290 Inauguration of Africa Hall. Cut-Outs from the Speeches
294 Unveiling Africa Hall
Gianmarco Mancosu
298 Africa Hall on World Media. A Personal Collection of the Architect
300 From African Liberation to Continental Unity
Amzat Boukari-Yabara
314 Recollections of a Young Diplomat
Ambassador Kongit Sinegiorgis interviewed by Antonio Baio
316 "We Welcome to Ethiopia"
H.I.M. Haile Selassie I, Emperor of Ethiopia
318 The Founding Charter of the Organization of African Unity
320 Map of African Independences 1958 - 1963
Africa Hall
Compiled by Marcello Mezzèdimi and Giancarlo Elmi
6 LIFE OF AFRICA H ALL 338 A Platform for Continental Politics, Economics and Culture
Compiled by Marcello Mezzèdimi
Hosting an African Prize for Outstanding Achievements
Hannah Mariam Meherete-Selassie Dereje
H.I.M. Prize Trust List of Awardees
Luca Sola
David B. Gole
396 A New Blossoming of the “Floral Mural”
Paola Buscaglia, Michela Cardinali, Daniela Russo
399 The Africa Hall Renovation Project . List of Contractors
A Modernist Architect of Empire Edward
United Nations Economic Commission for Africa
H.E. Claver Gatete
United Nations Under Secretary General and UNECA Executive Secretary
At the fiftieth anniversary of the United Nations Economic Commission for Africa (UNECA) in 2008, member states of the commission underscored the historical and cultural significance of the building that had served as its headquarters since 1961 and declared Africa Hall a “Monument to African History.”
In the wake of this recognition, in 2015 the General Assembly of the United Nations approved an ambitious renovation project aimed at bringing new life to this historic venue and re-establishing its original multi-purpose function. This project was part of a larger campaign focused on renovating the main headquarters of the United Nations worldwide, recognizing the historical significance of these venues and upgrading them for future generations.
The early years, following the San Francisco Conference of 1945 that created the United Nations, were characterized by a vast program of building-up its functions and capabilities, both through the establishment of its institutions and agencies and through the physical edification of its main headquarters. As part of this process, continental bodies in the form of economic commissions were created for Europe, Asia, and Latin America. In April 1958, almost a decade after the first commissions were created, the United Nations Economic Commission for Africa (UNECA) was finally established to promote the social and economic development of Africa, and Addis Ababa, Ethiopia, was elected as its permanent seat.
Emperor of Ethiopia, Haile Selassie I, soon afterward commissioned architect Arturo Mezzèdimi to design a modern and inspiring building that would serve as permanent headquarters of the newly born continental body and reflect the emerging aspirations of independence, peace, and unity of the entire Africa rising out of the colonial era. In February 1961, the complex, named “Africa Hall,” was inaugurated and donated by Ethiopia to the United Nations. For the first time in history, African nations could deliberate on matters pertaining to their own destiny in their mother continent. In this same venue, in May 1963, the first thirty-two independent nations of Africa convened to sign a unifying charter and establish the Organization of African Unity (OAU), now evolved into the African Union (AU).
The masterful composition and the embedded artworks of Africa Hall embodied Pan-Africanist
ideals and marked the architectural modernist scene of Africa.
Over the decades, Africa Hall has played a crucial role in advancing the cause of African independence and self-determination, providing a platform for dialogue and diplomacy that enabled member countries to build relationships, resolve conflicts, and work together toward common goals. The Hall has been a central venue for important events, bringing together leaders, policymakers, scholars, and activists from across the continent to discuss pressing issues, share ideas, and formulate strategies for addressing Africa’s challenges.
Beyond official conferences, Africa Hall has also been a space for cultural exchange and artistic expression. Through lectures, exhibitions, and performances, the Hall has contributed to the celebration of the ideals of the United Nations and of African renaissance and heritage.
The renovation project has now been conceived as a fine balance between preservation and innovation. The modernist and artistic heritage has been maintained and renovated, while introducing necessary contemporary elements to meet modern needs, including upgraded technological platforms, universal accessibility, and sustainable features.
