MONIQUE MULDER (MM): When Paul and I visited your Ivory Coast office, a colleague of yours presented a beautiful project situated in the small village of Ebrah. It consisted of a holistic village masterplan that developed infrastructure, tourism, new housing and educational facilities within a larger social framework. I found your dedication to conserving the intangible heritage of nature and culture truly fascinating and inspiring. I’m eager to understand your design philosophy, especially how you blend Ivorian roots with architectural knowledge to address urgent issues like climate change, which directly impacts architectural form and community life. Could you share insights into this project?

ISSA DIABATÉ (ID): I’ll begin by providing some background on us. My journey started in 1995 as an intern with my now partner, and over time, we eventually became partners. One important question in the back of our minds remained concerned with how we deal with our environment here and more broadly the African city. This led us to a pivot around 2013: we realized that if we would operate as developers, we would gain more influence over the design process, i.e. to whom we sell our work, giving us far more control over the entire development cycle.

PAUL VAN RAVESTEIN (PVR): It allows for more grip on project conditions, I guess?

ID: Yes, demonstrating alternative working practices in a local context was key for us. Our first attempt was a project called The Chocolate Residence, a relatively high-end apartment complex featuring 32 units on an 11,000 square meters site. This is actually quite unusual, as a residential development is usually a site of 1.000 to 2.000 square meters with just a single house. So, for us, it was important to explain that in our approach it’s not about the quantity of space, but it’s about the quality and the way you live. We challenged conventional desires for expansive personal space, instead advocating for shared communal benefits. We prioritized shared amenities and lifestyle, such as communal living spaces and underground parking, which created more common areas.

MM: We saw it; it was amazing! It is about creating shared spaces in regional communities and how to negotiate centralized and decentralized uses of these spaces. Just like your contribution in the Central pavilion of the Architecture Biennale Venice in 2023, where you also showed the project.

ID: Following the completion of The Chocolate Residence, we are now building a larger endeavor. This project will offer 226 units at a more affordable price but with a wider range of amenities, including offices, communal areas, and sports facilities like a gym and a pool. Our aim with this design is to emphasize integration; by centralizing multiple functions within a single space, we reduce the need for movement and mitigate issues like mobility and pollution. During the design process, we felt a need to start thinking from the very beginning, going back to questioning what it means to build a city and how contemporary African design process connects with that. It questions the relationship of our cultures to our perception of cities: Do contemporary cities mean anything in our cultural settings?

This prompted a journey within the country to understand local organization, particularly of collective living. Many villages, I found, are often fully sustainable through indigenous knowledge and self-sufficiency in areas such as food and medicine for example.They offer insights into potential future models of living that could bridge traditional practices with modern urban development. We find that most of our local culture is very young and contemporary, and that will bring a new locally crafted model of the contemporary African city. The clash between Western urbanism and Africa’s local rhythms creates challenges in city planning. Negotiating spaces for living, working, and nature, while considering agriculture and retail from the start, could lead to urban designs more aligned with local needs. The governance of communities rooted in a tradition where villages are led by a chief who is close to the inhabitants, contrast against the distant government we have in modern African cities.

MM: Besides the Ivorian government, local chiefs play a crucial role in society, offering a distinct administrative and social framework.

ID: Yes, so the first step is to determine how to recreate or develop good governance. We recognized that scale plays a crucial role in this process. Therefore, we approach it on a more human scale. One idea is to confine the planning space to a manageable area where walking suffices for most activities, eliminating the need for motorized transportation. By integrating all energy, governance, and activity requirements within this compact space, we aim to create a self-contained community. Trees serve as connectors for shared interests, so it’s important to cover a significant portion of the site with them. Additionally, replanting mangroves along the lagoon is essential to ensure effective species conservation. We are very low-key and factual in our approach as we avoid having building systems that are too complicated. For instance, we propose using cross ventilation which makes active insulation unnecessary in most cases. We wanted to keep our developments relatively small and sound.

