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Sunshine is an Architect and Researcher concerned about the evolution of architecture in Africa. Her interest is in contributing to an architecture that responds to African ways of life, traditions, ceremonies, and languages. She is particularly invested in researching cultural choreographies, demanding spaces that do not exist in European and Western architectural typologies.

Her most active platform is the academic space, tutoring undergraduate students at the University of Johannesburg and from University College London. Having traveled to 18 countries already, she believes that immersing oneself in a new environment yields dependence on one's instincts. Sunshine, thus, aspires to collaborate with writers, artists, and researchers across the world, using every opportunity to expose herself to creative ways of solving problems.

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Miliswa approaches architecture as the practice of manifesting the fantasy of persons/people through space-making. Her interests lie in dismantling the continued construction and preservation of spatio-political utopias, through world-building techniques such as what African American feminist writer Saidiya Hartman terms “critical fabulation”; child-play; and experimental modelling with non/living matter like mycelium.

Her recent group exhibitions include Situated Making and IMMINENT AND EMINENT ECOLOGIES at The University of Johannesburg FADA gallery. She is co-founder of the architecture bureau and digital platform room19isaFactory., which was invited to exhibit in the Delay and Encounter and/or Other Proximate Unknowns group exhibition at the Foundation For Contemporary Art Ghana, and also awarded a residency at Kudzanai Chiurai’s The Library of Things We Forgot to Remember in 2023. She is co-founder of the ritual homeware and objects design studio What Has Two Eyes and Too Many Ears?, and a research associate at VIAD at the University of Johannesburg.

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Thelma Ndebele is a non-binary, Black qualified architect and DJs internationally as DORMANTYOUTH. They practice within the cultural sector as the creative director, project lead and curator of Groove Biennale, an architecture and music festival co-produced alongside Jägermeister Night Embassy. This festival champions electronic music produced independently by young, queer, Black and alternative musicians, and attempts to engage Johannesburg’s architectural profession with communities, rituals and functions that exist in the migrant city and its peripheries, beyond daytime.

Ndebele’s peri-disciplinary practice is rooted in DJ performance as a spatial research method on subcultural worldbuilding and their work consists of a series of aural and visual research outputs on placemaking in urban nightlife. Ndebele’s current relationship to architecture in Johannesburg is through academia; they lecture part time at the University of Johannesburg (UJ) Department of Architecture, and occasionally present research on queer subcultures and nocturnal Johannesburg at UJ's Graduate School of Architecture.

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Sonali is a creative and dedicated master's graduate holding second place for the corobrik student institutional architecture award at the university of cape town, interested in an opportunity to further her experience in the architectural field and learn from architects whom she admires.

She is inspired by architecture that sparks curiosity and imagination, both in its conceptualisation, realisation and reality. Her approach to architecture is rooted in the human experience. She believes in the narrative potential of architecture as the storyteller, the setting and the protagonist (or, in some cases, antagonist). and hopes to harness this ability throughout her forthcoming career

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I am a South African-born educator, researcher, and independent curator.  I hold a PhD in Architecture from the University of California, Berkeley, pursued as a Fulbright Scholar. I have curated several exhibitions, discursive platforms, and experimental architectural research including the Venice International Architecture Biennale (2008; 2021); African Mobilities at the Architecture Museum, Pinakothek der Moderne in Munich (2018); and Studio-X Johannesburg, in South Africa (2014-2016). My curatorial, pedagogical and research interests intersect with urban studies, experimental architecture, and visual art. I was a Loeb Fellow 2022 (Harvard GSD), and an associate curator for the Lubumbashi Biennale(2022). I have served on numerous design juries and international talks and taught locally and internationally. Currently, I am is working on an experimental publication project, in collaboration with Chimurenga - African Mobilities – a Library of Circulations - for which I divide her time between Johannesburg, London, Lagos, and New York.

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Kutlwano, a research based artist and landscape designer, is grasping ways to document the elusive through living archive and remapping (hi)stories through subaltern lenses. By doing this, she aims to navigate the necropolitics of space in todays material world and translate her findings in fictional post-individual futures.

