This document provides an introduction to the research topic of how Nigerian architecture can learn from the communication methods of contemporary Nigerian art. It discusses how rapid urbanization is threatening cultural identity and discusses how art in Nigeria traditionally communicated cultural identity through symbols and motifs. Contemporary Nigerian artists continue this tradition of drawing from local cultures. However, Nigerian architecture since colonial times has not further developed traditional building methods. The research will examine the communication methods of contemporary Nigerian artists to see if architecture can apply similar principles to help preserve cultural identity through building design. Key terms are defined to provide context for the research.

1. Towards an Architectural
Identity
How Nigerian Architecture can learn from the
communication methods of Contemporary
Nigerian Art.

2. Studio Master: Prof. Ivan Kucina
2nd Advisor: Prof. Jasper Cepl
Towards an Architectural Identity
How Nigerian Architecture can learn from the
communication methods of Contemporary
Nigerian Art.
Ogeye Olumide Oluwadamilola
Matrikelnummer- 4065113
MA_ARCH STUDIO 2017-2018

3. 5
ABSTRACT
In a period such as now where there is a
rapid rate of urbanisation, cultural identity
is under the threat of being erased in the
process. If architecture is for people, then it
should as well be able to reflect, respect, as
well as to protect our respective identities.
The Nigerian society being a culturally diverse
one would greatly be affected by this change,
but this research seeks to redress that and
to provide solutions by looking towards
Contemporary Art in Nigeria. Observations
revealed contemporary artists in Nigeria
rely on culture as a design language.
Perhaps, what if architects did the same with
architecture? Although the lines that separate
art and architecture are clear when it comes
to freedom of expression; while architecture
is always limited by economic constraints,
art isn’t. Taking a cue from the artists, the
research focuses on the Yoruba culture which
is the dominant culture of the city of Lagos in
Nigeria, – the site context.
As an observation, artists rely heavily on a
liberal expression of their ideas, and this
isn’t a luxury that all architects can afford.
The architect’s training is one that is often
directed at strengthening the logical part
of his brain, and the more an architect
designs, the more the expressive and
artistic side remains unrefined. As a result
of this, it is difficult to have an architect
who spontaneously taps into both sides of
the brain. However, this possibility could
exist if the architect embraces the artist as
a comrade-in-arms, to design buildings. This
solution would undoubtedly strengthen the
diversity in terms of architecture within the
country and would bring about the creation
of buildings that the people of Nigeria can
relate with.

4. ACKNOWLEDGEMENTPREFACE
I would like to thank Jesus Christ for the
opportunity given to me to impart my world.
I also would like to thank my supervisors,
Prof Ivan Kucina (Serbia) and Prof Jasper Cepl
(Germany) for steering me in the direction that
brought about the completion of this work.
My appreciation goes to His Imperial
Majesty, the great Ooni of Ife, Oba Adeyeye
Ogunwusi, who granted me audience
at his palace, and provided me with
unrestricted access to various important
landmarks within the ancient city of Ile-Ife.
Also, many thanks must be given to the
unknown individuals that made countless
information (from book excerpts, images,
published materials) available at no cost on
the internet. Lastly, I would like to thank my
family for their kind support and prayers
althrough my sojourn. God bless you all.
This work is dedicated to all Nigerians
and to those striving to make the
world a better place than they met it.
This thesis is original, unpublished, and an
independent work by the Author. Information
from secondary sources have been adequately
referenced. The work has not been submitted
previously, in whole or in part, to qualify for
any other academic award.

5. 9
CONTENT
12
16
21
24
30
32
38
42
50
52
1. INTRODUCTION
Explanation of Studio theme
Introduction to Problem and Research Question
Definition of Terms
Preliminary Mapping Explained
Location Context: Introduction
Lagos, Nigeria
Site Location Overview
2. LITERATURE REVIEW
Arts and Culture in Nigeria
Contemporary Art in Nigeria
Architecture in Nigeria
Communication Method
Building design elements as a medium of
Communicating Cultural Identity
Communication Methods in Contemporary
Nigerian Art
55

6. 10
3. CASE STUDY
Alara Store
Dominican Church Ibadan
Faculty of Humanities, University of Ife
4. DESIGN
Design Summary
5. OBSERVATION & CONCLUSION
6. BIBLIOGRAPHY
7. APPENDIX
64
66
70
72
92
96
99
102

7. 12 13
More than meets the eye is a figurative and
general terminology that has been used
repeatedly and has found its way into the
vocabulary of many. However, this time,
the phrase is being explored under the
shrewd lens of architecture to explore and
understand the hidden patterns and layers
of information that may exist underneath
an unassuming surface. For example, why
does one feel a sense of frailty inside the
Crematorium in Baumschulenweg, in Berlin,
or the ecstatic experience on a match-day
inside the Santiago Bernabeu in Madrid? The
answers are revealed in layers beyond what
our eyes can see.
Similarly in music, the same phenomenon
exists, one that makes us fall in love with a
particular song on hearing it for the first time.
Underneath the melodious rhythm of that
song is a composition which forms the basic
structure of the song.
This invisible layer is what makes it easy for
a Latin American to easily develop interest in
an Afrocentric song from West Africa. Musical
artists and composers understand this
pattern and they put it into practice to create
musical pieces that transcends through
the continents of the world. In May 2017,
Despacito[1]
, a Spanish song liked by people
from all over the world became the most
viewed song on Youtube with a viewership
of over 5billion (at the time of this research).
This result is amazing especially when one
considers how the song creates a wild appeal
to a large percentage of people who don’t
understand the Spanish language or even
the meaning of the song. This phenomenon
makes us truly marvel at the power that lies
in “more than meets the eye”.
1 Despacito which means “Slowly” is a Spanish
song released in January 2017 by Puerto Rican singer
Luis Fonsi featuring Puerto Rican rapper Daddy Yankee.
The song broke the internet in 2017 and topped various
music billboards.
Ogeye Olumide
INTRODUCTION
give concrete expressions to those moods
[feelings][1]
. If we are to go by his counsel,
then from what language do we borrow this
vocabulary from? Perhaps an answer to the
above question may be helpful in providing a
clear direction as to how artists are achieving
this. The architectonic world is the design
vocabulary known to architects but what if
Culture comes in as a second design lexicon
that the architect applies?
With an understanding of the theme, one
is interested to explore a route that seeks
to understand how Architecture in Nigeria
can learn from the communication methods
of the dynamic and vibrant contemporary
artists in Nigeria. The research context is
Lagos, a populous city in South-West Nigeria.
1 Loos, Adolf. “Ornamentation and Crime”. Cahiers
d’aujourd’hui, June 1913.
Narrowing the subject down to art, it has
often been said that it has the power to
evoke our emotions and communicate with
us in special ways in which we can’t find
expression for. Today art has progressed from
the vernacular context to the contemporary
stage, and even with this transition we, still
find ourselves charmed with the same old
fascination. Similarly, contemporary art from
various parts of Africa are not left out, as they
continually boast of this charm; but this isn’t
the case when it comes to its contemporary
Architecture – especially in Nigeria which this
research focuses on.
Historically, Nigerians have had a very strong
connectionwithartandcraftsofvariouskinds,
and there have been so many testaments till
this day. Most recent is the sudden rise in
number of young artists springing up from
various corners of the country, all of whom
continue to take on the mantles of the older
generation, blending ageless traditional
methods with the contemporary lifestyle and
materials of today. The irony of their sudden
emergence is not attributed to an increase
in Art galleries or Museums being built all
over the country, but contrary to it is their
resourceful use of social media platforms
which provides them with a digital gallery to
showcase their works to the world.
Another important factor which is
contributing to their rise is the cultural
purity of their work in how it embraces a
context the people relate with. Although
foreign influences may be present in their
work, majority of these artists draw themes
for from the rich and diverse cultures they
represent. As a result of this, various people
feel moved by it, as they are able to relate
with it on different levels.
Adolf Loos, the influential theorist of the
modern architectural era postulated that
architecture aroused moods [feelings] in
people, and the architect’s task was to
01