In fact, this approach would alleviate concerns about demographic growth. Rather than cities sprouting up haphazardly, we envision collective cities, each serving a distinct purpose. Some could focus on education or healthcare, while others cater to transportation or small-scale industries. The objective is to completely reconsider how we approach urban planning, taking into account our recent experiences here in Africa.

We’re currently in a phase where we’re grappling with various pressing issues concerning water and energy. Recently, we had a fascinating discussion about the feasibility of using solar energy. It appears that solar energy may not be the optimal solution in this region. In Abidjan we experience frequent cloud cover, which affects the efficiency of solar energy. While our discussion served as a formative and investigative study, it has prompted us to explore alternative solutions.

PVR: Ebrah is part of your Urban Development project 2030 (koffi-diabate.com/projet-ebrah) that embodies a larger integrated vision where innovation often emerges at the intersection of various functions or disciplines. I was wondering whether its inception was prompted by recent urgencies, or if it stems from a longer standing fundamental approach to urban planning, architecture, and development?

ID: My partner Koffi is from Ebrah. This connection significantly influences our approach to governance and community engagement, facilitating the land’s availability for our sustainable initiative. Koffi’s familiarity with the villagers and their collective understanding of the project’s value enhances collaboration.This local involvement diverges from the national government’s usual methods, emphasizing the importance of integrating local governance and chiefs in the project’s execution.

PVR: Your colleague Jean-Marc mentioned that you are encouraging villagers to keep their land instead of selling it to large or foreign organizations, correct?

ID: Yes, land is a major issue here. The population increase in Ivory Coast has led to rapid acquisition of land by both local and foreign developers.This trend disadvantages the local communities, depriving them of agricultural land, while exacerbating poverty and forcing displacement for the construction of expensive suburban villas.The current transition from collective traditional ownership to private individual ownership facilitated
by the government is leading to the fragmentation and sale of private lands.This complicates the ability to maintain or initiate sound development, as the land becomes divided and harder to manage effectively.

We’re encouraging villagers to view land ownership differently: rather than selling land for
a one-time profit, we propose developing the land with them into properties that can be rented and thus provide continuous income for them and their future generations. Convincing the villagers is a challenge, but as developers we might purchase some land to demonstrate the long-term benefits of this approach.This strategy supports both financial and social advantages for the villagers today and in the future.

MM: Your approach differs significantly from common practices elsewhere, made feasible by your dual role as developer and architect. This requires extensive communication with all stakeholders – the chiefs and the entire village community – to get them on board for this transformative journey. Beyond mere economics or governance, this is about respecting and integrating their culture, land, and emotions into the development process, emphasizing the importance of community consent and involvement in sustainable development initiatives.

ID: Absolutely. Trust is pivotal as we move forward. Engaging with the community directly over six to seven years builds this trust, a process requiring immense patience.

MM: Has your patience in realizing this vision been cultivated within your team, or do you observe a similar approach among other architects and developers across Ivory Coast?

ID: It was a bit difficult in the beginning to come out and say, “we need to become developers” within the architecture community here. The first reaction from other architects was that, as an architect, you need to at least maintain your right to criticize. But our argument is that we live in a very different context. We live in a context where my partner likes to say, “My ex-tailor is now a developer, so why shouldn’t architects be?”

MM: This reflects a shift in approach that grants architects greater influence and control over projects, allowing them to merge the architectural vision with broader societal impacts. Essentially, it’s about empowering communities through design.

ID: Absolutely!

MM: The villagers may not recognize the longterm benefits that you foresee.They often focus on immediate financial gain. By introducing innovative business models related to land ownership and value, you essentially protect them, ensuring a sustainable economic future rather than just a quick profit.

ID: Increasingly, young architects are embracing the blend of social sustainability and urban development to foster vibrant living and working communities. At times, many feel constrained by the old-fashioned expectations of most clients.This approach addresses their desire to create impactful designs not just for individual clients but for society at large.