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As a landscape architect, I've dedicated my career to shaping spaces that reflect and enhance the Nigerian experience. My work blends historical preservation with contemporary design, exploring how open spaces can evolve to meet the needs of modern society. I believe that by understanding our past, we can create more meaningful and sustainable futures. My experience in public park design, private residential landscaping, and heritage preservation has equipped me with the skills to transform spaces into vibrant and inviting environments. Inspired by a collective of designers and researchers called No design on stolen land, I've been deeply reflecting on the role of landscape architecture in shaping society. I believe that our profession has the power to challenge historical injustices and promote social equity. Through my work, I aim to fight for our right to tell our own stories and to be the curators of our own heritage.

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Deborah approaches design as a way of connecting people and ideas across space-time through making and sustainable material cycles. Their focus is on building and maintaining networks through transformative craft practices. They use textiles and embedded technologies to work through questions of adaptability and trust.

Deborah holds a SMArchS in Design Computation from MIT and a B.Arch from USC. Their recent exhibitions include ‘How to Dial a Memory’ at the 2024 Cambridge Science Festival and ‘Sisters in Making’ in MIT Rotch Library in 2023. They were recently published in An Encyclopedia of Radical Helping (2024) and presented their project “Limits of Expression” at ACADIA 2023. They are founder of the independent design practice tsogbe, which develops soft wear, and recently completed a stay as 2023 Women@MIT Fellow with MIT Distinctive collections. They are currently based in Los Angeles, CA, USA where they work as a residential architect and as design director for tsogbe.

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Olani Ewunnet is an Ethiopian-American interdisciplinary artist and designer based in New York City.

Her practice spans sound, video, drawing, spatial design and community driven environmental interventions. Her work has been presented at various institutions including Lincoln Center, National Sawdust (NY), BBC Radio 4, Dhaka Art Summit, Goethe Institut (Dhaka), BOZAR (Brussels), SAVVY Contemporary, Galerie Wedding and Ballhaus Naunynstrasse (Berlin). She has lectured internationally at Harvard University, UC Berkeley and the City University of New York and has served as a design critic at Addis Ababa University, Columbia University and Tulane University.

Committed to the stewardship of communal land and the convergence of speculative design thinking and indigenous knowledge, Olani activates her background in urban ecology, planning and design to be of service to communities across the planet. Over the years, she has collaborated with Francis Kéré in rural Burkina Faso, esperanza spalding in Portland, Oregon and most recently alongside public housing communities in NYC. She holds a Masters in Design with honors from Harvard University and a BA from Occidental College.

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Ntokomalo Mzoneli is a candidate architect, visual artist, photographer and preacher. She holds a Master's in Architecture degree from the University of Johannesburg and is practising architecture in Northern KwaZulu Natal. In her thesis titled Phantom Freedom, she explicitly points out the fractures in South Africa's democracy that threaten its collapse. Her work advocates for the 'state of being' of every citizen. Being dehumanised, being bound by race, being almost set free, being promised, being neglected, being manipulated and being objectified. She uses material exploration to identify the different phases of fracturing. Narrative, storytelling and film are mediums which she uses to engage in conversation with herself, the state and the public.

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Ubuhlalu & Ukhamba Fine Artist and Researcher 

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Zola Dube's primary medium is Ubuhlalu "Southern African Beadwork". In 2019 she spent extensive time in Mandeni, Northern KwaZulu Natal, to learn the ancient method of creating and designing Ukhamba (terracotta pottery reserved for communion with ancestors). Behind the vast symbolism of Ubuhlalu’s circle is Isibaya/the African estate (earthly and celestial design). Guided by her ancestors to research “Utopiya” and following her mother’s translation to “Æthiops” and “Æthiopia ”, Zola’s study has expanded to include Æthiopia and Africa in Classical Latin and Italian sacred text, history, and literature. In Latin and Italian, "Zanele" is recorded as a city in ancient Sicily, now known as Messina. LaZulus (Ancient Spanish/Moorish) is the original terms for Lapis Lazuli (Latin) meaning "blue stone"; where "Zul" pertains to the blue color spectrum of the sky/heaven/celestial realm and Zulema/Sulema (ancient Moorish and contemporary Spanish) means peaceful (like the clear blue sky/heavens). Noting “Zul/Zulu” means above/the sky.