The renovated Africa Hall importantly hosts a Visitors Center with permanent exhibition, that presents to the public the United Nations as a global actor, the activities of UNECA in Africa, and the history behind the origin of the building, including a narration on Pan-Africanism. The center is intended to make this venue one of the leading tourist destinations in Addis Ababa and to bring the United Nations, its ideals, history, and ambitions, closer to the peoples and countries it serves by promoting public engagement and education.
It is our hope and commitment for the renovated Africa Hall to continue playing a vital role in promoting African development, cooperation, and integration and showcasing the arts, culture, and heritage of the continent.
Overall, Africa Hall stands as a lasting symbol of unity, peace, and culture for the peoples of Africa and the world, embodying their aspirations for a brighter future.
The African Union Commission
H.E. Ambassador Minata Samate Cessouma
Commissioner for Health, Humanitarian Affairs and Social Development
Africa Hall is an integral part of the journey that the African Union has covered through history, starting from its birth in 1963 when the Organization of African Unity (OAU) was created inside its chambers. It is a remarkable pleasure for the African Union to honor this great initiative of renovating Africa Hall, a monument that rightfully belongs to the cultural heritage of our continent.
Africa Hall carries the story of the first OAU Addis Ababa Summit in 1963, a significant year for our continent. It is during this historic conference that the OAU founding charter, composed of thirty-three chapters, was signed by thirty-two Heads of Independent African States on May 25, 1963. This is the date we continue to recognize and celebrate as “Africa Day.” The signing of the charter was a culmination of a long historical process and the first time when all the Heads of Independent African States convened on African soil to lay the foundations of solidarity and camaraderie which have continued to grow over the past sixty years. As we celebrate and cherish the PanAfrican spirit of our continent, now comprising fifty-five member states, we are reminded of the commitment of those leaders who pledged to create African unity.
The decision to restore and renovate Africa Hall to serve its original purposes is of fundamental importance. It is inside Africa Hall that the engaging speeches, the drafting of the charter, and the other political actions aspiring to the dream of a united Africa were made. In those speeches, one can grasp the commitment our leaders made to foster social, economic, and political unity of the continent. Those inspiring words emphasized the fundamental values of equity, equality, and fraternity among African peoples and nations.
We praise the initiative undertaken by the United Nations Economic Commission for Africa (UNECA) and the work done by the Africa Hall working group, the Africa Hall team, partners,
world-class experts, and contractors. We salute the Pan-African spirit of Ethiopia, who through the initiative of His Imperial Majesty Emperor Haile Selassie I donated Africa Hall to the United Nations and the following actions of the governments of the Federal Democratic Republic of Ethiopia in support of this endeavor.
When Africa Hall is mentioned, we cannot but be delighted with the artistic heritage preserved in its chambers, such as the famous stainedglass windows by Ethiopian artist Maître Afewerk Tekle and the finesse of Mezzèdimi’s architectural composition. The renovated Africa Hall will offer this and its other artistic heritage to visitors, allowing our African stories to be shared with the world.
The African Union has continued to pursue the Africa Hall activities for over sixty years. The work of the African Union has been guided by its vision of having “an integrated, prosperous and peaceful Africa, driven by its own citizens and representing a dynamic force in the global arena.” This vision is implemented in order to achieve greater unity and solidarity between African countries and their people. The African Union has also centered itself to defend the sovereignty, territorial integrity, and independence of its member states as well as accelerating the political and socioeconomic integration of the continent, among many others.
As we celebrate the birthplace of the Organization of African Unity, now the African Union, we are grateful to the leaders who managed, through many sacrifices, to find a common denominator for unity. It is from their shoulders that we stand high today as champions of unity globally. It is inside Africa Hall that our leaders solidified their commitment to free the continent from all forms of colonialism, humiliation, and exploitation, a task we have continued to pursue.
May the unity of Africa continue to shine for generations to come.
Republic of Italy
H.E. Ambassador Maurizio Busanelli
Permanent Representative of Italy to the African Union and UNECA
The declaration by the General Assembly of the United Nations in 2015 about the historical significance of Africa Hall in Addis Ababa— recognized as being an integral part of Africa’s cultural patrimony and the world’s modernist heritage—and the decision to renovate the building and bring it back to life, represented for Italy an occasion to cast light on its longstanding partnership with Africa.
This book, representing the voluntary contribution of Italy in response to the call addressed to all member states by the General Assembly, presents the history of this landmark building and addresses its related and multifaceted aspects.
