past and present; Warrior, presents the power to heal as well as the place of totemic animals in the Bapa culture; To think, invites us to reflect on the protection of the environment with a nod to CIPCRE, and also unveils the modified model of the Bapa chiefdom; Blending in, displays nature, the medicinal and edible plants that nature offers us, with a miniature map of the Bapa village, and the tchui waterfall. This museum is marked by its picturesque architecture, which values the conical roofs of the West, the stabilized earth brick and especially its entrance in the shape of a cave which calls upon the various caves and rocks found in the locality and its surroundings. The scenography here highlights the local know-how in a process of transformation of vegetable waste. Thus, the work carried out by the architects of the DRC with the craftsman Banana Fashon led to the innovation of wall coverings from: dried banana leaves, peanut shells, dried corn leaves, colored woven straws...These decorations extend the understanding of the theme of the exhibition which is to bring man closer to nature. In addition to the need to highlight the know-how and beauty of the Bapa culture, to perpetuate it for the education and edification of future generations are the main motivations of the chief. Drawing inspiration from traditional architecture in order to create the architecture of tomorrow is a guarantee of safeguarding and promoting traditional know-how. The Route des Chefferies, through a creative scenography of the territory, proposes a reinterpretation of the great architectural principles without denigrating them. It uses symbols, materials, and traditional elements to give a new vision of the territory. The Route des chefferies is currently working on new concepts within the framework of the Route des Seigneurs de la forêt, Route de l’eau and Route du sahel programs. Previous Next

< Back Learning from green African building Caroline Geffriaud, Goethe-Institut Sénégal The «Learning from green African building» project was launched by the Goethe-Institut Senegal in 2021 with the aim of exploring the richness of sustainable construction in sub-Saharan Africa and creating a network of engaged actors and institutions. The project is divided into two parts: One part is the creation of activities enabling the development and animation of a network of stakeholders and interested parties in the development of sustainable architecture on the continent. The second part is a web platform organized into three sections. The first is an interactive and participatory map that lists the various initiatives on the continent, from vernacular heritage to contemporary buildings, including the involved actors, research projects, resources, and more. The second section is a series of videos produced by the Goethe-Institut, showcasing particularly interesting projects and actors across the continent. The final aspect is a collection of essays written by engaged personalities that offer a definition of sustainable architecture in sub-Saharan Africa today. The African continent is rich in diversity, creativity, and architectural wealth, yet it is underrepresented and under-referenced. This project aims to be a source of information, inspiration, and connection for anyone interested, both on the continent and beyond. The website is accessible at: https://lfgab.com/ Sustainable architecture in Africa relies on frugal, low-tech solutions using local materials to reduce carbon emissions It is now a well-established fact that the construction sector, along with transportation, is one of the most polluting industries in the world. By itself, it accounts for 37% of global greenhouse gas emissions. This staggering percentage also indicates a significant margin for reduction that can be explored. This reduction is particularly achieved through the development of sustainable architecture, meaning architecture that is functional, comfortable, resilient, resource-efficient, and environmentally friendly in the broadest sense. The African continent is experiencing a boom, with a population growth rate of around 5% and the prospect of reaching 50% urbanization by 2030. These indicators are logically accompanied by a construction boom, involving the widespread adoption of foreign architectural models and the massive use of concrete, already the most consumed material in the world and responsible for 4 to 8% of global greenhouse gas emissions. Champ de typha Sénégal - Seydina Ousmane Boye - 2021 While in Europe, active «high-tech» techniques have long been favored to limit the environmental impact of buildings, this approach now seems unreasonable. With the acceleration of the climate crisis and the depletion of fossil fuels, voices are being raised around the world advocating for degrowth. Fortunately, in all climates, there are many examples of the «low-tech» approach, which limits the need for resources and maintenance and implements passive, sustainable, and stable systems. In Africa, due to the technological and energy context, frugality has always been a preferred approach when it comes to sustainable architecture. In a world with limited resources, innovation no longer lies in the race for new technologies but in the reinvention, reinterpretation, combination, and fusion of traditional techniques derived from local cultures, climates, and materials. The use of local resources is one of the keys to reducing the carbon emissions of the construction sector. Reducing the distance traveled by materials, creating local skilled jobs, and limiting the processing of products—these actions all contribute to reducing the energy used in building construction. Additionally, these local