The African continent is poised to host its first-ever architecture biennale in 2026, a landmark event that organizers say will reclaim Africa’s architectural narrative on the global stage. Nairobi, Kenya’s bustling capital, will serve as the venue for the inaugural Pan‑African Architecture Biennale, opening on September 1, 2026. The biennial festival – the first of its kind in Africa – promises to bring together architects, urban planners, designers, and thinkers from all 54 African countries, as well as the diaspora and international contributors, for a continent-wide celebration of design and discourse.
Curated by Somali-Italian architect Omar Degan, with the Architectural Association of Kenya (AAK) as the lead organizing body, the Pan‑African Architecture Biennale aims to spotlight African innovation and resilience in the built environment while tackling pressing issues from rapid urbanization to climate change.
A Symbolic Venue at Nairobi’s KICC
The choice of Nairobi – and specifically the Kenyatta International Convention Centre (KICC) – as host for the inaugural biennale is laden with symbolism. The KICC, a cylindrical tower with a terraced podium completed in 1973, is one of Nairobi’s most recognizable modernist landmarks. Co-designed by Norwegian architect Karl Henrik Nøstvik alongside David Mutiso (one of Kenya’s first indigenous architects), the building’s form fuses international style with African vernacular motifs, reflecting a post-colonial ambition to project a modern African identity. “It is a deeply symbolic site, built in the early years of Kenya’s independence and long associated with pan-African unity,” notes Degan. By staging the biennale at KICC, organizers are reclaiming a piece of African architectural heritage as a platform for renewed cultural production.
Nairobi’s selection also underscores practical and political considerations. Kenya has recently adopted visa-friendly policies that allow citizens of nearly all African nations to enter without advance visas. This means, unlike many global events where African participants face travel hurdles, the Nairobi biennale will “guarantee African access. And that matters,” Degan points out. In an interview, he emphasized that hosting in Kenya – a country once under British colonial rule – carries a poetic justice: “Kenya, which was once a major British colony, now gets to host something that shows we have moved beyond that”. By intentionally “shifting the geographic center” away from the usual hubs in West or North Africa, Degan chose Nairobi to signal a fresh, inclusive start. The city’s central location in East Africa and its legacy as a diplomatic crossroads of the continent make it a fitting stage for pan-African dialogue.
“Shifting the Center” – From Fragility to Resilience
At the heart of the biennale is a bold curatorial theme: “Shifting the Center: From Fragility to Resilience.” This theme encapsulates a political and cultural mission. “It’s not just a curatorial line – it’s a political position,” Degan explains. The aim is to upend outdated narratives that cast Africa as “fragile, passive, or dependent” and instead highlight the continent’s strength and agency. In Degan’s view, Africa is “not developing, Africa is recovering” – emerging from centuries of extraction, colonial violence, and marginalization. By shifting the center, the biennale asserts that African cities, technologies, and design knowledge are not peripheral but essential to the world’s future. “It is time the world stopped looking at Africa as a place to help and started learning from it,” Degan says.
The concept of fragility is re-framed in a provocative way. Rather than a weakness, fragility is recognized as “a spatial and historical condition” shaped by forces like colonization, displacement, resource extraction, and environmental stress. Across Africa, these challenges have indeed left cities with fragile contexts – from post-conflict ruins to informal settlements – yet they have also bred incredible resilience and innovation. “Far from a deficit, Africa’s fragility has been a crucible for adaptation, improvisation, and reinvention,” an Architizer report on Degan’s vision observes. Vernacular building traditions, communal methods, and indigenous knowledge systems have allowed communities to persist and creatively rebuild under adverse conditions. In the very “fragile” contexts that outsiders often pity, Africa has been actively developing the principles the world now urgently seeks: sustainability, mutuality, and resilience.