When Emperor Haile Selassie I of Ethiopia returned to power in 1941, aware of the deep roots of the Italian community in Ethiopia and despite the previous war with Italy, he allowed the Italian residents to remain in the country and contribute to its future.
Many members of the Italian community chose to believe in the Ethiopian future and elected the country as their own home. In the following three decades, up to the 1974 revolution that put an end to three thousand years of imperial dynasty, a fruitful partnership emerged between the Italian resident community and the local people and authorities, producing remarkable entrepreneurial and cultural contributions to the modernization process of Ethiopia, with industries, services, commerce, and infrastructures being successfully developed.
The events behind the origin and the construction of Africa Hall may be considered a visible symbol of this shared history.
After presenting in 1958 Addis Ababa as host city for the newly established Economic Commission for Africa (UNECA), the continental body of the United Nations in Africa, Haile Selassie intended to fund and donate a modern venue that would allow for the first time Africans to discuss matters pertaining to their own continent. He appointed an Italian architect, Arturo Mezzèdimi, with the onerous task of delivering a world-class building that would embody the emerging aspirations of
an entire continent making headway into a new era of independence and envisaged unity.
The challenge on which both the emperor and the architect embarked was no minor one in the context of the limited resources available in Ethiopia at that time. There existed, however, a solid ecosystem of Italian construction firms, industries and manufacturers—combined with local professionals, technicians, and workforce— able to underpin this grand endeavor and which, more in general, allowed Mezzèdimi to contribute to the creation of an astounding number of works throughout Ethiopia in twenty-three years of close collaboration with the emperor.
The challenge represented by Africa Hall was overcome by delivering an architectural composition widely recognized as masterpiece, built in the short span of eighteen months by the Italian local contractor Luigi Varnero. In 1961, UNECA was thus able to take home in this venue, which just two years later hosted the solemn birth of the Organization of African Unity, now African Union. This was another milestone event in African and world history, and a strategic vision of Haile Selassie, who for the first time ever was able to gather together the Heads of State or leaders of thirty-two African States in the most prestigious building in Addis Ababa.
It is symbolic that the main building which epitomizes a new era for the entire African continent was extraordinarily entrusted by Haile Selassie to a young, self-taught architect. As such, this episode alone is a testimony to the depth of the ties between the Ethiopian and the Italian people. It somehow speaks to the recognized capacity, cultural heritage, and talent that many Italians express worldwide.
Africa Hall certainly stands as a lasting symbol of unity and peace for Africa, but also represents a vivid testimony to the presence and deep involvement of the Italian community in the economic, social, and cultural lives of many African countries. The story of this building, narrated in this book through evocative images and a plurality of contributions, emerges as a remarkable example of successful interchange and cooperation which is still of great inspiration today.
On the Origin and Content of the Book
Marcello Mezzèdimi Editor
Delving into the history of one’s family is an exercise not always undertaken lightly, the past often recalled with nostalgia for bygone times and cherished people. And when strong characters who left permanent impressions are protagonists in those memories—as has been the case with my grandfather Arturo—dwelling on the past stimulates mixed feelings that create a barrier difficult to overcome, inducing to look elsewhere. In these circumstances, an event is needed to bring the past up to date and make it newly part of our present.
In my case, this spark was the news that the United Nations had recognized the historical and cultural significance of Africa Hall—the most important building designed at a young age by my grandfather during his illustrious career as a self-taught architect—and decided in 2015 to renovate and bring it back to life with the inclusion of a permanent exhibition open to visitors.
I then had the privilege of visiting Africa Hall at a time that it was no longer being used and appeared crystallized in its original form. Discovering it for myself was an immersive experience. I soon realized that there was a unique opportunity to collect the many stories that this special venue had to tell and present them in a book that would complement the exhibition. What I had not immediately understood was how far these stories would go, embracing events of historical importance on a global scale, for the entire continent of Africa, at a national level for Ethiopia, and locally for the city of Addis Ababa. It was then a matter of securing the needed institutional patronage and venturing into the promotion and editing of the book, a discipline entirely new to me.