MM: In the northern Netherlands, a typical development project involves architects, developers, and landscape designers to create 2000 households, with 30% designated as social housing. An innovative financial model sets aside 5% of retail profits for a fund benefiting social housing residents, offering financial security and access to services.This approach, similar to concepts discussed in Abidjan, highlights the importance of cross-cultural learning and has the potential to economically and socially empower individuals, fundamentally transforming communities and advocating for holistic environmental design.

ID: Yes, exactly. It’s the essence of being in this moment in architecture where we have the opportunity to redefine our practice innovatively.

MM: Given your frequent travels and discussions with architects on how design practices are evolving, it seems you’re observing a paradigm shift in how architecture is understood – not just in terms of its aesthetics but more so on its role in fostering social and communal living.

ID: Yes, I’ve noticed a shift in architectural perception over the last decade, increasingly prevalent in global forums like the World Architecture Festival.This shift emphasizes social and communal aspects, sustainable practices, and the integration of indigenous architectural methods and materials. When you look at the North

of Ivory Coast for instance, you have a lot of individuals who have recently made money from new cashew nut production. After their initial profits, the first thing they do is move from their traditional, bioclimatic huts to constructing concrete block structures, often up to 10 stories high. I often discuss this with my students and ask, “who are we to go and tell them not to do that?” While we think of it as an object with a certain performance, building a house with brick walls and a tin roof is about social status. If you don’t plan on that level, you’re missing the point. Failing to acknowledge this perspective means missing the broader societal context in which these decisions unfold.

MM: Absolutely, this mirrors our experience during a decade in Shanghai, where we observed similar patterns. Now, with China’s real estate crisis, we’re prompted to reconsider scale. Small-scale initiatives offer room for integrating local knowledge and respecting context, yet Abidjan’s anticipated demographic boom necessitates broader strategic adjustments, much like the challenges faced in China. Addressing this involves both micro-level advice and wider municipal strategies to effectively manage the influx into cities. How do we collectively tackle such urban migration challenges?

ID: I suppose, for us, it’s important to consider what we can do within our capabilities. However, there’s also the option of entering the government and enacting regulations and policies.

In the interim, we have faith in the effectiveness of leading by example, by experimenting with and showcasing alternative approaches. The Chocolate Residence project serves as a prime example. Following its implementation, construction favored denser housing options over single-plot developments. This showcased the feasibility of the approach and emphasized the importance of embracing solutions rather than imposing them. Presently, we are exploring various typologies to address existing shortcomings. For instance, how can we design architecturally sound buildings that accommodate a larger number of residents while prioritizing energy efficiency and overall sustainability? By incorporating principles of proper ventilation, bioclimatic design, and effective shading, we aim to create structures that meet the needs of communities. Once we offer designs that can serve as templates, people naturally begin to adopt them.

PVR: Indeed, Jean-Marc highlighted the shift towards a new definition of luxury in Japan, focusing on quality over size. He emphasized the luxury found in well-crafted, small-scale urban housing, suggesting that these projects offer a richness that large concrete buildings lack. This perspective opens up greater possibilities for redefining luxury in urban development, focusing on detail and quality in smaller spaces.

ID: Yes, generational shifts are reshaping desires, with young people valuing different qualities than previous generations. This evolution accompanies an era of hyper-connectivity, alternative life approaches, and swift changes in service delivery and mobility. The transformation across these aspects is fascinating, reflecting a collective shift rather than individual changes.

PVR: How would you describe the new generation in Ivory Coast? It seemed to us that their ambition is defined by a desire to forge a unique path that respects traditional values while embracing modern advancements. This generation is characterized by a readiness to challenge conventional norms, a strong sense of community, and an eagerness to contribute to the country’s development on their terms, leveraging technology and global connectivity to make their mark.