resources are often bio- or geo-sourced materials with a high carbon storage capacity, which positively impacts the overall environmental balance of buildings. The Learning from green African building platform highlights sustainable architecture in sub-Saharan Africa, connecting stakeholders through mapped resources and videos The climatic and social conditions, as well as access to resources, being unique, the sustainable approach in sub-Saharan Africa is particularly interesting and inspiring. However, today, the data related to this approach is often not easily accessible to the public. To highlight sustainable construction initiatives and bring together a network of stakeholders engaged in eco-friendly building practices, the Goethe-Institut Senegal has created a web platform that provides access to the wide array of resources on sustainable architecture in sub-Saharan Africa. Carte interractive Learning from green African building - Goethe-Institut - 2024 The platform is presented as a regional map, allowing users to locate the data within its geographical context. Resources are displayed as «points» with different shapes or colors depending on their association with the following themes: Vernacular heritage, Contemporary buildings committed to sustainable development, Renovated buildings, Available natural resources and material experimentation, Private and public actors involved in creating a sustainable construction sector, Places of education and dissemination of sustainable architectural and urban thought, Theoretical or practical research projects and publications, and Occasional events or initiatives. Navigation sur la carte - Goethe-Institut Sénégal - 2021 The map background emphasizes climatic data and available resources, rather than strictly administrative boundaries. This way, the territory is viewed through the lens of natural context, rather than administrative divisions, encouraging technology exchanges between practices operating in similar climates. In certain countries, particularly in Cameroon, Burkina Faso, Mali, Ghana, Angola, South Africa, Rwanda, and, of course, Senegal, video teams were engaged to meet with stakeholders and showcase the richness and diversity of sustainable approaches on the continent. Thanks to this effort, around fifteen videos have already been uploaded, with more in preparation. Additionally, with the aim of offering a body of theoretical reflections in dialogue with the mapped data and videos, the platform features original essays written by key figures on the continent, focused on defining sustainable architecture in Africa today. Exhibitions, roundtables, and presentations across Africa, to promote sustainable architecture through public engagement and local collaboration Since its inception, the project has been the focus of numerous public events, notably the «Learning from Green African Building» exhibition in December 2022, Dakar (Senegal), a roundtable at WITS University in Johannesburg (South Africa), March 2023, and the Learning from green African building Africa Tour inFebruary 2024 where the project was presented at four public events in Ouagadougou (Burkina Faso), Lagos (Nigeria), Accra (Ghana), and Nairobi (Kenya). These events included numerous conferences and debates led by local stakeholders, showcasing the platform, the traveling exhibition, and engaging the public in open discussions. Research is ongoing and is regularly published on the site. The map is participatory, allowing the public to propose new resources to expand the content while ensuring local relevance. Lancement du site projet - Goethe-Institut Sénégal - 2021 Echanges avec le public Accra - Willie Schuman - 2024 Promote sustainable architecture by showcasing local resources and overcoming cultural resistance to eco-friendly building practices Architecture is a reflection of the cultural and environmental context from which it emerges. The Goethe-Institut Senegal is taking advantage of the construction of its future institute in Dakar, designed by Pritzker Prize-winning architect Francis Kéré, to highlight this theme in its cultural program. Rather than importing knowledge, typologies, and materials, how can we make the best use of local resources and knowledge to develop architecture that is adapted to the climate and the expectations of the communities involved? The obstacles limiting the democratization of sustainable construction are no longer technical. The knowledge exists, the tests have been conducted, and in some countries, the regulatory context is evolving in favor of using eco-sourced materials. Today, the resistance is generally cultural, as natural and traditional materials are often seen as outdated and synonymous with poverty, while concrete and glass are associated with wealth, modernity, and the future. The project’s ambition is to show stakeholders, decision-makers, and the general public that an appealing and contemporary ecological alternative is possible in the building sector. LFGAB highlights a wide range of alternative proposals while helping to increase the visibility of the actors, research, and institutions involved. Previous Next