8. 14 15
Art is the best indication of what a culture thinks about itself, what value it
places upon man and his acts. It reflects beliefs and values. In the absence of
other documentation. . . particularly the written word, it is often all we have
to reconstruct the substance and not just the sequence of the past.
Roy Sieber

9. 16 17
the function of decoration but rather, Spiritual,
Cultural and functional purposes. Messages
were often communicated intricately on
artworks with symbolic characters which were
well understood by the people. These artworks
helped to reflect the nature of the people, their
ways of life, and most especially their identity.
Symbolism as we may call it plays a major role
in the art of many cultures in Nigeria and it is
being perfected today by rising Contemporary
artists in the country who are using it for their
trade.
This tradition al use of symbolism was common
eveninthewayhouseswerebuiltanddecorated
in the past; for example, the lizard symbol or
that of the fish drawn on the house of the
Eastern man from the Igbo tribe would signify
that the house belonged to a strong man, or
to a very wealthy man, in the latter case. This
same symbolism is present in Northern Nigeria
where a rich man in Kano decorates his house
with colourful Hausa motifs to also depict his
wealth. For the Yoruba and the Benin tribes, it
was also easy to identify the wealthy men from
the number and size of courtyards within their
house. The wealthy having the ability to marry
many wives had to use numerous courtyards
as a way to draw light and ventilation into the
various rooms in the house.
Unfortunately, this practice is not common
again today and the colonial presence in Nigeria
may be responsible for this, as it ushered in its
own way of building and in return, there wasn’t
a further development on the vernacular
method of building. Nigeria in 1960 became
an independent nation, but 58 years down the
line, not much has been done to rediscover or
improve on the old traditional way of building.
Today, there exists numerous buildings which
are barely communicating with the people, talk
less of the environment. In a time such as this
when cultures are simultaneously integrating
and disintegrating, identities are being lost
The world is in a period where rapid urbanisation and
technological advancement is making it possible for people
to emigrate easily into other societies. The dilemma that
occurs is that there is a fast exchange of culture and in
the process, important aspects of cultures involved in the
contact is either being replaced, eroded or new ones being
created. With this rate, it would eventually get to a point
where the lines that separate certain cultures would be
erased, thereby creating cultural homogeneity. This act
would erase diversity, and ultimately reduce the world to
one homogeneous mould. Nigeria being a country with a
very rich culture with over 250 ethnic groups is under the
threat of cultural homogeneity.
The country is an art society that has long been involved
in both the verbal and non-verbal types of communication.
Up until the mid 19th century, this was the tradition of
communication predominant in the region. Northern
Nigeria is an exception, because of the early influences
of Islam. The people were taught the Arabic characters in
order to read the Quran.
Sign language known as Nsibidi similar to the Egyptian
Hieroglyphics was used in parts of Igbo[1]
land for
communication. However, it was until 1856 when the CMS
(Christian Missionary Society) together with Samuel Ajayi
Crowther, the first African Clergy man from the Yoruba
land adopted the use of Roman Characters for the purpose
of transposing the spoken language into written text[2]
.
Whether or not this was a considerable success is a matter
for later debate. However, this step took communication a
stride further as people were now empowered to interact
effectively outside of their own societies. The dilemma
that occurs when a tradition is orally transmitted from
one generation to the other is that some of it is lost in
the process, while others are forgotten and sometimes
misinterpreted. But what happens when this tradition is
transmitted through art?
In the Nigerian culture, artworks are not limited to serve
1 Igbo is a language spoken by Igbo people who are one of the major
ethnic tribes in Nigeria. They originated from the Eastern parts of Nigeria,
but are today spread across the country, just like the other major tribes.
2 The history of the Yorubas: From the earliest time to the beginning of
the British Protectorate (London: Routledge & K. Paul, 1921), 412-430.
STATEMENT OF PROBLEM
Intricate details on a Palace door from Ekiti, Western Nigeria.
Photo Credits: British Museum, London.

10. 18 19
Hausa Wall Motifs on the Emir‘s Palace in Kaduna, Northern Nigeria. Source: Culture Trip Nigeria.

11. 20 21
in the process and new ones are being created. Architecture
being a powerful tool can be used as an educative medium to
do what the arts are doing – preserving the culture by reflecting
the culture in their works. Art, most times are kept in the gallery
and sometimes could only be accessed by paying an entry fee to
see, but architecture on the other hand is constantly interacting
with the society and one begins to imagine how much influence
it could have in helping to preserve cultures. Today, the artists
are creating art and the people are connecting with it more than
ever before. Perhaps, architecture could learn to apply some of
their principles.
Within the frame of this research, architecture is envisioned to
serve the society at the utilitarian level and also double as an art
object. The research would aim at understanding Contemporary
Art in Nigeria, looking at the communication methods adopted
by certain Contemporary artists in the production of their special
artworks in order to juxtapose them with architecture in Nigeria
to see if it could help to create the an architecture with an
identity.
It is important from the onset to make clear interpretations of keywords which shall be used constantly in this
research, such that the reader is able to grasp the idea of the research in full, and not confuse certain terms for
another.
1. Architecture
The art and science of making buildings. The making encompasses the thinking process, the ideologies behind
the concept, as well as its construction.
2. Art
As defined by Oxford is the expression or application of human creative skill and imagination, typically in a visual
form.
3. Aesthetics
This is defined as a set of principles that is concerned with the nature and appreciation of beauty
4. Culture
This is defined as the ideas, customs and social behaviour of a people.
5. Identity
This is defined as the characteristics that make up a person or a thing.
6. Contemporary Art
This is a form of art that is unusual at first sight, but has the elements of art and incorporates materials in an
unusual way to create a form of aesthetics.
7. Communication Method
Oxford dictionary defines communication as the imparting or exchange of information either by speaking, writing
or by using some other medium. It is the means of sending information and receiving it and there are various
ways and methods by which this is done. The Nigerian artists for example make communication with different
media using Brushes, paints, canvasses, stone, iron, empty plastic bottles and cans etc. But the method in which
they communicate varies from one to another.
8. Africa
The second largest continent in the world (approximately thrice the size of Europe) and has the most diversity in
the world in terms of language, people, aesthetics etc. This diversity makes it logical to understand that within
the homogeneous landscape, there is a high level of heterogeneity as one goes from the North to the South, and
from the East to the West.
9. Yoruba
This is one of the largest ethnic group in Nigeria that occupies the south-Western parts of Nigeria, and extends
to neighbouring parts of Togo, Benin, Ghana and as far as Uk, Cuba, Brazil etc. This ethnic group has a vibrant
artistic culture, very accommodating, and are a joyous people. Numerous artefacts discovered within the region
validate the cultural significance of art in the culture.
10. Language
This is a medium of communicating information across. It includes both oral and non-oral methods.
DEFINITION OF TERMS

12. “If there‘s a book that you want to read, but it hasn‘t been written yet, then
you must write it.”
Toni Morrison