The book has been envisaged to have a strong visual identity through an impacting selection of photographs and a considered design, with the ambition to make it attractive to a wide audience and in line with the architect’s prefer- ence for visual communication. The discovery of original photographic negatives—collected with foresight by my grandfather—added the excitement of touching unseen material and complemented the iconographic research of im- ages often authored by acclaimed photographers.
Alongside the visual content, I felt it was important to include written contributions that would address the diverse topics related to the origin
and life of Africa Hall. The book now presents thirty-one essays by thirty-five sholars and professionals, including original articles and recollections. Such amplitude of contributions gives voice to a variety of perspectives by authors of diverse background, seniority, and origin, in an attempt to compose a polyphonic assembly that mirrors the multilateral nature of the institutions this building was born to host. The essays are conceived as stand-alone articles, each addressing a specific topic and which may be read independently.
The result is a book that is hard to classify under a specific category, as it touches the disciplines of photography, architecture, history, and art. This aspect is somehow an analogy for how Africa Hall sits at the crossroads of historical events of different scales and its role as platform for the different domains of politics, economics, art, and culture.
The book is structured in eight chapters that present events and topics of interest in substantial chronological order, commencing with an introduction to the multi-folded historical context in which Africa Hall was conceived and built.
On the global scene, the origin of the building is framed within the vast program represented by the birth and evolution of the United Nations after the collective tragedy of World War II, both with the establishment of the main institutions and agencies and, in physical terms, with the design and construction of its headquarters worldwide. The genesis of the building is also interlaced with the historical movement of Pan-Africanism, which manifested itself through a variety of expressions and stances on a con- tinental scale, and beyond, across the Atlantic and among the African diasporas of Europe, with Africa Hall representing the embodiment of its highest ideals of freedom, unity, and peace. The building also epitomizes, at a national scale, the ambitious process of infrastructural modernization of imperial Ethiopia undertaken by Emperor Haile Selassie I during the 1950s and 1960s, and played a pivotal role, at a local level, in Addis Ababa’s evolution into a continental metropolis.
The historical background would, however, not be complete without introducing the perspective of Emperor Haile Selassie’s life and his tireless diplomatic activity that led to the emergence of Ethiopia on the world stage. The first chapter concludes with a note on the Italian community in
Marcello Mezzèdimi (PhD) is the grandson of Arturo Mezzèdimi and currently directs the Djibouti-based activities of the MEZZ group in the fields of construction, real estate development, architectural design, and family heritage. His educational background comprises an MSc in Aerospace Engineering (La Sapienza, 2002), an MSc in Mathematical Finance (Oxford, 2011), a PhD in Applied Mathematics (La Sapienza/Luiss, 2011), and a Master in Real Estate (Bocconi, 2006).
postwar Ethiopia. Africa Hall, conceived as a fitting symbol of the aspirations of an entire continent emerging from the colonial era, was not only designed by an Italian architect—and as such a representative of a former enemy—but also built by a contractor who relied on a professional network of suppliers and manufacturers of this same community, as well as on the contribution of local professionals, technicians, and laborers. This is an inspiring story of vision and reconciliation that continues to resonate today. It is also important to remember the eleven Ethiopian men that lost their lives during the construction of the building, to the memory of whom this book wishes to pay tribute.
With the first chapter setting the general background through the contributions of Chloé Maurel, Amzat Boukari-Yabara, Daniel Mulugeta, Shimelis Bonsa Gulema, and Gianfrancesco Lusini, the second one focuses on the building itself, discussing in depth the events behind its origin and construction, and the architectural features of its design. With essays by Fasil Giorghis, Ephrem Nigussie and Dawit Benti, this chapter also includes an original article by Arturo Mezzèdimi and recollections by Leul Ras Mengesha Seyoum, the former Minister of Public Works & Communications in charge of the project. It closes with an extensive narration by Edward Denison on Africa Hall within the global context of other modernist headquarters that were erected for the United Nations during the 1950s and 1960s.
The building was designed to host four remarkable artworks embedded in its structure as integral elements of its architectural composition, testifying to the creative partnership between the architect and the artists Afewerk Tekle, Nenne Sanguineti Poggi, and Brunetto Buracchini who realized them. These works of art are addressed in the third chapter with essays by Bekele Mekonnen, Kate Coucher, Nelly Cattaneo, Monica Brondi, and Laura Callea, including also the original testimonies by the artists and a filmic narration by Rasselas Lakew.