< Back Comment les drones facilitent l’obtention de titres fonciers en RDC Cities Alliance Kasangulu, une petite ville en République Démocratique du Congo, fait face à des défis dus au manque de droits fonciers formalisés et à l'absence de données précises. Le gouvernement de la RDC met en œuvre un projet pilote utilisant des drones pour faciliter la clarification foncière et autonomiser les femmes, visant à moderniser la gouvernance foncière et à promouvoir un développement économique inclusif basé sur des droits fonciers sécurisés. L'initiative a impliqué la cartographie des conflits, des ateliers participatifs, et l'utilisation de drones topographiques et de logiciels de cartographie pour aider l'administration du registre foncier à passer de la documentation papier à la documentation numérique. Le projet a également fourni une formation technique aux jeunes et aux agents fonciers pour l'opération des drones. L'introduction de drones civils a facilité la collecte de données en temps réel et modernisé les outils de gestion. Le projet a également contribué à sécuriser les droits des communautés locales et à augmenter leur résilience, particulièrement pour les ménages dirigés par des femmes. L'initiative a aussi le potentiel pour la durabilité et la résilience environnementale en fournissant des données géographiques précises pour surveiller l'expansion de la ville et protéger les zones vertes. Kasangulu est une petite ville de la République Démocratique du Congo (RDC), située à seulement 35 km au sud-est de Kinshasa, une mégalopole en rapide expansion comptant près de 15 millions d'habitants. L'expansion urbaine de Kinshasa exerce une pression sur le Kasangulu rural, car les riches habitants de Kinshasa cherchent à acquérir des terrains en périphérie de la mégapole. En revanche, la communauté de Kasangulu est principalement composée de pauvres agriculteurs, dont beaucoup de femmes qui sont les principales soutiens de famille pour leurs nombreuses familles. La plupart des habitants de Kasangulu n'ont pas de droits formalisés sur leurs terres. Par tradition coutumière, les familles de Kasangulu ont historiquement reçu des allocations de terres et "possèdent" les mêmes parcelles depuis des générations – mais sans aucun document légal ou officiel prouvant leur propriété. Cette dualité a créé une insécurité puisque ces terres ne sont protégées ni sécurisées par des documents officiels, laissant les résidents vulnérables aux conflits fonciers, y compris les menaces d'accaparement de terres et d'expulsion. Les efforts pour produire des titres fonciers officiels ont été entravés par l'absence de données précises, des systèmes de gestion foncière obsolètes et le manque d'espaces de dialogue entre les membres de la communauté, les parties prenantes foncières et les autorités locales. En conséquence, le gouvernement de la RDC entreprend des réformes d'aménagement régional pour résoudre, entre autres, la dualité et les conflits qu'elle entraîne entre la loi des chefs coutumiers et les autorités législatives foncières. « Dans la situation actuelle, il y a un manque sévère de données et d'outils modernes, ce qui crée du désordre et affecte la vie des communautés locales pauvres, » explique Barthelemy Boika, directeur technique de l'IRDAC, une organisation de développement travaillant aux côtés des autorités locales et des communautés pour aborder les problèmes de tenure foncière. Dans le cadre de cet effort, l'IRDAC a mis en œuvre le projet pilote Drones pour la Clarification Foncière et l'Autonomisation des Femmes - Moderniser la gouvernance foncière en République Démocratique du Congo, à Kasangulu, avec le soutien financier de Cities Alliance. Le pilote est un projet multipartite qui inclut la facilitation de la communication entre toutes les parties prenantes foncières, l'introduction de nouveaux outils de gestion foncière et la promotion du développement économique inclusif basé sur des droits fonciers sécurisés. « Assurer la sécurité de la tenure, les droits fonciers et immobiliers dans les établissements urbains informels reste l'un des défis de développement les plus persistants et inextricables aujourd'hui. La situation est particulièrement aiguë en Afrique, qui connaît des taux de croissance démographique très élevés, notamment dans ses villes de taille petite et moyenne. À Kasangulu, en RDC, une organisation locale collecte des données avec des drones et travaille avec les communautés et les autorités locales pour sécuriser les titres fonciers. » Rassembler tous les acteurs Un objectif clé de l'initiative IRDAC était d'établir une réconciliation entre toutes les parties prenantes et d'ouvrir le dialogue entre les résidents, les chefs traditionnels, les autorités concernées et le secteur privé, afin que chaque partie impliquée dans les problèmes fonciers ait l'opportunité de discuter et de travailler ensemble pour répondre aux défis identifiés et proposer des solutions communes. Cela a été réalisé en menant des cartographies des parties prenantes et des conflits et en établissant des ateliers participatifs et des événements. Au cours du processus, il a été constaté que la plupart des résidents de Kasangulu ignoraient les risques associés à l'insécurité de la tenure foncière informelle. Ce manque d'information sur les raisons et les méthodes de formalisation des droits fonciers, combiné à la faible capacité d'achat des ménages, aide à expliquer le faible accès des communautés locales aux titres fonciers. Parmi les 116 membres de la communauté consultés durant le processus, seulement une personne possédait un certificat d'enregistrement officiel. Les ateliers participatifs ont offert un espace unique pour que tous les acteurs acquièrent une compréhension globale des problèmes fonciers en jeu à Kasangulu et des responsabilités et droits des différents intervenants. Multi-stakeholder dialogue La voie à suivre, convenue par les parties prenantes, impliquait l'intégration de nouvelles technologies avec la participation communautaire. Dans le cadre de ce processus, des drones topographiques et des logiciels de cartographie ont été utilisés pour aider l'administration du registre foncier à passer de la documentation papier au numérique. Comme première étape, l'IRDAC a fourni une formation technique aux