13. 24 25
The first task taken in a process to arrive
at the research program was a mental
exercise that involved a peculiar form of
mapping technique. It began with a basic
sketch that had the uniqueness of having
multiple interpretations. From the dual
interpretations, 10 keywords were generated
from both interpretations of the sketch and
were paired together to create 10 logical
sentences. Afterwards, images were selected
to represent them. These images were then
put together in a collage to express the
general idea and provide a direction for the
research topic. This process gave birth to the
development of the research topic.
The collage above explains the situation
that exists in the way one may perceive
architecture in a context that doesn’t
embrace it. This interpretation is one that
best describes the quality of most of the
contemporary buildings in Nigeria, as many of
them do not reflect the identity of the place in
the ideal way. The lack of pragmatism in how
the architect approaches design, ignoring
a simple but significant consideration such
as climate, to producing designs that strain
comfort on multiple levels, then it makes one
question what the Contemporary concept of
architecture embodies.
This situation gave rise to questions that
were later narrowed down to the aspect
of language in architecture. What kind of
language communicates effectively with
people and their geographical context? What
makes up this language? What elements
could form its basic structure? It was from all
these questions that the research began to
condense into a more specific content which
then provided the clear direction.
With the result of the first collage, the
direction became clear and specific as
extensive literature was consulted regarding
the Site, the Yoruba culture (which belongs
to the city), their art as well as architecture.
Subsequently, new set of keywords were
generatedfromthisstudytoguidetheprocess
that eventually led to the development of a
program diagram. The keywords were again
matched with another set of keywords from
the chosen site context after which sets of
logical sentences were created. All of these
processes though complexly systematic
were effective in steering the course of this
research.
The second collage shows boldly the various
representations of the keywords that come
together as components of the program
diagram. In the collage, the use of symbolism
in art and its connection with the Yoruba
culture is expressed on a superficial level
in the bridge that connects it to a state
of ecstasy. Also, patterns and the use of
geometrical symbols being a fundamentall
communicative tool in the Yoruba culture
is heavily emphasized in the collage.
Spirituality, beauty, and culture are among
many other words that binds art together
with architecture.
The bridge is a symbollic element that
expresses the intention of the research to
connect art and architecture together which
could ultimately lead to the embodiment of
meaning in architecture.
Explaning the Mapping Process
PRELIMINARY DIRECTION: STEP 1 PRELIMINARY DIRECTION: STEP 2

14. 26 27
Keywords: Spiritual, Connection, Water, Patterns, Traditional Arts & Craft, Interaction, Beauty, Picturesque,
Sensual/Uplifting, Culture.

15. 28 29
Lagos, Nigeria.

16. 30 31
Lagos is located on the South-Western part of Nigeria,
which sits on the coasts of the Atlantic Ocean and is one
of the Major ports in West Africa. It is a city inhabited
by over 21 million people and is divided by the lagoon
into two parts, namely the Lagos Island and the Lagos
mainland. Of its 3,577 km2
area, 22% is made up of
lagoons and creeks. According to Akinsemoyin in his
book, Building Lagos, the first settlers arrived there in
the year 1660 and called it “Eko” which is derived from
the Yoruba word “Oko” (which means farm). Later, the
Portuguese merchants who were frequent traders on
the Island named the city “Lagos” after another city
in Portugal which was also located on the coast of
Portugal and had similar geographical features.
From 1850 until the mid 20th century, the British
took Lagos as a colony and established their rule from
there to all the other parts of the country. Lagos,
essentially being a city of the Yorubas has been home
to a lot of cultures since the 20th century. In the early
19th century when the Trans-Atlantic slave trade was
abolished, a lot of Yorubas that were repatriated from
Brazil, Cuba, Portugal and other countries settled on
the Island part of Lagos which eventually became the
home of the elites. Many of them had learnt some
form of trade in their previous places of capture, and
soon they began to earn a living on return with those
skills. They built very elaborate houses which were a
mix of the Brazilian and Portuguese styles. This style
was later known as the Afro-Brazilian style. Presently,
many of those buildings are under constant threats
from developers, because their location has become
one of the most commercial areas in Lagos.
Today, the city of Lagos has played a major part in
the history and prosperity of the country as it was
the country’s Capital until 1991 when it was moved
to Abuja (central Nigeria). Due to the infrastructural
development in Lagos, there is an influx of people
from different cultures and backgrounds, however
the Yoruba culture is still recognized as belonging to
the city.
SITE CONTEXT
Victoria Island, Lagos
Victoria Island is a part of Lagos Island
that was named after Queen Victoria, the
onetime queen of England from 1876-1901.
The island was originally surrounded by
water and most of the land area was sand
filled beginning from 1958. Presently, it is one
of the main business and financial centres of
the city. It is also one of the most exclusive
and expensive places to reside in Lagos, as
many organizations base their headquarters
there including the diplomatic offices.
The choice of this location as regards this
thesis was informed by the need to provide
a site within a public realm. Initial ideas to
locate a site on the other part of Lagos which
is the mainland proved unsuccessful as there
were no ample locations that met the site
attributes for the project. In most cases, the
areas that were available were situated within
residential zones, far away from the public
realm, also due to the high population density on the mainland,
it was difficult to get an empty site within the city centre, next to
the government building.
The site location for this thesis is the present Muri Okunola park,
located just at the foot of the Falomo bridge, off Akin Adesola
Street, in Victoria Island. The site is a void in the midst of a very
busy cosmopolitan area of Lagos, and it is in direct contrast with
the physical nature of the city. Currently, the park is a public
park, but is operated like a Private park as people are made to
pay to use the park. People meet there for picnics, photo shoots,
celebrations and many other forms of outdoor gathering. To the
North of the site is the busy Ozumba Expressway, which separates
it from the Cowrie Creek. To the South of the site is a busy
commercial road with bank headquarters and luxury branded
stores. The Nigerian Law school is located on the eastern part of
the site, while the bridge borders the site to its west.
The location of the site makes it a focal point and a suitable
setting for an architectural design that hopes to be a model for
improvement.
Aerial View of Victoria Island and Ikoyi, Lagos Nigeria. Source: Google Earth