By showcasing architecture “from fragility to resilience,” the biennale will highlight how African architects and citizens are turning past traumas and present challenges into opportunities for transformation. Decolonization of architecture is a key subtext – not as a buzzword but as “a material project” of dismantling imported standards and reviving indigenous spatial logics. The curatorial manifesto calls for a “re-reading of history” and a return to African terms of reference, arguing that what might appear improvised or “informal” in African cities actually contains the seeds of the future. “In the overlooked and the erased, in the fragile and the improvised, lies the architecture of the future,” Degan writes in his manifesto. Ultimately, the biennale frames Africa not as a case study or a problem to solve, but as a catalyst and leader in confronting global crises – whether climate change, urban housing, or social justice.
A Platform to Reclaim African Authorship
From Venice to Chicago and beyond, architecture biennales have long been based outside Africa – even discussions about Africa’s cities often occur in Western forums. The Pan‑African Architecture Biennale in Nairobi intends to change that dynamic. It is envisioned as more than an exhibition; it’s described as “a continent-wide conversation” and a declaration that Africa will no longer be a footnote in global design discourse. “Africa builds, thinks, and leads – and has always done so. This is not just about architecture. It is about who gets to define the future,” Degan asserts. By convening voices from all corners of the continent in an African city, the biennale seeks to re-center the locus of architectural knowledge to African soil.
The significance of this moment is not lost on observers. In recent years, African talent has gained more recognition abroad – for instance, Burkinabé architect Francis Kéré winning the Pritzker Prize in 2022, and Scottish-Ghanaian architect Lesley Lokko curating the Venice Architecture Biennale in 2023. Yet, as Architizer editors note, those strides “still operated through Western institutions”. By contrast, Nairobi’s Pan‑African Biennale is fully African-led and homegrown, representing the first time the continent hosts its own architectural forum of this scale. International coverage has highlighted it as the first continent-wide architecture biennale driven from within Africa, rather than imported.
Crucially, the event is structured to “belong to all of Africa,” in Degan’s words. Every African nation is invited to mount a pavilion or exhibit, each given equal space “no matter how big or rich the country is”, he insists. This egalitarian approach is deliberate, countering the usual dominance of wealthier nations at global expos. The biennale will also welcome the African diaspora and select global contributors – “not as dominant voices, but as engaged participants in a discussion led by Africa,” Degan emphasizes. Through a mix of curated invitations and open calls, organizers plan to gather bold ideas and community-driven projects that challenge the status quo. The guiding principle is collaboration on African terms, tackling uncomfortable questions about decolonization, development aid, and what “sustainability” means through an African lens. In short, the Pan‑African Biennale aspires to be a forum where African architects reclaim authorship over their built environment and share their visions with the world.
Curator Omar Degan: A Visionary Bridging Worlds
The driving force behind this ambitious event is Omar Degan, a 35-year-old architect whose own life and career embody the intersection of African and global influences. Born in Turin, Italy to a Somali family, Degan straddles cultures – an experience he says made him acutely aware “of how space and design can either welcome you or make you feel excluded”. He studied architecture in Turin and Hong Kong, specializing in sustainability and later in emergency architecture for developing contexts. In 2017, he decided to relocate to Mogadishu, Somalia – his parents’ homeland – as part of a wave of young diaspora returning to help rebuild a nation ravaged by decades of civil war. There, he founded DO Architecture Group, a design practice operating between Somalia and Italy that focuses on projects in “fragile and crisis-affected environments”. From refugee camps and disaster-hit regions to underserved urban neighborhoods, Degan’s work has consistently engaged with communities on the margins. He describes his approach as using architecture as a tool for “resilience, identity and justice” in places often overlooked by mainstream design.
Degan gained international attention in 2017 with a poignant memorial proposal in Mogadishu. After Somalia’s deadliest-ever terror attack – a truck bombing that killed over 500 people in October 2017 – the young architect envisioned what would be Somalia’s first post-civil war public memorial. His design, titled “Oct. 14”, reimagined the site of the blast as an open gravel plaza punctuated by large rectangular volumes representing each victim, with walls inscribed with the names of the 512 dead. It was a sober yet symbolic attempt to help a traumatized city remember its losses and heal. Somalis “need to remember this event strongly and go forward,” Degan told Quartz at the time, saying the memorial would make visitors “walk and feel the pain somehow”. Although that project has yet to be realized, it cemented Degan’s reputation as an architect attuned to memory, trauma, and rebuilding. In 2020, he published a book titled “Mogadishu Through the Eyes of an Architect,” reflecting on the coastal capital’s past and future from his perspective as a designer.