jeunes et aux agents fonciers pour leur permettre d'opérer les drones. « Le projet a apporté de nouvelles technologies à une administration qui ne savait pas comment les utiliser. Conformément à notre engagement social et à l'objectif du projet, nous avons formé 14 jeunes hommes et femmes de la communauté locale, ainsi que 8 représentants des autorités locales intéressés par la manipulation des drones, la collecte de données et la formation aux enquêtes sur le terrain. » L'introduction de drones civils dans le système de gestion foncière a facilité la collecte de données précises en temps réel, mais a également aidé à attirer l'attention sur le sujet et a renforcé la nécessité d'un soutien public pour sécuriser les propriétés foncières. Une autre facette du pilote consistait à aider l'administration à moderniser ses outils de gestion et à établir une base de données cadastrale numérique et automatisée qui répond à des questions clés, par exemple, combien de parcelles y a-t-il à Kasangulu ? Quelles sont leurs superficies ? Où sont-elles situées ? Les données collectées par les drones et les outils SIG ont été vérifiées et complétées par des enquêtes sur le terrain. « Les images de données collectées par les drones sont des données silencieuses. Vous devez aller sur le terrain pour découvrir qui possède quelle terre. Ensuite, vous compilez les deux pour obtenir des données attributives. » Ce processus est essentiel pour la formalisation des droits fonciers et immobiliers, et l'octroi de titres fonciers. Construire une résilience sociale et une durabilité En leur fournissant une base légale, le projet a contribué à sécuriser les droits des communautés locales et à augmenter leur résilience. Les ménages possédant un titre foncier sécurisé peuvent accéder à des microcrédits, ce qui est particulièrement utile pour les ménages dirigés par des femmes - souvent les plus vulnérables à l'insécurité foncière. Selon Boika, le titre foncier devient un moyen de subsistance pour les familles et leurs enfants et crée un cercle vertueux. « Posséder des titres fonciers sécurisés leur permet d'obtenir des microcrédits, de démarrer des activités génératrices de revenus et d'améliorer leurs conditions de vie et leur bien-être. Les femmes à Kasangulu ont été très impliquées dans ce projet : 40 à 50 % d'entre elles possèdent une parcelle de terrain que ce projet aide à formaliser et à numériser. » Cependant, bien que les femmes aient été au centre des activités de développement économique et qu'elles devaient bénéficier considérablement des prêts microcrédits potentiels, en raison de la pandémie de Covid-19, de nombreux projets sont actuellement en suspens. L'initiative pilote a également un fort potentiel pour favoriser la durabilité et la résilience environnementale en fournissant aux autorités de Kasangulu des données géographiques précises et actualisées. Cela leur permettra de surveiller et de gérer l'expansion de la ville pour protéger les zones vertes environnantes contre l'expansion urbaine. « Kasangulu est bordée de forêts. Et quand une ville s'étend, elle empiète sur les forêts et leur environnement environnant car les informations correspondantes ne sont ni disponibles ni sécurisées. » Néanmoins, l'initiative n'aurait pas d'avenir si les leçons apprises ne sont pas portées à un niveau légal, surtout dans le contexte des réformes du gouvernement de la RDC. « Les innovations et les leçons apprises à Kasangulu ont été transmises à l'autorité de certification foncière du gouvernement afin qu'elles puissent traduire ces expériences en cadres légaux et les intégrer dans la politique nationale d'aménagement du territoire, pour permettre aux provinces de numériser le cadastre foncier, plus tard, à l'échelle nationale lorsque les ressources seront disponibles » Il est également nécessaire de renforcer les capacités de l'administration et d'intégrer l'innovation dans les systèmes de gestion foncière, et un programme interactif sur mesure pour la gestion du registre foncier devrait être introduit. La technologie seule ne suffit pas. Un dialogue participatif est requis L'initiative IRDAC est conforme à la politique foncière actuelle en RDC, en termes d'intégration de l'innovation technologique et des systèmes de gestion foncière efficaces. Le projet pilote montre comment la numérisation peut être utilisée pour légaliser les actes fonciers coutumiers et sécuriser les parcelles de terre des communautés mais, surtout, il montre qu'un système inclusif ne peut être atteint qu'en maintenant des canaux efficaces et participatifs avec toutes les parties prenantes impliquées. Avec son impact social et environnemental, l'initiative démontre également l'importance des titres fonciers dans la poursuite d'un développement inclusif. « Ce projet a montré comment la technologie seule n'est pas suffisante. Ses principales innovations étaient l'établissement d'un espace pour le dialogue participatif multi-acteurs, conjointement avec l'utilisation des drones. C'est pourquoi ce projet ouvre de nouvelles opportunités pour nous de travailler avec d'autres partenaires et institutions. » L'accès à la terre avec une tenure sécurisée est désormais reconnu dans les agendas de développement mondial, donnant un élan considérable à cette question. Bien que cet intérêt mondial soit encourageant, le changement ne doit pas se produire exclusivement au niveau de la politique nationale. Les individus et les communautés urbains pauvres sont des acteurs essentiels dans le renforcement de la sécurité de la tenure, et des solutions incrémentielles à petite échelle et à court terme peuvent être clés pour améliorer la sécurité de la tenure, les conditions de logement et la construction de la ville. À travers