17. 32 33
Art is more than an activity in Nigeria, it is a tradition, culture and
a way of life. When the first set of Europeans arrived the area that
is now called Nigeria, they marvelled at the uniqueness of the
works of art which they saw the people produce. The terracotta
works of the Nok[1]
people which dates back to 1000BC speaks
so much substance of a civilisation that had a keen interest in art,
the complex and cautious attention to details was extraordinary.
Walter Rodney[2]
highlights this in his book;
„The verdict of art historians on the Ife and Benin
bronzes is well known. Since they date from the
14th and 15th centuries, they are very relevant
to any discussion of African development in the
epoch before the contacts with Europe. Nor
should they be regarded as unusual, except with
regard to the material in which the sculptures
were executed. The same skill and feeling
obviously went into sculpture and art-work in
non-durable materials, especially wood.“[3]
Fortunately, this art was not easily diluted the way culture was
diluted by exposure to the lifestyle introduced by the European
missionaries. Today the art world in Nigeria has become stronger
due to the dividends of innovation that has made the production
of art less laborious.
In the past, most civilisations in Nigeria had various art guilds that
ensured the continuity and preservation of the arts. In the Benin
Empire, there was the Brass guild, the Ivory guild, the Blacksmith
guild, the Wood carving guild, and all of them produced art for
the King of Benin, who is revered as a divine ruler. Majority of the
art objects produced by these guilds belonged to the Palace, and
the king was their grand patron.
These guilds still exist today, many of which reside within family
1 Nok is a village in central Nigeria. In 1943, archaeological discoveries were
stumbled upon and it gave evidences to a pre-existent practice of an advanced
form of art with figurines and art objects dating back to 1000 BC.
2 Watlter Rodney was a Guyanese historian and political activist whose
scholarly dedication was to the emancipation from Imperialism across the
African continent and those in the Diaspora. In 1972, his book “How Europe
Underdeveloped Africa” was published and it became a magnum opus as it
provided sufficient information on what had been happening within the African
continent.
3 Walter Rodney, How Europe Underdeveloped Africa (London: Bogle-
LOuverture Publications, 1972), 35.
Olumide Damilola Ogeye, 4065113, NIGERIA.
02LITERATURE REVIEW
ARTS AND CULTURE IN NIGERIA
structures. This same tradition exists within
the Yoruba culture. At the service of the king
are various guilds such as the Dancers, the
Drummers, Praise rendition etc. Individuals
such as these belong to families that are
naturally gifted in these areas and a child born
into one of such families naturally possesses
the skills necessary to belong to the guild.
The African society, inclusive of the Nigerian
has always lived communally, and has been
influenced by one another. The effect of these
influences reflects in day to day activities,
such as dressing, poetry, or design. In the
architecture of the Yoruba palace, one sees
how art and architecture unites together
with the same language. For example,
the use of reliefs and motifs on wooden
doors, columns and walls are symbolic and
communicate various meanings. These form
of ornamentation enhanced the aesthetics of
the palace and also gave it an identity.
Another interesting thing one learns from
the culture, especially in the architecture of
the palace is in the way in which architecture
is used as a manipulative tool. Within the
palace are certain doors which are less than
the usual human standard and so, one is
forced to bend over in order to enter them. In
this moment of bending, an unintentionally
obeisance is being made – either to a certain
deity present in the room or to an individual
that resides in the room. Colours are also very
important in the Yoruba tradition. The White
colour is seen as being divine and carries
with it the highest level of purity. It is being
revered and worn by traditional leaders and
traditional priests. Indigo as well is another
colour which is popular in the Yoruba culture,
and it came with the popular Tie-and-Dye
popularly known as “Adire”. Body scarification
as a form of identity is peculiar to the culture.
People were dressed with various facial
marks depending on the divisions from
which they came from. Wall Murals are also
visible within the culture and was used as a
decorative and informative medium.
In the Northern part of Nigeria the culture
is quite different from the south. This arid
region contains 18 states and shares borders
with Chad Republic and Niger. The movement
of traders from Northern Africa through the
savannah caravan routes beginning from
the 8th century initiated contacts with the
Northern part of Nigeria. This eventually
ushered in Islam, which today has became
part of the culture of the northern Nigerian
states. Just like in the Yoruba and Benin
culture, the Northern states (which are
comprised predominantly of Hausas and
Fulani people) have their own ways of
expressing art as well as crafts. Symbolism
plays a major role in their tradition and there
are various motifs that are associated with
them; their national symbol which is the Dagi
can be seen as embroidery on traditional
wears, as well as on buildings. Beadwork, metalwork and textile
art are some of the crafts which has been developed by them
through the years.
L- Artefact from the Nok
Civilisation from 1000
BC. on display at the
Louvre in Paris.
Source: Wiki Commons
R- Ori Olokun, a Yourba
artefact uncovered in
Ile-Ife which is currently
on display at the British
Museum.
Source: British Museum
B- Ornamentation with
cultural motifs on the
wall of a house in Nort-
hern Nigeria.
Source: Bruno Barbey

18. 34 35
The act of building in the Yoruba land was usually a communal
effort as there were no master builders that were trained to do
this. The use of strong rectilinear forms is very dominant and
prefered due to its efficiency in providing simple but usable
spaces as well as the ease to which spaces can easily be divided.
The acceptance of the rectilinear shape over the circular shape
is a reflection of the simplicity of the people that inhabit them,
and it shows one of the ways by which Culture and architecture
is married together in ideologies. In the past everyone in the
community was involved in the building process, including the
women and children. An example of how this happens is this; the
owner of the land informs his friends in the community about his
plan to build his house, and then chooses a particular day which
is usually in the dry season as the building day. On the selected
day, men and women would gather to transport mud bricks which
are made locally from a borough pit to the site. This goes on for
days until the house is complete. The women and the children
join in ramming the earth within the house until it is compact,
and afterwards, they polish it with special stones. In return for
this service, the owner of the house makes food available for the
participants.
The design of the Yoruba house varies according to the size of
the family. Polygamy was a part of the traditional belief and so it
was common for a man to have as more than 4 wives and many
children. In order to accommodate such a large family, the use
of courtyards were adopted to effectively
ventilate and cool the various rooms around
which it was arranged. The bigger the family,
the more the courtyards, and the more
complex the layout of the spaces gets.
Attention to privacy in the design of houses
was ensured through the disposition of the
spaces. In the corridor house typology, the
father’s room was usually located next to
the entrance such that he could protect his
family in case of any danger, while the room
for the older male children were at the other
corners. The use of verandahs also known as
“Kobi” served as a public space within the
house for guests who were not considered
close to the family.
Social activities within the house took
place along the corridors as well as within
the courtyard and together with the
impluvium, they stand out as significant
building design elements within the culture.
Another important feature is the hierarchical
treatment and definition of spaces from
public to private. as one journeys through the
building from the corridor into the courtyard.
The most public area was usually the main
entrance before the building, while the semi-
public area was along the verandah also
known as the “Kobi”. This space was used
to welcome visitors that are not considered
close to the family. The next space is the
semi-Private one which begins as one
enters into the corridor and those who are
allowed to proceed into this space are usually
close friends of the family as well as some
extended family members. The rooms were
usually disposed on both sides of the corridor
and so it was considered a private area in a
sense. This corridor terminates into an open
courtyard within the house which is where
the family shares intimate time together.
It is considered the most private place in
the house and is open to the sky. The roof
slopes down into the courtyard in a funnel-
like structure and this effect causes a draft
of wind into the space which then helps to
ventilate the rooms around the courtyard.
This sustainable technique is lost today due
to the new ways of designing.
Mural on the interior wall of the OluOrogbo shrine in Ife. Source: Olumide Ogeye

19. 36
Carved door at the Oonis palace in Ife. On the door is a story that has been captured in reliefs. Source: Olumide Ogeye Floor plan of a Yoruba house with multiple courtyards in Ibadan. Source: Forbenius Institut.
Redrawn by Olumide Ogeye