These experiences – from designing schools and community spaces in Mogadishu to developing a portable rural clinic prototype for Somali villages – inform Degan’s curatorial vision for the biennale. He has been outspoken about the marginalization of African architecture in global discourse. “Architecture has always been white and male-dominated. Africa is also the only continent that has been neglected,” he told OkayAfrica. Even when African architecture is feted internationally, he argues, “it is exoticized like safari lodges designed for the Western gaze”. Degan often quips that “everyone loves African architecture as long as it’s a safari lodge,” pointing to the double standards that celebrate European vernacular traditions (like the Swiss chalet) while dismissing African vernacular as primitive. With the biennale, he intends to challenge such perceptions head-on. “Our architects have been missing from international stages. Our cities are rarely studied on their own terms,” Degan told ArchDaily. By lifting up the rich variety of African design – from indigenous building techniques to cutting-edge urban innovations – he wants to show the world that Africa is not “behind” at all, but forging its own path forward.
The Architectural Association of Kenya has been a key partner in bringing Degan’s vision to life. AAK President George A. Ndege is spearheading the effort from the Kenyan side. Degan, in fact, had to persuade the AAK to take on the role of host: “I somehow convinced them to take this role,” he says with a smile, noting that Ndege is “very intent on reshaping the role of [AAK] as a lead organization in the African movement”. Together, Degan and AAK are rallying support across governments, universities, and cultural institutions to ensure the biennale truly represents a Pan-African collaboration. The model is to have the event rotate to different African cities every two years, so that the conversation continues across the continent rather than staying in one locale. Nairobi 2026 is just the start; future editions may take place in North, West, or Southern Africa, reflecting the diverse regional identities of African architecture.
What to Expect: Architecture as Protest and Healing
When the Biennale opens in 2026, visitors can expect a dynamic mix of exhibitions and activities far beyond a conventional museum-style show. According to Degan and the organizers, the event will feature national pavilions or exhibitions for each of the 54 African countries, arrayed equally in the KICC and nearby venues. These will showcase projects or perspectives that reflect each nation’s unique social, ecological, and architectural context. From rural vernacular architecture in one country to high-tech urban interventions in another, the goal is to celebrate the continent’s plurality of design voices.
The Biennale will also host an array of keynote talks, roundtables, and workshops led by African and diasporic architects, scholars, and activists. Public installations around Nairobi, community workshops engaging local residents, and even performances or cultural rituals are planned to root the Biennale in everyday African life. “This is not an event to observe – it is a platform to participate, disrupt, and contribute,” Degan explains, emphasizing that the audience won’t be passive. He wants to avoid the typical biennial pattern where professionals fly in, stroll through pavilions snapping photos, and leave after two days without deeper engagement. Instead, the intent is to foster real dialogue and sensory experience. Visitors should be able to touch, hear, and even smell aspects of African spaces, immersing themselves in environments that convey meaning beyond visuals. “We are incorporating sensorial experiences. I don’t want them to take a selfie and leave,” Degan says.
Another feature that will set the Pan‑African Biennale apart is a focus on African futures. Alongside historical and present-day projects, part of the exhibition will look ahead – enlisting Afro-futurist writers, sci-fi creators, and tech innovators (including those working in AI and design) to imagine how African cities and architecture could evolve. By blending traditional wisdom with speculative ideas, the Biennale intends to show that Africa’s vision of the future is as potent and imaginative as anywhere.
Underpinning all these exhibits and events is a commitment to tackling serious issues through an African perspective. Topics like land rights, housing equity, water scarcity, migration, urban informality, heritage conservation, and the climate crisis will be addressed through the lens of architecture. For example, one discussion might explore why building with earth is lauded as “sustainable” in a Spanish eco-village but dismissed as backward in a Beninese village – a double standard Degan is eager to expose. By sharing practices from one locale (say, rainwater harvesting techniques or mud construction) across the continent, the Biennale hopes to spark cross-pollination of solutions. It’s also about challenging assumptions: Why are African informal settlements often seen only as problems, when they also demonstrate ingenuity in community living? How can we honor cultural memory and vernacular design in new projects rather than erasing them? Every pavilion and panel will, in some way, grapple with such questions of identity, equity, and sustainability.