D: To me, the younger generation in Ivory Coast displays a markedly different attitude, notably less fixated on Western ideals. In my generation, there was a widespread desire to study abroad, whereas today, people pursue interests that resonate with them personally, regardless of location.This shift has had a profound impact, and I also sense a distinct vibe among young people, particularly in the arts, over the past five years.This is evident in their fashion choices, where they often combine elements of traditional clothing with modern elements like sneakers. I believe the Internet has played a significant role in this evolution, expanding concepts of space from being purely geographic to now include psychological and other spatial dimensions. Now, individuals can feel connected to people and places worldwide, drawing inspiration from diverse sources. Furthermore, individuals returning to Ivory Coast from cities like Paris and Montreal now see it as a canvas where they can craft their own environments, arousing a new source of pride. Together, these shifts have had a significant impact on the current generation.

Het bericht Mattmo talks with Issa Diabaté about sustainable urban development in the African context. verscheen eerst op Mattmo Creative - Amsterdam.

OUR MOVEMENTS ARE AN ANTITHESIS OF MODERN, COMMERCIAL AGRICULTURE….

After the oil industry that has made Norway rich since the 1970s, fishing, production and export is Norway’s second economic base. 70% of this is filled by “aquafarming” of salmon.

Monique Mulder (Mattmo Creative) often makes culture scans abroad where she wants to meet the creators of the country. Besides her lecture and workshop at the University of Bergen about ‘Ecological Design & Aquafarming’ for the new generation of designers, she visited a number of New Nordic Cuisine chefs in Bergen to see how the vision and creativity of New Nordic Cuisine has been integrated after all these years.

Lysverket is a distinctly modern, minimalist and refined restaurant and bar in the high-end segment. It is located in the art-center KODE4, with a focus on fresh fish dishes from the best local sources. Christopher Haatuft, chef and founder but above all a punk, worked at Dan Barber’s Blue Hill in New York and returned to his home ground in Bergen six years ago.

Christopher knows all about his country’s history and culture and is always looking for new products from small-scale producers; it’s the identity he is proud of and can’t live without. A ‘locavore’, socially conscious and collaborative. His specific philosophies and cooking are a story about Norwegian coastal geography, organic mountain farmers and sustainable aquaculture. He experiments with products such as seaweed, makes different types of jelly from it and searches for the old indigenous bread-making techniques of flatbread.

Curious, that’s what he is, and that’s what he wants to convey to the new generation. Christopher Haatuft is ‘A rebel with a cause’. He skillfully explains his motivation: “Norway has the largest coastline in the world and we are in a small, rugged area of ​​that world – with a specific landscape. I want to do something specific to this place.” He continuously connects culture, landscape and the history of his soil with the creative disciplines of today to be inspired and feel free. That also makes our restaurant culturally relevant for all creative industries in Bergen. “Musicians, fashion designers and artists inspire me and designers are a connecting factor that can connect all these disciplines.”

“I can be a hardcore anarchist, but I am a pragmatist; I can cook and I don’t always want to say that I am against something like large-scale agriculture and commercial aquafarming. They are standardizing our food and polluting our fjords. It is better to stand for something to convert the opposition, so my restaurant Lysverket is what I want to be, my stage and I now cook the way I cook. I really hope to influence and to prove it on the plate. That way I bring the story closer to people, I tell the breathtakingly beautiful story of our nature of sparkling lakes and lush green mountains and of our small organic farmers. They are my friends.”

His specific position in global gastronomy can be summed up in the rise of the New Nordic Cuisine. And he plans to create a more progressive and sustainable economic ecosystem between the suppliers he values. He calls it a “closed circuit economy” where trade takes place between “people who love us and who we love.