20. 38 39
The contemporary art movement in Nigeria
has been expressed largely in the various
forms and no one is being left out; from the
recording artists, to the actors, writers, artists/
sculptors and their curators, to furniture
and even fashion designers; they have all
continued to create new expressions for their
art in ways which have not been seen before.
Shortly after the country‘s independence, the
first Art school was established in Zaria, and it
was responsible in part for grooming many of
the great artists that made indelible marks in
the Nigerian art world.
During the early stages of the school, a
group of students who were dissatisfied with
the teaching contents of the school came
together with a mission to discover how they
could apply their formal knowledge of art
in a way that reflected their ideals and the
societies they represented, which at the time,
was just emerging from the traditional society
to a modern one, and simultaneously, from
the colonial state to an independent nation.
The teachers at the art school were recruited
from Britain and came with the course outline
used at Goldsmith’s College in England – a
prominent art school it was affiliated with
at the time. The students had a difficult
time with their lecturers from time to time
especially when they tried to express their
ideas and imaginations to them. These
lecturers being strange to the Niegrian
environment had no knowledge of the
various cultures the students drew their ideas from, and as
a result, were always quick to suppress them. This group of
students called themselves the “Zaria art society” and soon,
they began meeting secretly, making personal art works
outside of the usual coursework to show to each other their
ideas and concepts. Their themes were usually taken from
folklore, cosmology, history, philosophy, animal life, religion,
masquerades, and other aspects of life that were particular to
their societies.
Soon the group became popular with their works and got
the attention of prominent personalities, one of which was
Ulli Beier, who was an extramural lecturer at the University
of Ibadan. After this group graduated, they all went separate
ways to the different regions of the country to take up various
art-related positions, and where they had the opportunity to
influence and impact on the younger generation of artists. The
contemporary art which we celebrate today in Nigeria is the
dividend of the determined rebellion of a group of students
who fought to apply their knowledge into preserving their
identity.
CONTEMPORARY ART IN NIGERIA
Nigerian art is dynamic because it is
the product of cross fertilization and
influences from at home and outside.
This hybrid quality inherent in it, means
that it can never be stagnant.
Bruce Onobrakpeya MFR
Polo Players by Sam Ebohon Source: Aabru Art
Anyanwu by Ben Enwonwu. Source: Artnet
Artwork by Gerald Chukwuma which expresses culture in an artistic manner. Source: Gallery 1957

21. Wall Mural in Victoria Island showcasing the elements that gives Lagos its identity. Source: Pulse Nigeria

22. 42 43
The Civic Tower (above) and the Civic center (below) overlooking the Cowrie Creek in Lagos. Source: BritishCouncil.org
An Afro-Brazilian building in the center of Lagos Island in the mid 50s . Source: Gillian Godwin
Architecture in Nigeria like in other European countries went
through various periods, and in most cases, the proponents of
these movements were the foreign architects who were working
in Nigeria. Many of them were young at the time, and wanted to
be in tune with what was happening in the Architectural world
in Europe and America. As a result of this, it is possible to find
buildings that reflect the ideals of the Modernist movements
as coined by CIAM, the international style movement, the Post
Modern movement as well as Brutalism – the style in which
many of the public institutions and universities in the country
were fashioned after. This search for a true identity is therefore
necessary, one which would take into consideration the people
first before any other thing. Some may have been able to provide
a direction to what this architecture should look like.
Distinguished scholars, Nnamdi Elleh and Ali Al’amin Mazuri
claim that African architecture is pivoted on dialogues between
three heritages which are; African, Arab and European cultures.
This observation is based on the various external influences the
continent has been in exposed to. Nonetheless, Architecture
in Nigeria today would have to hang upon 3 vital pivots which
are Climate, the People, and Culture. These three pivots are
ever-present yet, not so much justice has been done to them.
When unravelled, they slowly unfold certain
characteristics which eventually gives the
design an original identity.
With the arrival of Independence, fellow
African nations had interpretations of what
it meant for their country and for majority,
it was one thing “the opportunity for life,
to return to the origins” – one in which the
common cultural ideals could be upheld.
Ulli Beier paints the scenario very well in his
book:
ARCHITECTURE IN NIGERIA
„The spirit of optimism and the sense of Highlife that preceded independence throughout the West Africa
created numerous exuberant art forms: cement lions on Yoruba Houses, popular shop signs in Ibo cities,
paintings on Lorries and in bars, cement sculpture on tombs, new styles in dress, batik, embroidery, etc.
A bright colourful popular art sprang up everywhere as a visible proof that African creativity was very
much alive, that only a shift of emphasis had taken place. These popular forms heralded the coming of
the intellectual African artist.“[1]
However, this didn’t reflect well in the architecture because new architectural theories rest upon the foundations
of the previous one, and modern architecture provided the support for which the new movement was to look
like. If we take a step back to pre-independence, it was common to have the colonial offices appoint teams of
wife and husband as planning officers.
Many of these architects were responsible for the design of various important buildings in Nigeria as well as
the neighbouring British colonies such as Ghana, Ivory Coast, Sierra Leone etc. Two of such couples include the
duo of Maxwell Fry and Jane Drew, together with John Godwin and Gillian Hopewood. Quite a number of these
architects were young graduates from the Architectural Association School of Architecture in London, and for
them, the designs of their first buildings were experimental and also a starting point in the search for a tropical
building in relation to the modern movement. Concurently, the flame of modernism was still burning in Europe,
and many of these young architects – Maxwell Fry, Jane Drew, James Cubitt, Leo De Syl¬las among others –
were proponents of the movement.[2]
Maxwell Fry, a young proponent of Modern architecture in the UK at the
time had the opportunity of joining Walter Gropius when the latter settled in Britian during the Second World
1 Ulli Beier, Contemporary Art in Africa, (New York: Praeger Publishers, 1968), 13.
2 Kunle Akinsemoyin and Allan-Vaughn Richards, Building Lagos, (Lagos: Prestige Books, 5th ed. 2009), 55.

23. 44 45
Concrete Screen wall employed by Jane Drew in her works in India and Nigeria.
Source: The Architectural Review
War[3]
. It is believed that some of his designs
were inspired by the Bauhaus Meister.
Maxwell Fry and Jane Drew were exceptional
in their design approach of blending
modernity with cultural conditions.
As the Modern movement ideology was
fast spreading across the world, it was
quickly accepted and promulgated across
the British colonies. An ideal that sought to
erase ties with historical precedence was
being celebrated and as a result brought
about sudden decline in the traditional ways
of designing. Soon people began to copy
these Modern styles and the subsequent
ones which came after without really
understanding or questioning the rationale
behind such things. For example, the use of
concrete slab as a roofing structure if not
properly handled well in the tropics could
give rise to a tremendous amount of problem
than it would in the European countries
because of the high amount of rainfall, high
level of humidity, and the temperate weather.
Nonetheless, credit must be given to a
couple of these Pioneer architects in person
of Maxwell Fry, Jane Drew and James Cubitt,
who within the wave of Modernism took their
time to design with a cultural theme. They
also took on the challenge of pioneering,
and did experiments both scientific and
cultural with their buildings. The use of deep
overhanging roofs, deep verandas, louver
windows, high head rooms, brise soliel, etc
were all creative ideas that were introduced
into the design of buildings by them. Albeit,
these professionals were limited in the depth
of local knowledge they could draw upon in
meeting the challenges of their designs.
Nonetheless, the first contemporary building
to be identified as looking “West African” is
the University College Ibadan, which was
started in 1951 and designed by Maxwell
Fry and Jane Drew .[4]
The Public Works
Department (PWD) set up by the British
Administration was responsible for coming
up with building designs and infrastructural
development. It was comprised majorly of
British colonial architects and Civil Engineers,
3 Akinsemoyin and Vaughn Richards, Building
Lagos , 55.
4 Ibid. , 57.
and was in charge of many of the Institutional buildings built
before independence all around Lagos and other primary parts
of Nigeria where the British administrative councils were located.
According to Akinsemoyin, there was a contrast between the
buildings designed by the PWD and those by private companies
such as the practices of John and Gillian Hopewood, Maxwell
Fry and Jane Drew, Arieh Sharon, James Cubitt and Partners and
many more. While the PWD designs were dictated by the formal
and orthodox method of design, the private practices were more
modern and innovative, tailored to suit the environment.[5]
It is important to note that many of these private companies
were made up of young individuals who were fresh from
architectural schools, carrying the flame of Modernism, and
also were excited at trying out new things. Many of the major
projects before independence were done by the PWD, since they
were the administration’s own design team. The period leading
to independence saw the influx of many foreign architects from
Britain, Poland, USA, Israel, Lebanon, Norway and Pakistan. It also
sawtheriseofyoungNigerianarchitects,whohadtheopportunity
to influence things. As several government departments were
expanding, there was a dire need for more institutional buildings
and accommodations, and what occurs when architects are
given a short time to deliver happens. They resolved to designs
that weren’t laborious but at the same time very functional and
orthodox in order to meet with the timeframes given. This same
5 Ibid. , 61.
The National Theatre (b.1978) in Lagos was built after the Sports center above; today it is one of the most iconic buildings in Lagos, but
also one of the most unsustainable buildings in the country. Source: Buzz Nigeria
Palace of Culture and Sports, Vama, Bulgaria. Source: http://jessicafund.bg