Degan has made clear that this Biennale “will not reward neutrality.” He calls it “a space for architecture that speaks, that protests, that heals.” In his view, architecture in Africa has always been intertwined with politics and community – from the struggle against apartheid spatial planning, to post-conflict reconstruction, to innovative green designs addressing climate threats. Thus, the exhibits are being chosen not for glossy aesthetics but for social and political relevance. Projects with strong community engagement, “radical thought,” or even activist stances will take center stage over purely theoretical or commercial works. As Degan puts it, architecture in this context is about “who gets to define the future,” and he wants the Biennale to amplify those who are daring to redefine it.
Redefining Africa’s Place in Global Architecture
The broader aspiration of the Pan‑African Architecture Biennale is not only to boost visibility for African architects but to redefine the terms of global architectural debate. Many of the world’s existential challenges – rapid urban population growth, climate adaptation, housing affordability – are felt acutely in African cities. By foregrounding homegrown solutions and culturally grounded practices, the Biennale posits that Africa can offer lessons to the world. For instance, Nairobi’s informal settlements might inform new models of high-density community living; Senegal’s traditional cooling techniques could inspire low-energy architecture elsewhere. The event seeks to dismantle the assumption that progress must be measured by Western standards of design. Instead, it will shine a light on metrics of success defined by African values like reciprocity, collective resilience, and continuity with heritage.
The timing appears ripe. Africa today has the world’s youngest population and is urbanizing faster than any other region. By 2050, African cities will swell by hundreds of millions of people, and the continent will account for half of the globe’s population growth. How these cities are designed and built will significantly impact the global fight against climate change and inequality. Yet, as Degan notes, Africa is too often depicted as “behind” – a “false narrative, deliberately crafted to sustain centuries of exploitation”. Changing that narrative is a driving force behind the Biennale. It will showcase how Lagos, Kinshasa, Nairobi, Dakar and others are not only confronting challenges but pioneering new urban paradigms. In many African cities, communities are innovating with scarce resources – whether by reclaiming disused lands, deploying local materials like earth and bamboo, or organizing informal transit systems – embodying a spirit of sustainability and adaptation that the rest of the world could learn from.
Both organizers and observers express hope that the Nairobi Biennale will spark a lasting movement. With one year until launch, Degan has been travelling and speaking widely to drum up support. A series of pre-events, lectures and forums – in Africa and internationally – are planned to build momentum and “collective anticipation” ahead of 2026. The Biennale’s official open call will invite architects and thinkers to submit projects, ensuring that fresh voices and younger generations have a chance to be involved. Already, Degan notes, the response from peers has been overwhelming: “The first question I get is, ‘How can I help?’ No one has asked about money,” he told OkayAfrica, suggesting a broad belief in the mission.
Ultimately, the true measure of success for Degan won’t just be attendance numbers or media buzz. “If a young architect feels seen or inspired to build a new kind of city, that is success,” he says. By planting seeds of change in how people think about African architecture, he hopes the Pan‑African Biennale will grow into a permanent platform for exchange and innovation. The ambition is grand: “I want the Pan‑African Architecture Biennale to be the most important one in the world… one that leads on climate change, on urban development, and on how we live in harmony with land, community, and history,” Degan states. While only time will tell if it reaches the stature of Venice or São Paulo’s biennales, the Nairobi 2026 edition has already made history by carving out space for Africa at the center of the architectural conversation. In Degan’s words, “we do not ask for recognition. We claim our space – and we are building it ourselves.”
Website: https://www.panafricanbiennale.org/
Sources: The Pan‑African Architecture Biennale announcement and curator interviews, coverage in architecture media (Wallpaper*, ArchDaily, Azure, Architizer), and background on Omar Degan’s work, as cited above.
Omar Degan curates first Pan-African architecture biennale | Wallpaper*
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