Two main events have marked the history of Africa Hall: its inauguration in February 1961 as permanent headquarters of the newly established United Nations Economic Commission for Africa (UNECA) and the founding summit that gave birth in May 1963 to the Organization of African Unity (OAU), now African Union (AU). Chronicles from these conferences by Martin Welz, the reception in international media by Gianmarco Mancosu, and their impact on the history of Africa by Amzat Boukari-Yabara comprise the fourth chapter, together with extracts from the original speeches and recollections from Ambassador Kongit Sinegiorgis, who attended both events as a young diplomat.
The building complex, originally built by Luigi Varnero, was expanded in the early 1970s by contractors Cogeco and Luigi Elmi. Images from the original design and photographs of the extension are shown in the fifth chapter.
For over five decades, Africa Hall has been a platform for continental summits, conferences, and diplomatic events, contributing to the development of the political and economic agenda of the continent. Hannah Mariam Meherete-Selassie Dereje walks us through the activities of the Prize Trust established in the name of her great grandfather Emperor Haile Selassie, which also gave Africa Hall an important role in the cultural sphere through the recognition of accomplishments attained by national and international personalities in various domains.
The building’s multi-faceted life is narrated in chapter six, which includes a photographic reportage by Luca Sola, portraying Africa Hall on the eve of its restoration and documenting its original condition before permanent alterations would be made by the renovation project.
The search for a balance between innovation and preservation, which characterizes the renovation of Africa Hall, is presented in chapter seven by David B. Gole, alongside an article by Paola Buscaglia, Michela Cardinali, and Daniela Russo on the conservation of the African flora mural. On October 21, 2024, the renovated Africa Hall was officially inaugurated, and this book was presented two days later as the voluntary contribution of the Republic of Italy to the United Nations initiative.
The book closes with a presentation by Edward Denison on the figure of Arturo Mezzèdimi. Africa Hall represents just one of the astounding number of projects designed by the architect and built throughout Ethiopia and Eritrea between 1941 and 1975, many of which resulted from an intense and close collaboration with Emperor Haile Selassie. Although it is not possible to provide an exhaustive treatment of such accomplishments in this context, the final chapter is intended to be a brief introduction to the life and work of the architect.
My hope is that this book will contribute to the emergence of the many stories herein touched upon and which have remained so far partly overlooked and untold, despite perhaps deserving attention for the significance and historical relevance they hold. In doing so, I also wish to pay a heartfelt, and hopefully balanced, homage to the memory of my grandfather and the profound legacy he has left to our family and to the nation, imperial Ethiopia, that had been his beloved home during that special period in which the history of Africa was being shaped with idealism and high expectations.
Kwame Nkrumah waves jubilantly to the crowd that stood before Parliament House in Accra, Ghana, as midnight on March 5-6, 1957, brought the newly independent British Commonwealth country into being as the first nation in SubSaharan Africa to gain independence.
Both countries pursued a diplomacy of nonalignment and Yugoslavia provided professional and technical assistance to Ethiopia during the reconstruction period.
Yugoslavia's President Tito (left) and Emperor Haile Selassie (right) salute parading troops during Tito’s second visit to Addis Ababa on February 2, 1959.
State visit of Emperor Haile Selassie (left) to the U.S.S.R. with Prime Minister Khrushchev (right) in Moscow, July 1959.
The emperor exercised his diplomatic prowess, closely straddling the line between the United States and the Soviet Union.
Perspective drawing of the architectural complex, hand-drawn by the architect on May 28, 1958, and named solution “G.”
The building in the background would be formally simple, harmonious, spread out, and understated in its color (for the large international organizational system), creating on the front an ampler sculptural volume with a measured modulation and a solid compact quality, vibrant with more cheerful colors, using more open, free forms (for the new creation: the assembly of the African peoples). This was, naturally, to be presented with an exterior sense of unity, despite the temptation to further indulge in an effect infused with more lively, rhythmic, and vibrant colors i.e., African. 56
Original plans of the ground floor (left) and first floor (right) of the Africa Hall complex. A color-coding scheme explains the various areas and their access by different types of users to “avoid illogical crossings” while “allowing enough contact” between delegates. 56
Afewerk Tekle sits in his studio, Villa Alpha, in Addis Ababa in 1965. In 1999, he bestowed his atelier to the public, stating:
As her [Ethiopia’s] creative son, I would like to leave this house with an endowment so that at least six or seven young artists who are beginning to be known can study. As a kind of a scholarship, they can live and work in this place.80
Delegates in the lobby of Africa Hall in January 1970, seen here flooded with sunlit colors cast by the stained-glass windows refracting on the white marble floor.