Zola is actively thinking about ways to collaborate with African women architects, landscape architects, planners and creatives overall to design unique development projects in South Africa (KwaZulu Natal). Namely the ancient and contemporary use of compressed earth in construction by Black People/Æthiops since antiquity. The color blue (universally used for spiritual protection) features prominently in Africa/the diaspora in the form of beads found in African burial grounds, indigo dye in textiles as well as the interior/exterior color of homes, is also highlighted.

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my practice presentation

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Architecture, Bio Art

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Critical Fabulation, Child-play, Experimental Modelling

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Imperial Ruination, Preservation

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Practice-led Research

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Forts of Sand, Lounge (v), ParaFurnish

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BSc(Arch) University of Pretoria,

BArch(Hons) University of Johannesburg,

MArch University of Johannesburg

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University of Johannesburg (VIAD)

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Durban, South Africa

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Stuff I want to get involved in in the gathering

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Stuff I want to get involved in in the gathering

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I would love to be involved in the process of moulding a space that holds black women architects as we gather in the digital realm, and otherwise. I think we should go crazy!

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I want to talk about the importance of fantasy and world-building in effecting paradigm shifts.

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seemiliswaplay@gmail.com

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Mark Raymond, Lesley Lokko, Graduate School of Architecture, University of Johannesburg

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M1: Chinenye Chukwuka — Move: 2022 Summer Show

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Inhabiting Impermanence Johannesburg’s Subterranean Ports as Sites of Contested Temporality Chinenye Chukwuka BArch Hons…

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The project, titled “Zama-Zama Dream-Building Tactics on Johannesburg’s Post-Mining Landscapes,” explores the urban transformation of Johannesburg from its origin as a city driven by the pursuit of material wealth, as discussed by Nuttall and Mbembe in “Elusive Metropolis.” The focus is on the Langlaagte site, the original gold discovery location, where topographical changes have been mapped in ten-year intervals since 1885. The research delves into the urban social theories shaping the city and narrows down to a connection between the site and the informal settlement, Zamimpilo.

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Johannesburg, South Africa

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Oba, Anambra & Lagos, Lagos

Nigeria

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Library Special Projects pty ltd

Graduate School of Architecture (GSA)

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CHINENYE CHUKWUKA

Chinenye Chukwuka is a recent graduate of the GSA, where she received a distinction for her Masters Thesis exploring Johannesburg as a Metropolitan Mine, and the complex inhabitations of the subaltern communities that inhabit that metropolis, often hiding in plain sight under the built fabric of the city.  She also received the Corobrik Award for Best Use of Clay Brick, an Examiners Choice Award, and the GSA Women in Architecture Prize. She is currently working as a Candidate Architect at Library Special Projects, a Johannesburg practice that creates and curates exhibitions and immersive public spaces.  "Emergent Practice 2" is her second major co-curatorial project for the GSA, the first being the Women's Mobile Museum with VIAD, the Museum of Black Joy, and the TILT Institute for the Contemporary Image.

CURATING

Curating is storytelling, deciding what should be revealed and hidden, it is a kind of selective seeing.  This interest in ways of seeing or choosing not to see underpinned my thesis work at the GSA and lies beneath my interest in curating.  What communities or perspectives are we blind to, what new cultural and urban conditions are we choosing not to see even as they develop before our eyes?  What am I seeing, what are you seeing, can I cause you to see differently? Can architecture create alternative or new spatial experiences that help us to see differently, or perhaps hide better?  By thinking about ways of seeing, can we explore complex and fragile truths about the human condition, and create platforms where alternative voices and communities of practice can be profiled?