l'initiative « Tenure sécurisée dans les villes africaines : Microfonds pour l'innovation communautaire », Cities Alliance a attribué des subventions à des organisations qui, comme l'IRDAC, innovent pour améliorer la sécurité de la tenure, les droits fonciers et immobiliers dans les villes africaines au niveau local. L'initiative a été financée par le réseau Omidyar, avec le soutien de PLACE. A propos de Cities Alliance Cities Alliance est un partenariat mondial qui lutte contre la pauvreté urbaine et soutient les villes dans la réalisation d'un développement durable. Hébergée par l'UNOPS, l'organisation compte 23 membres, incluant des institutions multilatérales, des agences des Nations Unies, des gouvernements, des organisations non gouvernementales, des gouvernements locaux et des réseaux de villes. Nos principaux domaines de travail incluent l'égalité des genres, la migration, la résilience climatique et l'innovation, avec un accent sur l'informalité. Previous Next

< Back Interview with Mariam Issoufou Kamara: Founder and principal Architect at atelier masōmī Mariam Issoufou Kamara's interview delves into her transition from software engineering to architecture driven by her passion for creativity. She discusses the potential of digital tools in architecture and the significance of generosity in African architectural practices. Highlighting projects like the Dandaji Daily Market, she emphasizes the blend of tradition with modernity for community benefit. Exploring the "Bët-bi Museum" in Senegal, she illuminates its symbolic underground galleries, drawing inspiration from cultural heritage, spirituality, and the cycles of life in Africa. She envisions spaces as community hubs rather than imposing structures. What path led you to pursue a career in Architecture? I started my career as a software engineer. At the time, it felt like a reasonable career choice. But, I have always lovely drawing and being creative, since I was a child. The desire to be an architect never left me. After a few years of working as a software engineer, I started realising all the different dimensions that architecture had. This is both in terms of how it our environment but also how it shapes the way that we see and project ourselves into the world. Architecture seemed like an incredibly powerful tool. So, I went ahead and went back to school and embarked on this adventure. Mariam Issoufou Kamara: Founder and principal Architect at atelier masōmī With your background in the IT field, do you believe that parametric design, facilitated by the IBM system, can be considered the future to conceptualizing architecture as the architecture moves more and more towards digitalization? My background in software engineering has really been advantageous in exposing my team and I to all the different tools that are out there in order for us to see what tools and processes work best for us as a firm. For us, research into the history, context and culture of the places where we work is an important part of our process. In the African context, how does the concept of generosity in architecture, as mentioned in your statement "I like that architecture provides the opportunity to be generous," manifest itself? As much as architecture is an important tool for good, the opposite is also true, particularly in Africa, where it has been a tool of subjugation. In thinking about generosity then, particularly in African cities where the buildings in our cities date back to colonisation, there is a large amount of generosity in thinking up spaces that embrace the climate, context and people for whom the architecture it being built. What was the design process behind the Dandaji Daily Market, which was designed by Atelier Masomi, of which you are the founder? We were approached to design a permanent market in the village of Dandaji. The market was organized around an ancestral tree. It was made with simple adobe posts and reed roofs. Our main goal was to create a space that projects a sense of confidence in the future users. The project design references the area’s traditional market architecture of adobe posts and reed roofs, pushing the typology forward using compressed earth bricks and colourful recycled metal for durability. We wanted the market to be visually appealing, so that everyone can be proud of it, and that it could attract more commerce to the area. The colorful recycled metal canopies were produced through a succession of individual shading structures that compensate for the difficulty in growing trees in such an arid, desert climate. Tell us a little bit more about the “Bët-bi Museum”, what is the reason behind sinking the galleries below the ground? Render of the new Bët-bi museum in Senegal designed by atelier masōmī and developed by the Josef and Anni Albers Foundation and Le Korsa The Bët-bi Museum is a project commissioned by the Albers Foundation to be located in the Kaolack region in Senegal. The form is a nod to both the logic behind the nearby megaliths and the Saloum Kingdom’s original ethnic groups, the Serers and the Mandinkas, which still inhabit the region along with several other ethnic groups. As a matter of fact, the Saloum kingdom existed until 1969 when it officially joined Senegal. In many African societies, much of art is ubiquitous, and encountered daily, while some art was traditionally used for sacred rites. The Serers held a deeply mystical indigenous religion that had an intimate relationship to the natural elements: the sun, the wind, water, ancestral spirits. The geometric language of Bët-bi Museum came from looking at this traditional spiritual realm and the series of triangles that describe the relationship between divinity, the elements, the