Senegal’s Mamy Tall on metropolis planning, bioclimatic building and heritage

by Editors Staff

Mamy Tall explains: ‘I’ve at all times been obsessed with structure, I’ve at all times imagined it as a humanistic occupation. I devoted my work to informing folks in regards to the significance of planning and sustaining cities, to lift consciousness of bioclimatic building, to open the controversy about heritage and its place in our societies, to create bridges between structure and style, to convey options to city issues, and at last, to grasp our political system and its impression on the train of our commerce.’

(Picture credit score: Mamy Tall)

West African studios: Mamy Tall

Tall grew up in Togo and skilled as an architect in Montreal, Canada, earlier than returning to Africa and making Senegal her house. The dynamic designer enjoys multitasking and this turns into instantly clear when she begins itemizing her multitude of undertakings. She is the founding father of Weex Tall, a Dakar studio that consolidates her numerous actions and pursuits: Lives, a platform she co-founded, which promotes African locations and their artistic ecosystem; a documentary sequence; collaborations in style, which considers her second ardour after structure; images; and exhibition design. 

Tall additionally works on the Senegalese authorities’s Workplace of Structure and Conservation of Nationwide Palaces, taking care of the monuments’ conservation, in addition to the rehabilitation and building of spiritual websites and universities throughout the nation; and she or he represents the French agency Wilmotte & Architects on its tasks in Dakar (it has a headquarters for the United Nations, in addition to a number of restoration tasks underway). 

detail of Mamy Tall's pavilion in a Dakar toundabout

(Picture credit score: Mamy Tall)

Her artistic endeavours share a typical thread: Tall’s ardour for fixing issues, and making use of structure and design in direction of providing options to key social and urbanistic problems with our instances, akin to ‘city improvement, the absence of an architectural identification, the non-use of native supplies, and the progressive disappearance of heritage’, she explains. 

She enjoys exploring experimental approaches, however on the similar time, drawing on time-honed strategies – constructing with earth is a key instance, as she feels it consolidates sustainable structure with the help and preservation of a contextual architectural identification. ‘Earth is a cloth that’s accessible and tailored to our local weather,’ she says. ‘Nonetheless, it’s stigmatised and related to poverty and building in rural areas. There are various preconceived concepts about it, whereas there are new strategies for modernising earth, which, when correctly used, substitute very advantageously industrialised merchandise, akin to cement or concrete.’

nighttime shot of dakar pavilion by mamy tall

(Picture credit score: Mamy Tall)

Certainly one of her most up-to-date impartial works, an exhibition titled ‘Doxantu’, for the Dakar Biennale 2022, appears to be like on the idea of a roundabout, making a large-scale set up for such a web site throughout the capital. Tall recognises the show as a key breakthrough mission for her younger studio. It’s constructed round a dry backyard that includes a baobab tree (the image of the Senegalese nation) and a paved floor. Right here, Tall invited artists, akin to Gorgui Mbaye and weaver Issaka Bonkoungou, to complement the house with site-specific creations. 

Supply: Wallpaper

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