Curating is storytelling, my “Emergent Practice”, whether through exhibitions like this, my Masters research,  or formal architectural projects. The co-curation of this exhibition, the seeing afresh of the work of Fred Swart and of fellow GSA alumni, has in some way curated my thinking and seeing. Curating then, is telling a story, and then hearing one told back to me.

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chinenyechukwuka4@gmail.com

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Oratile Keletso Motlhabane is a spatial designer who is fascinated with using art to design experiences. Growing up in South Africa she has experienced a certain dissonance between her understanding of the act of ritual and playing out of narrative constituting as space and traditional architectural teaching of building as space. She uses her work to represent and further uncover layers of the black experience to dismiss perception of the black experience as a monolith. She describes her work as grounding as it allows her as it allows her to merge her love for clothing as expression of self and space as a platform for creation. Her mission is to enable people to use architecture as a tool for social change by helping use their art to create their reality.

She believes that space fashions the human psyche and in order to design what a space could be it is imperative to understand what it exists as. Her art lies in how she depicts the energy of the spaces she documents predominantly using the art of photo collage to bring a materiality, texture and dynamism to traditionally static technical drawing conventions.

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Architecture

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art, fashion, set design, visual narrating, cargotecture/tiny houses, crop farming

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art, fashion, set design, visual narrating, cargotecture/tiny houses, crop farming

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BSc(Arch) UP, BA Hons Arch UJ

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MWP Architects

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Cape Town

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Oratile Keletso Motlhabane - Architectural Intern - MWP Architects | LinkedIn

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Architectural Technologist | BscArch from UP | Golden Key member | HonsArch from UJ | Aspiring Film Production Designer · Experience: MWP Architects · Education: University of Johannesburg · Location: Standerton · 54 connections on LinkedIn. View Oratile Keletso Motlhabane’s profile on LinkedIn, a professional community of 1 billion members.

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keleoratile@gmail.com

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Architecture, Installation Art

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Cultural Identity, Material Culture, Cultural Preservation

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Fundiswa was born eMaTshaweni, in Kariega and grew up in Komga and Cape Town. She completed her BAS at UCT in 2015 and BAS (Hons) at WITS in 2017. She grew up in a home that practices Xhosa traditions and ceremonies. In her architectural education, she found it challenging to find her voice as she didn’t see her identity being analysed and explored as the colonial schools we have been taught.

Her main theme in her studio inquiry is how to transform rural and urban spaces; having urban spaces that facilitate integration, redress and spatial agency and developing rural spaces with the intent of identity, skills development and community upliftment. Her theological inquiry is mainly aimed at cultural preservation through the study of South African material culture and its translation to architecture and emerging technology.

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Fashion, Parametric Design, Spatial Justice

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iXhanti LakwaNtu

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Fundiswa Douw, iXhanti LakaNtu - XHOM'IIMPONDO II, 3mm laser-cut MDF reciprocal frame structure, H44cm x L450cm x D119cm, 2022 

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BAS UCT, BAS(Hons) Wits

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Songo Design Lab

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East London, EC, RSA

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Stuff I want to get involved in IN the gathering

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Stuff I want to get involved in IN the gathering

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Finding ways to build community and to see how we can create safe spaces where women across all ages can express themselves.

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Ways that we understand an idea and how we convey ideas.

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fundiswadouw@gmail.com

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I am an interdisciplinary designer, mixed-media artist, and cultural practitioner working at the intersection of visual art, architecture, research, and philanthropy based in Johannesburg, South Africa. I hold a MArch (Prof) from the University of the Witwatersrand. In addition, I am the founder of Imbewu Wellness & Sustainability Collective an NPO focused on the regeneration township schools and environments. I’m also the 1st Runner up for the 36th Corobrik Student Awards (2022) and a Mies van der Rohe Awards nominee (2023). My architectural work has been exhibited in a group show by Gifa (2023)

My practice explores themes of healing, memory, archives, and landscapes; blending traditional craftsmanship with contemporary digital techniques to create intricate designs and artistic pieces highlighting marginalised narratives and identities. My approach explores nuances of stitching as a form of healing and making amends, while my architectural research focuses on blackness in space as well as regenerative community-centered solutions. I’m dedicated to promoting equality and agency, particularly in relation to Black bodies. Currently I work as an architect in practice and a design lecturer at the University of Johannesburg.