living and the dead – a self-renewing cycle of life that was translated into a triangular building with a ramp system that metaphorically reproduces this sense of the sacred journey. The triangle (and resulting diamond shapes when put together) are also ubiquitous in design, decoration and textiles in West Africa, further emphasizing its symbolic importance. The museum galleries themselves are buried below ground in the same way the megaliths surrounded a mound under which cherished memories and ancestors were buried and are arrived at the end of the unfolding ramp. Above ground is the place for community and celebration, open to and merging with the landscape to make the project approachable and democratic in its use. The project is at the surface a public space for communities to come together and use as a destination, rather than a big museum building. Cultural Centre Niamey, Niger designed by Mariam Kamara, Atelier Masomi Previous Next

< Back World cities day talk 2024 Conference November 9, 2023 Cameroon Rethinking urban development through transport and inclusive mobility The World Cities Day Talk (WCDT) is an annual event co-organized with the Nandhaa firm to celebrate World Cities Day. This event aims to provide a forum for discussion on the issues facing African cities and to raise awareness of urban development challenges in Africa. It also seeks to reflect on innovative solutions that can address the identified challenges. Thus, gathered around a key theme of sustainable urbanism in Africa, city stakeholders and professionals share their knowledge and experiences. The WCDT2023 was held on November 9, 2023, at the K Hotel in Douala, Cameroon, focusing on the theme of urban resilience. This edition took place in a context marked by the resurgence of disasters in Cameroonian cities (landslides, floods, etc.). The discussions aimed primarily to highlight the various stakeholders involved in building more resilient cities in Cameroon, the challenges they face, and the available action levers to overcome these challenges. Nearly 50 participants were engaged by the insights shared by distinguished professionals. Subsequently, the debate shifted to more cross-cutting topics contributing to urban resilience, such as land management and technological innovation. Online and/or in-person, the WCDT brings together numerous city stakeholders every year to discuss inclusive, resilient, and sustainable cities in Africa. Moreover, this event is also dedicated to the launch of the African Cities Magazine. Previous Next

< Back In Cape Town, South Africa, road and pedestrian safety remains a critical urban challenge Rashiq Fataar In Cape Town, South Africa, road and pedestrian safety remains a critical urban challenge. Nearly half of the city’s road traffic fatalities involve pedestrians; more than double the global average. To challenge road policy and promote safer streets, Our Future Cities, in collaboration with property developer Blok and artist Al Luke, introduced a public artwork at a pedestrian crossing in Sea Point. While easy to install, the intervention unveiled the tensions between conventional road regulations and creative, tactical approaches aimed at improving pedestrian experience. Initially the project faced legal and political resistance, with concerns that the artwork might distract drivers, outweighing its potential to highlight pedestrian safety. Despite initial concerns, in 2023, the artwork, entitled "Recollection," was painted directly on Sea Point Main Road by Al Luke of the creative duo Mrs. and Mr. Luke. The vibrant, colourful artwork - with bold lines and abstract shapes - draws attention to the pedestrian crossing and adds joy to space. Post-installation surveys showed strong public support: 90% endorsed the project, 83% said it raised safety awareness, and 83% felt safer using the crossing. What began as a symbolic gesture, in a legal “grey area”, has since sparked a ripple effect across Cape Town. These projects show a shift in city policy and public attitudes, highlighting a growing openness to creative, pedestrian-focused street design. Once seen as possibly illegal, the Sea Point crossing is now a catalyst for rethinking how South African cities design for equity, mobility, and joy. "Despite the dire state of pedestrian safety in South Africa, across many parts of the country walkability remains extremely poor, and pedestrians are consistently treated as an afterthought in urban design and transport planning" View looking down on Main Road in Seapoint, Cape Town, South Africa. December, 2023, Matthew Giffiths In 2023, a colourful public artwork was installed at a pedestrian crossing on Sea Point Main Road. Sea Point is a high-density urban neighbourhood and one of Cape Town’s most walkable precincts. However, even in this relatively walkable area, pedestrian safety is an issue. The artistic enhancement of the pedestrian crossing on Sea Point Main Road was aimed at drawing attention to the issue of pedestrian safety in Cape Town, and more broadly, South Africa. The issue is of particular importance as nearly half of all road traffic fatalities in the City of Cape Town involve pedestrians; this is more than double that of the global average. Despite the dire state of pedestrian safety in South Africa, across many parts of the country walkability remains extremely poor, and pedestrians are consistently treated as an afterthought in urban design and transport planning. The unconventional road safety intervention, installed by artist Luke Al, was well suited to Sea Point, as the suburb is one of Cape Town’s most densely populated areas. Despite high levels of pedestrian activity, the road design and regulations in Sea