He speaks with great respect about our Dutch food culture; “You don’t get stuck in the clichés of the windmills, it is an internationally influenced cuisine from both the colonial past and the present. Adoptive and innovative. A ‘sci-fi kitchen’, as he calls it, with vertical farming and large-scale food production in greenhouses, creative innovations and products and many bottom-up initiatives.”b

In his opinion, Dutch Cuisine cannot be explained in 10 minutes due to the enormous mix of diversity. “I endorse the principles of Dutch Cuisine. They are close to the principles of New Nordic Cuisine and are self-evident to me, but I also promote them to educate my students, who often come from abroad, with my ethical values ​​of New Nordic Cuisine. We must create inquisitive minds and tell them about our food culture, cooking techniques and product knowledge. The schools here do not create the right investigative and entrepreneurial attitude in the students and I do not think the level of knowledge is good.”

But Dutch Cuisine is a blend, a “Juxtapose” for me, just like your progressive politics. In the Netherlands, the mix is ​​interesting. I have an Iranian neighbor here, a Chinese one further down the road. I find that diversity of their ‘pure cooking’ interesting. And creativity is the innovation that they put into it themselves. I organize meetings with international chefs about everything and put a stamp on all my interns, for 15 years now, because they have to have a curious attitude – something that is not taught in schools.

He can also see that Dutch Cuisine and New Nordic Cuisine can share their considerations and knowledge, because many subjects, attitudes and ethics are similar. The relationship with the Netherlands dates back to the fourteenth century. We are Hanseatic cities and trade in food was paramount. Stockfish was one of those products that was brought from Bergen. At that time, the cities were concerned with economic cooperation; now let us seek cultural cooperation.

He also initiates the search and the direct lines with the producers himself. In addition to his organic farmers, he works with his own divers and searches for interesting seafood. Projects such as Matchmaking and the Routes of Dutch Cuisine are interesting developments for him that are still missing in the New Nordic Cuisine, where producers are not yet part of that movement.

What Christopher is very enthusiastic about is creativity. From his own creativity he always wants to experiment with influences from other cultures. That takes him further. When he lived in New York and encountered the entire world food culture at the highest level in one city, he saw that unique mix as a great source of inspiration and wealth to discover the world. “This is also possible from Bergen, there is still a whole world to discover here.”

Restaurant Cornelius was founded by a seafood diver and a chef. Monique spoke with chef Haakon Pansuna in the restaurant that is located on an island – Holmen, just beyond the bay of Bergen. Every day they work with the yield of the diver and let their creativity run wild. There is no menu to choose from.

They have set up a special company to be allowed to keep their harvest of the day in a basin and because of that they can practice their philosophy of getting fresh seafood on the plate, it doesn’t get any fresher. Haakon tells that they not only cook organic and fresh, but he explains that they cook with the climate. Meteorological Menus are served here. The seafood products give off different energy, depending on the climate.

Inspired by the weather, they adapt their menu to the weather conditions. When it rains, you need different energy from the product as a human being, says Haakon, than when it freezes. They are therefore as close to nature as possible, that is their motivation. “The preservation of our own nature starts with ourselves. We fish with policy from our own local waters and we pick our berries and mushrooms from the islands. The sea has always been the source of our food. We are concerned with the natural balance and we also tell our students that.”

On the other side of the islet, where the restaurant Cornelius is located, is the cooking school. We are also welcomed by students of the cooking school who explain the philosophy, the diving experience or the history of the dish with every course. Very involved and driven they tell a fascinating story and are proud of Cornelius.

We are taken outside by the chef, there are the basins with various shells, seaweed and crabs from the bay and the seawater has exactly the same temperature as in the fjord. A little later we walk into the kitchen with Haakon, with passion and love for seafood and they use their innovative culinary techniques for the preparation of the meteorological menu. Beautiful to see. After 4 hours we are picked up again by the boat, pouring rain and a cold wind. In Bergen you experience all seasons in one day.

Het bericht Contrast in Norway: aquafarming versus the new Nordic cuisine verscheen eerst op Mattmo Creative - Amsterdam.

Het bericht Ivoorkust Culture scan verscheen eerst op Mattmo Creative - Amsterdam.