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In June 2023, I did a 5 weeks residency program at Kobomoje Air in Ibadan, Nigeria (https://www.instagram.com/p/CtHVfBHspXn/?igshid=MzRlODBiNWFlZA== this Instagram is a series of posts documenting my time at the residency) where I re‐imagined life at Kobomoje Court at its prime, while adapting the Landscaping style to the current trends in contemporary Landscaping. I spent my time there exploring the significance of Suliat Adedeji, a political activist as a historic person, focusing on interpreting her values, vision and

philosophy as a lover of peace, and justice. Her belief in not sacrificing competency for ethnicism and her respect for

traditional institutions. I attempted using both the UNESCO and the National Park Services criteria to make a case for establishing the residence as a historic site.

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Lagos, Nigeria

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loba@tobilobaakibo.com.ng

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Mark Raymond, Lesley Lokko, Graduate School of Architecture, University of Johannesburg

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M2: Sunshine Dlangamandla — Move: 2022 Summer Show

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Port of Translation The Agency of Language in Space-Making Sunshine Dlangamandla MArch 2022 Supervisors: Unit Leader: Jiaxin Yan…

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Johannesburg, South Africa

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Architecture

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Vernacular Architecture, African Languages, Writing, Teaching & Learning

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Poetry, Theatre, Visual Art, Travel

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BArch (Wits)

BArch Hons (UJ),

MArch (UJ)

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sunshinedlangamandla@gmail.com

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Architecture | illustration

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M Arch (Prof) UCT

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sonalibissasser@gmail.com

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Gloria is a reader, writer, storyteller and spatial practitioner of an often unseen everyday. One inhabited by people who are not warranted the privilege to write or speak of themselves.

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Sisters in Making

Limits of Expression

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Los Angeles, California, USA

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Adidogome, Lome, Togo

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tsogbe.deborah@gmail.com

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living archive, postnature, speculative fiction, worlding

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kutlwano.ramphele@gmail.com

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Johannesburg, South Africa

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Architecture; Design Education; Archives; Architectural Lighting

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Architecture; Black Feminism / Womanism; Black Liberatory Practices; Spatial Justice; Visual and Performance Art; Film; Literature;

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Ndingu Mnune, uDoyi, uWewetha, uMnyele, uMthembu. Utata uzalwa ngu mamNdlovu, uMntungwa, uMalunga uGengesi. Ndizalwa ngumaMiya, uSbewu, uSalakulandela, uRhenqwa! Ozalwa liBhele uKhumboni, uVeza uQunta!

As a community- and collaboration-driven designer, design educator and researcher, I merge spatial design and social sciences to empower the marginalised. My journey into the spatial design world started off with an undergrad in Interior Architecture from the University of Pretoria. I spent nearly 2 decades as an architectural lighting designer collaborating on local and international projects. My postgraduate studies in Anthropology (UNISA) and Heritage Studies (Wits) – both grounded in architecture and space – have deepened my understanding of the intersection of space, culture and power. I now teach spatial design part-time at a number of institutions, namely at the University of Pretoria (Department of Architecture), University of Johannesburg (Interior Design) and Greenside Design Center (Interior Design).