Point continue to prioritise vehicle flow over human safety and comfort. Stakeholders and everyday users of space include: - Children who travel long distances via public transport to attend schools in the area. - Elderly residents who run errands and access essential services. - Tourists and visitors, some of whom might be unfamiliar with local traffic dynamics. - Retail and office workers, who often rely on public transport and complete their journeys on foot. - Local businesses and property owners, who have an interest in making public space more inviting and accessible. This mix of permanent and transient users creates a dynamic urban space with a pressing need for safe, legible, and inclusive pedestrian infrastructure. However, stringent and outdated traffic laws, such as the National Road Traffic Act, often obstruct any attempt at creative, people-centred interventions in road space. The Road Traffic Act in particular restricts markings, signs, and installations on roads that might distract drivers, be confusing, or compromise safety. Well-meaning traffic engineers and public servants are also incredibly risk averse and tend to shy away from unconventional interventions. Without drastic action and with very limited room for innovation pedestrian deaths and injuries remain high while efforts at fostering safer urban environments are hindered. The Sea Point pedestrian crossing embodies the tension between car-centric “First World” regulations and the realities of a Global South urban context, where infrastructure often lags behind social needs. Cape Town, like many rapidly urbanizing cities, faces the challenge of adapting formal rules and design principles to better serve its people. In this context, the Sea Point pedestrian crossing not only responded to an urgent need for improved pedestrian safety but also challenged the prevailing mindset in which various levels of government, business, and civil society respond to the challenges facing South Africa. Additionally, by showing that roads can be spaces for creative expression, safe places for pedestrians, and form part of the key social infrastructure in a neighbourhood, the Sea Point pedestrian crossing implicitly argues for flexible, humane, and responsive urban environments. "What made the Sea Point Pedestrian Crossing project unique was not only its creative response to the problem of pedestrian marginalisation, but also the strategic way it was implemented" View of pedestrian crossing in Seapoint after being painted. December, 2023, Matthew Giffiths The successful implementation of this project involved the commitment of an unusual coalition of public, private, and civic actors willing to challenge the norms of urban infrastructure in Cape Town, and South Africa. For at least the decade before 2023 (when the Sea Point crossing was installed) introducing art or colour near crossings was deemed both impossible and illegal by various city officials. However, with a new Mayor in 2021, came new possibilities. An ambitious local property developer, together with Our Future Cities, leveraged the change in leadership to collaborate with the Transport Department, the Roads and Stormwater Department, and the local Ward Councillor. Additional assistance was provided by the Mayor’s office to help navigate the bureaucratic resistance historically associated with any non-standard street interventions. The fact that the funding was provided by a private property developer with a vested interest in the area’s vibrancy and safety, and that the intervention came at no cost to the City, also helped make the project a reality. Despite initial resistance from the City’s Public Art and Safety divisions, the project’s proponents successfully made the case that creativity and safety are not mutually exclusive, but complementary. Crucially, the process wasn’t just top-down. Community members were surveyed both before and after the project’s installation, and a participatory approach ensured that the design was informed by local users’ needs and observations. The strategy focused on visibility and behaviour change, using vibrant street murals to draw attention to a high-risk crossing, and reframing pedestrian zones as spaces deserving of care and creative thought. The results from the Sea Point crossing have been significant and measurable. A post installation survey showed: 90% of respondents supported the project and its location, 83% felt the crossing raised awareness about pedestrian safety, 83% reported feeling more secure using the intersection, 89% believed similar crossings should be introduced citywide, 74% had previously observed safety hazards at the site, 64% still felt additional safety measures (like better lighting or signal timing) were needed. “These installations function more like public art than traditional road markings” An aerial view of one of the redesigned pedestrian crossings in Century City by Art·hub Visual Marketing These figures demonstrate not only improved perceptions of safety and usability but also a shift in public expectations about what is possible in the design of city streets. Another powerful outcome has been the project’s role as a catalyst. Its success inspired a wave of similar interventions across Cape Town, including installations in De Waterkant and Claremont, and private sector-led projects in Century City. Similar installations across the City indicated that creative street design is gaining legitimacy both institutionally and culturally. A standout example is the set of artistic pedestrian crossings installed in Century City, a major commercial and mixed-use district. While Century City has long cultivated a strong public art culture, through its murals and