24. 46 47
thing was done in East Germany after the
Second World War, when there was need to
meet up with the housing crisis. In the case
of Nigeria, what happened was that many
of these designs were not developed upon,
and were rather just modified in little ways
and implemented elsewhere.
Soon, people began to see these designs
as the “way” to design, not questioning
the rationale behind them. However an
attempt at fusing culture with architecture
was seen in the use of custom mosaic wall-
tile to showcase culture and this was very
popular in the 50s. Architects such as Fry,
Drew, De Syllas and James Cubitt often
partnered with African artists architects in
providing friezes and artworks of various
kinds for their designs and public buildings
such as banks, schools and private houses.
Facades were usually adorned with mosaic
tiles showcasing art of various abstractions,
all of which told different stories. The mosaic art adorns the
building like a colourful fabric and adds a special charm to it.
However, when these tiles are not properly fixed, the resulting
appearance could be an eye-sore, as the tiles begin to fall off,
giving the facade no meaning. In other cases, stones and small
rocks were cut out and used to cover the facade of buildings. This
tradition in a way reflected the artistic zeal the culture embodied.
This partnership between the architect and the local artist often
produced excellent results. The local artist in his own right
receives a form of training that helps him connect better with the
culture and the people more than the way an architect would.
Eventually, the use of mosaic walls began to dwindle, perhaps
partly because of the problems that arose from its improper
installation and maintenance. Across the country today, many
of the buildings are reflections from the 60s era, yet, even the
contemporarybuildingstooktheirmarksfromwheretheprevious
ones stopped, and today, although the buildings might speak of
economic wealth and advancement, the question remains, “Do
these belong to us?”
Diagram showing the evolution of Nigerian Architecture over time. Source: Prof. Bogda Prucnal-Ogunsote
Kenneth Dike Library in University of Ibadan, designed by Jane Drew and Maxwell Fry. Source: Getty Images

25. 48 49
Stone Mosaic rendering in the Palace of the Ooni of Ife. Source: Olumide Ogeye
A structure built in the Brutalist style at the University of Ife. Source: Olumide Ogeye
L- Shading element as part of the facade design. R- Stone rendering used as a design element in the Biological science building in the
University referenced above. Source: Olumide Ogeye

26. 50 51
Communication method as defined earlier is the imparting
or exchange of information either by speaking, writing or
by using some other medium. It is the means of sending
information and receiving it and there are various ways
and methods by which this is done. The methods of
communication are categorized into two which are the
Verbal and Non-Verbal methods. The Non-Verbal method
was used a lot to communicate within various cultures in
Nigeria, and today it is still being used.
In the past, art objects were used to communicate and
document events that had taken place in the palace or
within the society. Apart from this, other societies had their
special means of communication. In the Yoruba culture for
example, the „Aroko“ system of symbols was used as a
way to communicate strong messages within the society
by simply using physical objects and symbols were used in
every aspect of life. In this method of communication, a
cutlass or weapon wrapped in palm fronds was a warning
for an impending war. When a lady receives Cowrie shells
which are tied back to back then she knows it’s a message
from her lover to put an end to the relationship. An
arrogant person who receives a pile of “Odan” leaves at
his door is being warned to check his behaviour. These and
many more examples exists to show how communication
was done amongst the Yorubas.
Within the art world in Nigeria today, the Nigerian artists
are communicating through different media using paints,
stone, iron, recycled bottles and cans etc., but the method
being used to communicate these messages differ from
artists. This depends on factors such as the artist’s cultural
background, the way of thinking, educational experiences
andexposure...alloftheseshapetheartist‘spersonalityand
within that lies the unique aesthetics which is responsible
for making such an individual absolutely unique in terms of
style. This uniqueness is what the artist harnesses to allow
art echo the cultural world around them.
Tosin Osinowo, is one of the new generation architects
and designer taking the lead in reinventing the wheels.
Her furniture company “Ilé Ilà” creates contemporary
chairs with an ethnic twist. She adorns them with cultural
materials such as Aso-Oke[1]
. She does this in a bid to
1. Aso-Oke is a prestigious and traditional fabric known amongst the
Yorubas and it is worn only on special occassions. It is a very important
attire, and sometimes passed down through generations. Usually, after
the special occassion the material is seldomly used and as such it ends
upcyclye the material and at the same create
a chair with a Yoruba identity. The chairs
look vibrant and energetic, portraying the
richness and character of the Yoruba people.
The chairs are not only functional, but are
also communicative. Also in architecture,
there has been some attempts at marrying
culture with design especially in the design of
the building elements. Such example can be
seen in the AD Consulting office studio where
the burglar bars is treated as a design focus in
the central reception. Elements such as this
are useful in expressing a sense of identity
depending on how it is treated.
up somewhere at the bottom of the wardrobe.
Contemporary Yoruba chairs designed by Tosin Osinowo. Source: Ilé Ilà
Aroko method of Communication.
Source: theYoruba.com
COMMUNICATION METHODS

27. 52 53
Every location imposes certain characteristic on the architecture
in the region. The forces that impose them may be natural or
sociological. For example, buildings in the arid regions of the
world adapt flat roofs and smaller windows to their building
design as dictated by the nature of the environment. Similarly,
buildings located in societies with a high level of insecurity
are designed to be self-secured, and this is done either in the
meticulous planning of the spaces, or in the use of building
elements such as burglar bars, gates, screen walls etc. The use
of these elements have been harnessed by certain architects and
designers as a way to introduce aesthetics with cultural identity
into building and interior design.
Burglar Bars
For example, in the lobby of the AD consulting studio is a double
volume burglar bar which is very artistic and tells a story. This
design element serves a dual purpose of security as well as a
cultural insignia that adds an aesthetic value to the interior. In the
Dominican church in Ibadan, we see how Demas Nwoko treats
the burglar bars as an aesthetic element rather than a utilitarian
device for security.
Ad, Demas
Brise Soleil / Screen Wall
Also, in the buildings of Jane Drew in Western Nigeria and other
parts of West-Africa, there is the use of geometric patterns
on the facades of buildings which serve as brise soleils for the
buildings. These elements which are usually prefabricated of
concrete and other flexible materials are devices which can be
used to promote the cultural identity of a place. There exist a vast
amount of rich materials which could be drawn from the roots of
culture to be used in the design of these elements.
Jane Drew
Wall Art
In designing in the tropics, there are passive design principles
which are common to all regions. One of which is the avoidance
of windows on the East-West facing walls. These areas are usually
blank walls and they standout with an awkward appearances. On
the other hand, these blank walls could serve as a canvas for
artists wherein they are allowed to create excellent murals or art
works that enhance the overall appearance of the building. These
artworks could take their roots from culture and would help to
promote the cultural identity of the people.
It also would foster a good relationship
between the architect and the artists. Such
collaborations between the rationalist
architect and the sometimes irrational artist
could be vital in creating a work that speaks
to the society.
Building design elements as a medium of
Communicating Cultural Identity
Artistic Burglar bars at AD Consulting Ltd office in Lagos. Source: AD Consulting
Artistic Burglar bars at the Dominican Church in Ibadan, designed by Demas Nwoko . Source: archiDATUM

