Togo Unveils Its Eccentric Modernism at the Venice Biennale Debut

A curlicued brutalist A hotel with a façade resembling two faces kissing and a bank topped with towers inspired by clay castles are some of the modernist structures highlighted in Togo’s inaugural celebration of such architecture. Venice Architecture Biennale pavilion.

The tiny West African country is showcasing its distinctive contemporary architectural style through the "Considering Togo's Architectural Heritage" exhibit, set to open this weekend at a Venetian gallery. Squero Castello .

Curators Studio Neida — an interdisciplinary practice rooted in both Lomé and Berlin — hopes that the exhibition will depict an architectural heritage that is distinctly Togolese and deserving of recognition and conservation.

Studio Neida co-founder Fabiola Büchele shared with The News Pulse, 'We adore this architectural style.' She continued, saying, 'Lomé brims with fascinating elements, yet it fails to receive the recognition and appreciation it deserves, whether from within Togo or globally.'

Featured in the exhibition, which showcases double-sided fabric banners held down with handcrafted Togolese ceramics, are structures such as the 1974 Hôtel de la Paix—known for its distinctive kissing façade—designed by French architect Daniel Chenut.

Abandoned to decay, this erstwhile opulent hotel now boasts curving dividing walls serving as sunshades along with an eye-catching glass-tiled façade that ranks among the globe’s most vibrantly coloured examples of Brutalism.

Due to its uniqueness, it stands out prominently in Lomé’s skyline; it’s truly remarkable," stated Jeanne Autran-Edorh, co-founder of Studio Neida. "The façade boasts numerous whimsical elements such as the silhouette of two lips meeting, and the mosaic work remains remarkably well-preserved.

Studio Neida aims to increase public consciousness regarding the structure with the hope that it might be preserved from the ongoing risk of being torn down.

The 1980 BOAD building in Lomé, designed by French architect Guy Durand and Togolese architect Raphaël Ekoué Hangbonbon for the West African Development Bank, stands as a prime illustration of tropical modernism that diverges significantly from Western architectural norms, according to the studio. Other contemporary structures in Lomé are also thriving.

It includes a nod to the Tata Tamberma – an ancient indigenous clay fortification that still stands in northern Togo – through the tower-like forms perched above the predominantly rectangular structure.

The retro-futuristic BOAD remains operational and is exceptionally well-preserved, with sufficient tiles ordered to maintain its façade for the upcoming century, according to the studio.

The exhibition also features several other modernist structures such as the clover-leaf shaped Hédzranawoé Market, designed by Togolese architect Blèce Afoda-Sebou to pay tribute to female merchants. Additionally showcased is the building for the ECOWAS (Economic Community of West African States) Bank for Investment and Development, crafted by Senegalese architect Pierre Goudiaby Atepa, which takes inspiration from the form of a traditional West African xylophone known as a balafon.

When crafting an image of a unique Togolese architectural legacy, the curators have meticulously decided which elements to incorporate and which to leave out.

"For instance, we clearly chose not to incorporate colonial architecture because we were interested in exploring what came before it and what emerged afterwards," stated Büchele.

It does not imply that everything was constructed or conceived by Togolese individuals; we have incorporated international architects as well. However, these structures were commissioned by the Togolese independent state.

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"As reported by The News Pulse, it has extinguished the conventional format of the biennale," states the curator of the Venice Architecture Biennale.

In addition to the contemporary architectural designs, Studio Neida's exhibit also features the area’s historic constructions, like the Tata Tamberma and Nôk caves , along with Afro-Brazilian architecture, a mixed style created by emancipated slaves who came back from Brazil between the mid-1800s and mid-1900s.

The studio highlights that Togo is among just three nations from Africa featured in this year’s biennial, along with Morocco and Egypt, emphasizing how large portions of global architectural discourse remain overlooked in discussions and educational programs.

“If you discuss modernism, make sure to cover modernism from all around,” stated Büchele. “Why must we label West African modernism as tropical modernism or assign such specific categories? It’s always an addition.”

Personally for me and within Studio Neida as a whole, the focus has been primarily on ceasing to marginalise it and simply stating: 'This too exists.' Instead of ignoring it, we should discuss it. We can gain knowledge from one another and approach it with seriousness.

Taking into Account Togo's Architectural Legacy Is Based On an earlier exhibition hosted last year at the Palais de Lomé, a public art venue in the country’s capital. The Palais de Lomé and its founder Sonia Lawson serve as the commissioners for the Togo Pavilion in Venice.

The textiles, ceramics and wooden frames used in the exhibition were all made in Togo.

The News Pulseis publishing several exclusive previews of pavilions at the 2025 biennale today. The British pavilion , the Dutch pavilion and the Nordic pavilion can all be seen on the site.

The Venice Architecture Biennale occurs between 10 May and 23 November 2025 at multiple venues throughout Venice, Italy. The News PulseEvents Guide For details regarding the event, along with various other architecture and design happenings occurring globally.

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