In 2016 Olalekan Jeyifous imagined a futuristic vision of Lagos: the Nigerian-born Brooklyn-based architecturally trained artist created images of his vision using 3D computer models inspired by the materials and construction techniques observed in real settlements in Lagos. Then he proceeded to seamlessly merge his models with real photographs.
The results of this project inspired by utopian and dystopian metropolises were captivating: Jeyifous imagined one the densest and fastest-growing cities in the world as a high-tech metropolis in which dilapidated skyscrapers, rising from shantytowns, incorporated in their structures natural materials and mechanical parts, blending diverse styles.
Fast-forward to 2023 and Jeyifous is still very much concerned about the future of Africa and he's also playing with different techniques to conjure it up.
At the 18th International Architecture Exhibition in Venice (until 26th November), he came up indeed with a new project, an installation entitled "ACE/AAP", on display in the Central Pavilion at the Giardini. In an imaginative twist, Jeyifous, accompanied this project with an alternative narrative of post-independence Africa.
Through his vibrantly coloured sci-fi images and intricate models, he envisioned a techno-ecological retro-future emerging from the remnants of colonial rule and wrote a gripping narrative worthy of a novel.
The project primarily serves as a conceptual exploration, offering an alternative glimpse into the future of a continent and a country that deserve more representation.
Jeyifous' narrative takes place in an imaginary space and time: following the Pan-African movement and the wave of African decolonization, imperialist structures focused on economic exploitation and resource extraction were dismantled. At the same time, various local environmental organizations across the continent converged and united under the collective banner of the African Conservation Effort (ACE).
In an effort to restore the ecological balance of Africa's ecoregions, ACE leveraged indigenous knowledge systems to establish sophisticated networks integrating renewable energy and green technologies.
At the forefront of these endeavors there is the All-Africa Protoport (AAP), a groundbreaking system for generating renewable and sustainable energy. This innovative infrastructure was designed to facilitate swift aid delivery but also to enable efficient land and sea travel within and between continents.
As the AAP gained prominence, it facilitated socioeconomic and environmental collaboration across the entire continent and extended beyond borders, fostering a deeper sense of unity and solidarity among the African diaspora.
The AAP eventually evolved into a network of sprawling, environmentally friendly travel hubs strategically positioned near major ports across the globe, including Lagos, Mombasa, Port Said, New York, Los Angeles, Port-Au-Prince and Havana.
One AAP is located in Zambia's Western Province, specifically within the Barotse Floodplain. This unique AAP complex integrates tidal, solar, and algal energy systems in a harmonious manner to preserve biodiversity, enhance food security, and support agricultural productivity. These sustainable practices are seamlessly integrated with the proprietary AAP travel systems.
Jeyifous recreated inside the Central Pavilion at the Giardini the sleek Barotse Floodplain's AAP imaginary travel lounge: the space is conceived as a sort of immersive tableau featuring sculptures, digital media and experimental videos, set in a protoport.
While a screen occupying one wall, looks at researches, energy systems and achievements, the rest of the room, in a green and yellow palette, displays intricate models of futuristic settlements, travel hubs and vehicles.
A profound sense of boundless optimism prevails here as Jeyifous almost envisions another version of Wakanda - the technologically advanced fictional-state created by Marvel Comics, untouched by the shackles of colonization.
In this place everything is surrounded by lush vegetation and the people portrayed move on futuristic zero-emission machines, using an imaginary sustainable rapid transport network that seems to include hovercrafts and submarines.
On the walls a series of panels display futuristic means of transports and portraits of people, both men and women, working in the AAP hub. Some of them are members of marine or biology expeditions, others are eco-futurists and researchers - all of them are part of Jeyifous's travelogue.
Besides, all these imaginary characters look elegant in their uniforms (in some cases adorned with Zack McCune's symbols and graphic designs used here as insignia) that reveal their roles inside the hub, embodying Jeyifous's retro-futurist vision and the spirit of this unique world.
While for his Lagos project Jeyifous used 3D computer models and photographs, here he employed a collage technique, combining 3D renderings, photos and Artificial Intelligence agglomeration.
He defines this style "Proto Realism", a label that perfectly fits since these images look like realistic illustrations, but, at the same time, they have something uncanny about them.
Some elements clearly reveal the images were created using Artificial Intelligence: often the silhouette of the figures looks elongated and the hands are slightly deformed, elements that make you wonder if the images were generated before the advent of Midjourney v5. In some cases the hands are missing and in one case a bag carried by a model seems to be suspended from an invisible hand.
The project won the Silver Lion at the Architecture Biennale, with the following motivation: "a multimedia installation that explores a worldbuilding practice that expands public perspectives and imaginations, offering visions of a decolonized and decarbonized future."
Interestingly enough, the jury never mentioned that the images accompanying the project were made employing AI, but acknowledged the originality of the project (it must be said that Jeyifous re-elaborated the images, and also added painted brushes to create a more arty effect on the images).
Throughout its history, the Venice Biennale has served as a platform for artists pushing the boundaries of creative expression, exploring novel frontiers with innovative materials and techniques.
This was the very first time that a project that employed Artificial Intelligence to generate images has been presented during an architecture event and the first time it has won one of the main awards at a major international event.
This Silver Lion creates a precedent, proving that AI can be integrated in projects and installations showcased at a prestigious biennale. It is maybe too early to wonder if artists employing Artificial Intelligence in their works will be admitted at the Venice Art Biennale next year or if, one day, we will see art exhibitions including a section or a series of awards expressly dedicated to artists and architects integrating AI in their works.
Regardless of what may happen at the next art biennale, this Silver Lion unlocks fresh avenues for artists who incorporate AI into their creative process, demonstrating that disregarding its potential would mean neglecting a future offering infinite inspirations and boundless possibilities.
As for Jeyifous, he may consider venturing into the realm of gaming or film design: through his architectural sci-fi projects (that we hope one day will turn into reality) he creates indeed very compelling experiences that allow visitors to fully immerse themselves in the intricacies of his visionary world.
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