28. 54 55
Aside from galleries and Museums where artists
get the opportunity to showcase their works,
artists in Nigeria are also taking advantage of
social media platforms to showcase themselves.
This isn’t strange especially when one realises
that there aren’t purpose built galleries or
Museums within the country where artists can
exhibit their works. The artist just like every
other citizen is his own government and as such,
strives for ways by which he must be noticed.
This isn’t an easy task for many because the
talents out there are so many to the extent
that people forget to notice them. Nonetheless
some still try and go about hawking their
paintings by the roadside traffic, hanging them
on walls along busy streets hoping to secure
the interest of a passerby. On the surface this
may not strike any fascination, but again when
one looks at the enthusiasm it suggests how far
they are willing to go to promote their beliefs.
Majority of the Nigerian artists use culture
as a design lexicon and this has always been
their practice since their school days. In a
conversation with Gerald Chukwuma, he
answers a question as to why there are certain
similarities in the way faces are drawn by
various Nigerian artists. His answer was that
they were all taught to draw in that way by their
teachers who had also learnt it from their own
teachers. The art student who wants to be like
his teacher continues practicing how to draw in
this manner as he believes it is the “accepted
way” of drawing. Similarly in architecture, this
phenomenon exists as students take on the
ideals of the design supervisor.
Out of the numerous artists in Lagos, the
research focused on four prominent ones
who are constantly communicating various
messages through their works, and also making
use of cultural symbolism as their language.
Communication Methods in Contemporary Nigerian Art
Artistic Wall screens at the Dominican Church in Ibadan, designed by Demas Nwoko . Source: archiDATUM
Rele Art Gallery, Onikan Lagos. One of the few art galleries in Nigeria. Source: CultureTrip

29. 56 57
Peju Alatise is a female contemporary artist
that communicates through her art, the
societal struggles of the female gender. She
does this by using various strong materials
such as iron, cement, fibreglass, wood, used
tyres beads etc. Her sculptural installations
provoke sympathy in the viewers. She makes
use of dark colours against a contrasting
background. This strong contrast forces one
to concentrate on the artwork such that all
the details hardly go unnoticed. Her works
were featured at the 57th Venice Biennale
which was themed Viva Arte Viva.
Peju Alatise
Rapture of Olurombi‘s daughter. Source: Artctualite.com
Flying Girls. Source: Guardian Nigeria
Orange Scarf goes to Heaven. Source: theGuardian.com
Image Credits: Creativefeel.co.za

30. 58 59
Gerald Chukwuma is another contemporary
artist in Nigeria who relies heavily on the
use of wood in his artworks. He uses planks
of wood as the canvass for his art and on
them he paints and sculpts out illustrations
that reflect his cultural experiences. He taps
into the rich culture of the Igbo people and
from it, he uses the Uli as a communicative
element in his works.
One lesson to take away from this artist is
in the way he uses waste materials which
are considered useless and then combines
them together and transforms them into a
phenomenal piece of art.
Gerald Chukwuma
Standing Ovation. Source: Gallery 1957
Standing Ovation 2. Source: Bill Lowe Gallery
Celebration. Source: Artsy.netImage Credits: Gallery 1957

31. 60 61
Victor Ehikamenor creates murals in a
scribbled fashion on surfaces with the use
of ink. These murals however random,
creates an aesthetic that cannot be properly
explained. He also makes use of contrasting
colors. From his work one can see how
randomness gives birth to beauty. He draws
his inspiration from traditional motifs and
religious cosmology.
Victor Ehikamenor
Struggle For Big Afro Mama. Source: BlackFabulosity.com
Image Credits: http://u-wantitblog.com
Untitled. Source: http://www.victorehi.com
Flight out of Eden. Source: Africanah.com

32. 62 63
IsaacEmokpaeemploystheuseofabstraction
in his works. He uses surrealism as a form of
expression. He uses very simple shapes and
most of his human depictions have similar
elliptical faces which intersect each other at
different places and in the process reveals
another meaning which the mind is lost in.
His use of abstraction is a characteristic that
can be learnt from him.
Isaac Emokpae
Observers. Source: Isaac Emokpae
Divinity. Source: Anaalablog.com
Amazement. Source: Isaac Emokpae
Image Credits: Omenka Online

33. 64 65
03CASE STUDY 1
This case study explores how an architect can approach
a design from the context of Culture, even in a context
that tends to imposes its own characteristics. ‘Alara‘,
which is a Yoruba word for ‘wondrous performer’
is a luxury store located in a dense residential area
surrounded by buildings from the 80s. These buildings
follow strict planning regulations and bear the basic
design requirements as dictated by the location.
It was designed by renowned British-Ghanian architect
Sir David Adjae in a style which is rooted in culture. It’s
a Contemporary building constructed in the simplicity
and abstraction of pure forms. The building which is a
luxury store is a bold concrete cube perforated through
with geometric shapes that holds significance with the
Yoruba people, who were the original settlers in the
city. The use of traditional patterns on the facade of the
brise-soliel and in the interior space is a way by which
the architect leans towards the contemporary yet, holds
on to cultural relevance. It features a peculiar exhibition-
style retail space, restaurant and an art gallery.
Although the building scale is small in comparison to
what would later be required by this research, the
building is still significant as it shows a way by which
culture could speak in a contemporary tone.
Art being a way of life of the people in Nigeria, this
building reflects that in its use of strong colours,
shapes, pattern, rectilinear appearance, solidity
and elements. It helps to deal with the question of
how architecture can learn from the contemporary
methods of art. Usually, when it comes to designing
in such a context, one is often faced with the difficulty
of expression in design, because the manner in
which the plots are cut dictates the building shape,
and also, certain bye-law requirements would always
suppress the creativity of the designer thereby
allowing his design to conform to the surrounding
context, however, this building is an exception.
Although most buildings in the vicinity are oriented
Entrance View into the Alara Store. Source: Obiamaka Ofodile
ALARA STORE; Victoria Island, Lagos.
Interior View of the Store. Source: OriginStore.com
Rear View of the Store. Source: NokbyAlara.com
in a similar manner but the architect treats
certain conventional aspects of this building
specially.