Delegates, press, staff, and public during a conference held at
following
Africa Hall
its inauguration in Febraury 1961.
St at us of In de pe nd en ce Ma y 19 58
St at us of In de pe nd en ce Ma y 19 58
AFRICAN INDEPENDENCES 1958-1963
SPANIS SAHARAH
SPANIS SAHARAH
(UNITED ARAB REPUBLIC) GHANA LIBERIA
FRENCH WEST AFRICA
FRENCH WEST AFRICA
E GYPT (UNITED ARAB REPUBLIC) GHANA LIBERIA
NIGERIA
BRITISH CAMEROON
FRENCH EQUATORIA L AFRICA
FRENCH EQUATORIA L AFRICA
BRITISH CAMEROON
GAMBIA PORTUGESE KENYA
GAMBIA PORTUGESE KENYA
GUINEA BECHUANALAND
SIERRA LEONE S OMALIA TOGO
FRENCH CAMEROON
FRENCH CAMEROON
GUINEA BECHUANALAND
SIERRA LEONE S
TOGO UGANDA
SPANISH GUINEA
SPANISH GUINEA
SAO TOME AND PRINCIPE
SAO TOME AND PRINCIPE
MOZAMBIQUE ( NYASALAND) NIGERIA
SOUTH-WEST AFRICA
BELGIAN CONGO RUANDA-URUNDI
BELGIAN CONGO RUANDA-URUNDI
FEDERATION
FEDERATION OF RHODESIA AND NYASALAND (SOUTH RHODESIA)
MOZAMBIQUE ( NYASALAND)
BRITISH S OMALILAND ERITREA ETHIOPIA
BRITISH S OMALILAND
MALAGASY REPUBLIC
MALAGASY REPUBLIC
SOUTH-WEST AFRICA
Independent
Non-Independent
Other
Demarcated Undemarcated
Between the establishment of UNECA in April 1958, when only eight African countries were independent, and the foundation of the OAU in May 1963 with thirty-two independent nations, a wave of liberation from colonial rule spread throughout Africa, which would continue in the following years.
SPANIS SAHARAH
GAMBIA PORTUGESE
GUINEA
SIERRA LEONE
E GYPT (UNITED ARAB REPUBLIC) GHANA LIBERIA
FRENCH WEST AFRICA
TOGO
1963 Foundation of OAU
Independent
Non-Independent
In de pe nd en t
Other
No n- In de pe nd en t
Othe r
SAO TOME AND PRINCIPE
BRITISH CAMEROON
FRENCH CAMEROON
FRENCH EQUATORIA L AFRICA SPANISH GUINEA
BELGIAN CONGO RUANDA-URUNDI
BRITISH S OMALILAND ERITREA ETHIOPIA
FEDERATION OF RHODESIA AND NYASALAND (SOUTH RHODESIA)
SOUTH-WEST AFRICA
UNION OF SOUTH AFRICA BASUTOLAND
MALAGASY REPUBLIC
Demarcated
Undemarcated
De m arcated
Source MAP PROJECTION: WGS 1984 World Mercator, dataset collected by Lilly Theresa Thockner, infographics by VisionAirStudio
Un de m arcated
The foyer area leading to the plenary hall where “information and document collating booths, entirely clad in fine wood, are set within the internal curved wall completely covered with a photographic canvas of a composition inspired by the African flora.” 56
The pas perdus areas “follow the external perimeter of the plenary hall […] which is entered by the end of the two main wings.” 56
of the plenary hall as seen from the speaker’s podium.
“The main assembly hall has a circular floor plan open at the front section characterized by a curved trapezoid. Volumetrically, the hall is a truncated cone, with two upper galleries—for the public and journalists—and a third gallery—internally isolated—for special guests.” 56
View
improving thermal insulation and adding gutters for rainwater management.