curated art trail, the crossings marked a new integration of functional infrastructure and creative expression. Inspired by global trends and projects like the Sea Point mural, the developers opted to place these installations on existing raised pedestrian humps in high-footfall areas, such as the transport interchange, where pedestrian presence was already expected and driving speeds were naturally lower. Unlike Sea Point, where regulatory hurdles were steep, the Century City crossings were developer-led and on private roads, allowing for greater design freedom. “These installations function more like public art than traditional road markings,” Natalie Du Preez, a representative of Century City explained. Public reception has been overwhelmingly positive. The installations quickly became the most liked and shared content on Century City’s social media platforms, and concerns about safety were minimal, with only one or two people raising mild concerns. Crucially, none of the crossings were placed on arterial roads, and locations were selected specifically because they already promoted cautious driving. This model reflects a different but complementary approach to the intervention in Sea Point. While the latter challenged municipal bureaucracy by embedding pedestrian advocacy in civic space, Century City leveraged private development capacity and a placemaking ethos to integrate art into already walkable zones. Together, these projects reveal a growing openness to creative pedestrian infrastructure, each shaped by its specific governance and spatial context. The Sea Point crossing, the first of its kind in Cape Town, played a pioneering role in shifting this mindset. Skeptics who once argued that colour or art near roads would "distract drivers" or pose safety risks began to reconsider their positions. The project helped reframe such designs from superficial decoration to tools for public communication, safety, and placemaking. Crucially, it then inspired other stakeholders across the city to follow suit. However, while the artwork enhanced visibility and sparked dialogue, physical elements like long signal waits, wide crossings, and lack of pedestrian islands still compromise safety, highlighting once more that interventions such as the Sea Point crossing must be part of a larger urban strategy. “The Sea Point Pedestrian Crossing project presents a blueprint for reimagining how African cities can approach pedestrian safety, public space, and urban infrastructure” By transforming a high-risk crossing into a bold visual statement, the project shifted perceptions of pedestrian safety and creative street design processes in the city. The project also bridged the often disconnected worlds of public art and transport planning, revealing that creative interventions can serve serious public purposes. For other urban actors across Africa, the lessons are clear. First, highly visual, public facing projects in prominent locations can generate pride, draw attention to under addressed urban issues, and lay the groundwork for more ambitious reforms. Second, building coalitions between government departments, councillors, artists, funders, and residents is essential in cities where regulatory inertia is strong. Third, small pilot interventions can become powerful tools for data gathering, community engagement, and collective action. The project also raises questions for future urban practice: How can cities embed pedestrian and community needs into formal infrastructure planning? What mechanisms are necessary to protect and expand creative public space? How do we ensure that public assets are designed with human dignity and safety at the centre? As African cities continue to urbanise, the Sea Point crossing challenges outdated planning norms and invites cities to treat streets as spaces for joy, advocacy, and visibility. Its message is clear: roads are public assets, and how we design them reflects who we value in our cities. The Our Future Cities team, Blok, and artist Al Luke posing at the painted crossing. December, 2023, Matthew Giffiths Get the full African Cities Magazine 6 Download the full article here rashiq-article-african_cities_magazine_6_english-20250826 .pdf Download PDF • 4.88MB Previous Next

Obala is a city located in the Centre Region of Cameroon, positioned near the capital, Yaoundé. It serves primarily as a local administrative and trade center, vital for its surrounding agricultural communities. Known for its fertile lands, Obala supports the cultivation of various crops, contributing significantly to the regional economy. The city is characterized by a mix of traditional Cameroonian cultures and languages, reflecting the diverse ethnic composition of the area. While not a major tourist destination, Obala offers a genuine glimpse into the daily lives and practices of its inhabitants, with local markets and community events that showcase the rich cultural heritage of Cameroon. Obala-Cameroon Obala is a city located in the Centre Region of Cameroon, positioned near the capital, Yaoundé. It serves primarily as a local administrative and trade center, vital for its surrounding agricultural communities. Known for its fertile lands, Obala supports the cultivation of various crops, contributing significantly to the regional economy. The city is characterized by a mix of traditional Cameroonian cultures and languages, reflecting the diverse ethnic composition of the area. While not a major tourist destination, Obala offers a genuine glimpse into the daily lives and practices of its inhabitants, with local markets and community events that showcase the rich cultural heritage of Cameroon.

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