My pivot into the social sciences after my undergrad was because I couldn’t relate to the interior design practice. My values, my politics, my way of life and history as a black woman living in South Africa, was not represented. I am a black feminist, who was raised with strong Xhosa traditional values and philosophies – that I acknowledge but challenge at every turn. My normative position is about pushing the liberatory conversation (and action) forward for people who look like me, seeking justice and equality through spatial design. This is not only expressed through my work and research in architecture and interior, but in my keen social science, visual and performance art interests and research. Currently, my design and research focus is on the spatial and archival imaginaries (and materialities) of black and marginalised communities. My interest and awareness of socio-cultural and political contexts influences the way I think, design, teach and conduct research.

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bongisa@gmail.com

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A Black Space Lexicon, developed while teaching at Harvard GSD (on-going)

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Copy of Copy of ADV9704 Course Publication

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explorations by m'lk collective

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m’lk is a collective exploring ideas around society and city through art, architecture, landscape architecture and lighting design

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African Mobilities

African Mobilities examines the possibilities for creative intervention and strategies of interruption by way of obstructions, gaps, pauses, and logistical counterpoints that contest sedimentation and permanent enclosure. It advances towards a more relational, multi-scalar and multi-sited approach to an exploded space-time through which the majority of circulation occurs on the African continent. It connects architects and other creative practitioners, theorists, and scholars from fourteen different locations, including Johannesburg, Kampala, Addis Ababa, Luanda, Abidjan, Lagos, New York, Dakar, Nairobi, and Praia. Together, we hope to build a living archive of contemporary African thinking that presents alternative ways of creating urban realities.

African Mobilities 2.0's tracks

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African Mobilities examines the possibilities for creative intervention and strategies of interruption by way of obstructions, gaps, pauses, and logistical counterpoints that contest sedimentation and permanent enclosure. It advances towards a more relational, multi-scalar and multi-sited approach to an exploded space-time through which the majority of circulation occurs on the African continent.

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Architecture | Photography

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This is a master’s thesis portfolio by Ntokomalo Mzoneli. Her thesis is set as a conversation starter about the elephant in the room concerning South Africa’s democracy. She discusses themes of neglect, vulnerability, corruption, freedom and injustice.

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B. Arch -UKZN

B. Arch Honours - UJ

M. Arch -UJ

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Politics, justice, film and storytelling

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Fashion, graphic design and food

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ntokomalomkhize@gmail.com

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ZANELE (Ancient Sicily) | Handcrafted by Zola Dube

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ZANELE (Ancient Sicily) | Handcrafted by Zola Dube

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An overview of Ubuhlalu from an indigenous ontological perspective.

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Black Feast, hosted at PRISMID Sanctuary, Portland, Oregon. In 2022, Olani Ewunnet led landscape design and event production at Esperanza Spalding's Oregon artist residency PRISMID Sanctuary. This inaugural event on the land, Black Feast, created a unique dialogue between dance and cuisine, where dancers' gestures transformed into culinary expression, dissolving boundaries between body and sustenance.

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Image 5 (Group Work) Olani Ewunnet responsible for Landscape Design , Event Production. Black Feast, 2022, Social Sculpture

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Olani Ewunnet, Eagle Condor Willow Prophecy, 2022. Drawing from a Native American prophecy of the eagle and the condor, the reunion of North and South American peoples. Created during a residency at Esperanza Spalding's Oregon property, where land restitution to Indigenous peoples is prioritized, the work centers on a willow tree that became a central gathering space and symbol of this prophesied unity.

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Image 4 Olani Ewunnet, Eagle Condor Prophecy, 2024, Ballpoint Pen on Paper, 5.5in.8.5in

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Olani Ewunnet, Addis Adey Abeba, 2022. Addis Adey Abeba is a work created as a companion sound piece for Ewunnet's thesis at the Harvard Graduate School of Design. The research examines flowers, wild and grown-for-export, in Ethiopian imaginaries of time, cities and culture, utilizing lyrical analysis of flower music in Ethiopia. It joins a floral discourse.

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Sound 2 Olani Ewunnet, Addis Adey Abeba, 2022, Sound

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Education:

New York University

Certification in Business Project Management

Temple University

Master's in African American Studies (African-Centered Perspective)

Hunter College

Bachelor's in Communications & Psychology

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