The Renovated Assembly Hall
The Assembly Hall is the central space and building focal point around which all other spatial program is arranged.
The renovation design necessitated changes to ensure that the Assembly Hall would continue to be a functional and usable place, supporting both its original purpose for meetings of the member states as well as new uses including conferences and performances. Changes for future use required reconfiguring the seating to accommodate the UNECA delegations, now increased to fifty-four member states from the thirty-two at the time of the building inauguration. This meant that the double horseshoe arrangement of delegate desks and seating had to evolve into a triple configuration.
Key to ensuring the building’s viability into the future included a complete modernization of its audio-visual and conferencing technology, transforming the Assembly Hall into a leading twenty-first-century conferencing venue. The new system features fully accessible and remote interpretation capabilities, allowing real-time translation of events in multiple languages. A 13-meter-wide curved LED display wall showcasing cutting-edge technology and broadcasting capabilities for live television has been added together with stage spot lighting for performances and multi-purpose events.
Enhancing the conference facilities in the Assembly Hall included also un upgrading of the mechanical ventilation systems with conditioned air being now delivered at floor level via subfloor inlets.
The Visitors Center: Telling the Story of Africa Hall
An integral part of the renovation project is to tell the story of the Africa Hall, interpreting its historical and cultural significance for visitors and users. The reinstatement of the ground floor public spaces including a dedicated exhibition space was a deliberate step toward this goal. This space serves as a window into the building’s rich
history and its role in contemporary African history, intended to educate visitors and inspire current and future generations.
The exhibition explores key themes: the building itself, from its designer Mezzèdimi to its architectural ethos; the rich heritage derived from its historical and cultural journey; and the United Nations mandate at both regional and global levels. Envisioned as a dynamic and interactive experience, the exhibition leverages on technology to provide a living narrative that can evolve and adapt over time, enhancing its content as deemed fit in the future.
Ancillary facilities have been carefully designed to support the overall experience. Upon arrival, visitors will be guided through a seamless screening process in the new building on Menelik II Avenue. Amenities such as restrooms, disabled access, a café, and a gift shop have been provided to enhance the visitor experience and complement the exhibition space.
Upgrading and Making the Building Safe
A central aspect of the renovation project was to upgrade the building complex to the current international standards and best practices in terms of energy efficiency, safety, and accessibility. With the original design conceived over sixty-five years ago, there have since been significant advancements in such requirements for public buildings.
In terms of energy efficiency, the renovated Africa Hall now aligns with the United Nations “Greening the Blue” sustainability initiative to reduce ongoing life cycle costs.
The renovated building is now also compliant in terms of safety, with enhanced measures implemented in fire compartmentation, detection, alarm and suppression. Known hazardous materials were identified and safely removed while structural remediation works were undertaken to enhance the strength and resilience of the structure.
Upgrades were also made to ensure safe access and movement throughout the complex making the renovated building aligned with the United Nations Disability Inclusion Strategy to achieve “universal accessibility.”
Top left, Leul Ras Mengesha Seyoum shares recollections during the book presentation on October 23, 2024.
Bottom left, architect Antonio Baio, UNECA project manager in charge of the renovation project. Above, a string quartet performs musical interludes during the inauguration ceremony.
Left and top right, Moussa Faki Mahamat, chairman of the African Union Commission,
and Abiy Ahmed, prime minister of the Federal Democratic Republic of Ethiopia, deliver speeches during the inauguration ceremony.
Middle right, Antonio M.A. Pedro, UNECA deputy executive secretary for the program, chairs the book presentation.
Bottom right, Sergio and Sandra Mezzèdimi visit the section of the permanent exhibition dedicated to their father, Arturo.
Aerial view of the newly built City Hall in 1964, standing on a hill overlooking Churchill Avenue.
The municipality complex comprised seven buildings of 70,000 cubic meters. The southern three, suspended on the ground floor, stand symmetrically on the avenue’s axis, creating an open square with two wings embracing the city in front of the complex.
On the north side are three buildings housing 270 offices, the Council’s assembly hall, public spaces, a cinema-theater, a library, cafeteria, and restaurant. The municipality was inaugurated by Queen Elizabeth II of the United Kingdom during her state visit to Ethiopia on February 4, 1965. 158
