Considering Togo’s Architectural Heritage

The Republic of Togo will premier its first pavilion at the 19th International Architecture Exhibition—The Venice Biennale in 2025 with a project titled Considering Togo’s Architectural Heritage. The inaugural pavilion is commissioned by Sonia Lawson, Founding Director of Palais de Lomé and curated by Studio NEiDA, an architecture and research practice co-founded by architect Jeanne Autran-Edorh and curator Fabiola Büchele.

The exhibition explores the architectural narratives of Togo from the turn of the 20th century, focusing on the themes of conservation and transformation. Studio NEiDA takes us through the methodical documentation of Togo’s iconic architecture establishing a dialogue between conventional building practices to modernist construction techniques. This approach invites a broader perspective of the understanding of the architectural landscape of Togo and serves as an exemplary representation of its rich heritage. The investigation of forms and materiality within West Africa’s built environment, from the ancient Nôk cave dwellings to the traditional construction techniques is exemplified by the Tatas Tamberma in the northern Togo. The unique fusion of Afro-Brazilian architecture, developed by freed slaves who returned from Brazil, from the period from themid-1800s to the mid-1900s is uncovered, alongside remarkable instances of modernist architecture that emerged following the nation’s independence.

Several of these structures continue to serve their original purposes, such as Hotel Sarakawa, the Hedzranawoe market and namely, the EBID and BOAD banks. However, the exhibition equally extends as a showcase for dramatic relics of Togolese modernism as a new example of beauty. Outlined in the show are prominent buildings in a state of disrepair, including the Hotel de la Paix and the Bourse du Travail, while in contrast, certain structures have benefited from renovation, particularly noteworthy are the refurbished Hotel 2 Février and the Palais des Congrès, which is in the process of restoration.

About Studio NEiDA
Studio NEiDA is an interdisciplinary architecture, design, curatorial and research practice based in Lomé and Berlin. Founders Jeanne Autran-Edorh and Fabiola Büchele met in 2019 while working at Studio Francis Kéré. The architecture and research practice is dedicated to equitable design and production processes that train an Afrocentric lens on contemporary architecture discourses. French-Togolese architect Jeanne Autran-Edorh has worked with a number of critically acclaimed Pritzker Prize-winning Architecture studios including Herzog & de Meuron and Ateliers Jean Nouvel. Fabiola Büchele is an Austrian creative manager and curator who has worked both independently and for designers, contemporary art practitioners, including four years as Studio Francis Kéré’s Creative Director. Studio NEiDA will also present an architectural installation Out of Fashion at the Triennale di Milano 2025 from 13 May to 9 November 2025.

About the Togo Pavillion
The Togo Pavilion is organised by the Ministry of Digital Economy and Digital Transformation of the Republic of Togo. The commissioner of the pavilion is Sonia Lawson, Founding Director at Palais de Lomé in Togo. The exhibition is organised in collaboration with Zuecca Projects.

About Palais de Lomé
Palais de Lomé opened in November 2019, in the former German-built Governor's Palace, after being abandoned for 20 years. The historic building was renovated and transformed into contemporary public space and reopened as a center for visual arts and culture. This unique venue in West Africa mixes architectural heritage, art and biodiversity. It focuses on African and diasporic heritage showcasing contemporary art and the diversity of national and pan-African cultural works ranging from painting, photography, sculpture, new media and design across the various exhibition spaces and its 26-acre botanical park. The pioneering arts centre offers artistic and educational programs through collecting and exhibiting established and emerging artists, including developing objectives dedicated to implementing cultural exchanges and the interaction of contemporary visual practitioners in Africa with the general public.

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