34. 66 67
Dominican Church; Ibadan.
CASE STUDY 2
The Dominican Church was built by Demas Nwoko in
the year 1977. Demas who was born in 1935, today
remains one of the most revered artists who has been
able to promote culture with his architecture and art in
modern and phenomenal ways. He was among a group
of five students from the Nigeria College of arts, Science
and Technology at Zaria (now Ahmadu Bello University,
Zaria) that rebelled against the art curriculum when the
school newly opened as they regarded them as stifling,
and didn’t provide them with the room to promote
their culture. Demas who had previously nurtured the
desire to become an architect worked previously as
a draughtsman at the PWD office just before he got
admission to study Art at the newly opened College of
Art at Zaria.
Demas had his own philosophy about art and
architecture, as he felt that both ought to go hand in
hand. Demas till now has been involved in the design of
more than 10 buildings including the Dominican church
in Ibadan, which was praised by distinguished British
architect and Scholar, Noel Moffett, who compares
him to Antonio Gaud. Of Demas, he said
“Here under a tropical sun, architecture and
sculpture combine in a way in which only
Gaudi perhaps, among architects, has been
able to do so convincingly”.[1]
Demas was initially commissioned to design one of
the altar pieces in the chapel, but he convinced the
Dominican community that he could handle a much
bigger commission. The Dominican community
in fairness wanted a building that reflected the
location and as a result had previously rejected a
previous design proposal. For the design, Demas
wanted a compact form for the Church and as a
1 Noel Moffett‘s comment on Demas Nwoko‘s
architectural accomplishments in the June 1977 issue of
Architectural Journal of the Royal Institute of British Architects.
Dominican Church, Ibadan. Source: Dominican Institute, Ibadan

35. 68 69
result, according to Omezi (2008), “he explored the
theatrical relationship of worship between the clergy
and congregation, and paralleled Christian worship
in the African context with the relationship between
performance and the audience, and this informed the
plan form of the building.” The building is very expressive
in character and laden with vernacular zest.
The altar is naturally the focal point with a semi-
circular auditorium wrapped around the altar which is
reminiscent of the traditional story-telling setting where
thechildrengatheraroundtheeldertolistentotales.This
arrangement when adopted fosters a closer connection
between the congregation and the clergy. The use of
handcrafted timber and metalwork was employed in the
designasopposedtostandardizedones.Thechurchpulls
together a central theme in the synthesis of Christianity
in African society, the appropriating of symbols sign and
ritual within the context of African mystical leanings.
Demas Nwoko‘s studies in Zaria and later in Paris helped
to prepare him for his plan of combining African art with
modern ideas of European art.
.
Dominican Church, Ibadan. Source: Dominican Institute, Ibadan Dominican Church, Ibadan. Source: Dominican Institute, Ibadan
Dominican Church, Ibadan. Source: archiDATUM

36. 70 71
Faculty of Humanities|University of Ife
CASE STUDY 3
The faculty building was designed by Israeli Architect and
pioneer graduate of the Bauhaus design school, Arieh
Sharon. It consists of a series of 3 identical buildings
arranged rectilinearly and stacked vertically like a
reverse stepped pyramid. The buildings are separated by
courtyards and in between them are lecture halls that
serve the faculty. The building form was dictated by the
prevailing weather condition of the location.
The campus is located in the rain forest region of Nigeria
and has a high amount of rainfall and solar radiation.
The architect designed the building as a natural defence
against the prevailing weather condition. By staggering
the floors in a reverse pyramid style, deep overhangs are
created which serve as shades against the intense effect
of the sun and simultaneously prevents the driving
Monsoon rain from getting into the classrooms. This
passive method of design increases the thermal comfort
of the building. Apart from the building providing a
defence system against the elements, it also meets
the fulfilment of function. The wider floors which are
located on the top floor serve as seminar rooms and
classrooms while the smaller ones which are located
on the lower level serve as offices and service rooms.
Louver windows are used all through the building as
they provide an unobstructed flow of air through the
building. This today is not the case in many buildings in
Nigeria, as the louver windows have been replaced with
sliding windows which in most cases provide only 50% of
airflow (for a double pane window) or 66% (for a triple
pane window).
The building bears in it the identity of the place in terms
of its design elements and overall form.
Faculty of Humanities Building, University of Ife. Source: Arieh Sharon Archive
Deep overhangs as a passive design method within the building. Source: Arieh Sharon Online Archive
Section through the buildings Source: Arieh Sharon Online Archive

37. 72 73
Certain keywords derived from the preliminary study paved the
direction for the design. These keywords were derived from
tangible materials such as the site location, its people, as well
as recurring patterns in the lifestyle of the city. From the study, a
collection of attributes and human activities were extracted and
were proposed as qualities for the proposed design.
Brief
With about 66% of the population of Lagos being youths many of
which are below the age of 35, providing an environment where
many of them can meet to interact and learn and exchange
cultural ideas is ideal. The environment would be a cultural one
and full of art. It would also double as a play ground for the
contemporary artists many of which fall within the age group.
For this reason, the program would stem from certain activities
and keywords peculiar to the age category mentioned above.
The nearest typology to this type of design would be a cultural
building and the collective design aims to foster interaction
between people of different social backgrounds which would
help the people to understand themselves better.
For the sake of clarity, the building should;
1. Reinforce and reflect the culture of the people of Lagos;
also, bearing in mind that Lagos is a multicultural city, it should
also consider the other cultures in certain aspects.
2. As music and fashion is a fundamental part of the new
contemporary Lagos culture, the building should provide spaces
for musical performances as well as fashion exhibitions.
3. The use of flexible spaces should be employed for
multiple uses such as theatre and Cinema spaces.
4. Art exhibition gallery and art stores should be provided.
5. The building should act as an educational medium that
connects the people to their past, to understand who they are,
where they are coming from as well as their history. So possibly,
spaces should be provided for this in form of a museum, or the
building should make this possible in certain ways.
6. The atmosphere should be conducive enough for people
to relax, meditate and relieve themselves of the daily stress that
the city brings; also people should be able to come around for
04DESIGN
Picnics, parties and celebrations.
7. Most importantly, the building
should be sustainable, taking into
consideration the Tropical climate, the
building should respond to the climate as
much as possible.
8. The building should be
contemporary, as well as cultural at the same
time.
9. Amongst all, the building should
create sensual impressions in the minds of
people; it should provoke the emotions of
people in positive ways, uplifting the spirits
of the people and positively influence the
character and nature of the people.
10. Finally, the building should be well
secured, for the people as well as for the
installations.
Program Diagram

38. 74 75
Aerial view of the Site location Location Plan_1:10000

39. 76 77
Vehicular Circula�on
Human Circula�on
Bridge
Building
Design Scheme Concept

40. 78 79
Site Plan_1:500 Program Distribution

41. 80 81
Basement Plan_1:350

42. 82 83
First Floor Plan_1:350Ground Floor Plan_1:350

43. 84 85
Section Y-Y _1:350 Section X-X _1:350
East Elevation _1:350 Front Elevation _1:350
Rear Elevation _1:350West Elevation _1:350

44. View on the multi-use Corridor

45. View from the indoor performance hall

46. View from the outdoor relaxation space

47. View overlooking the outdoor performance space

48. 94
Art
1.Sculptural Façade
2.Artistic Stained Glass
3.Wall Relief
4.Wall Mural
The works of the 4 artists studied were
reflected in certain ways in the building
design. The sculptural façade which also
doubles as a shading device references the
works of Peju Alatise in the way she creates
bold elements in her works such that they
possess a striking but distinct character. The
sculptural walls are slanted at an angle that
makes it practical for people to easily observe
the display of artworks such as Murals,
paintings and other forms of wall art without
needing to make much effort.
The window design bears abstract paintings
from the works of Isaac Emokpae and they
have been embossed onto the window panes
such that they spark up interactions amongst
observers. The works of the other two artists
Victor Ehiakamenor and Gerald Chukwuma
appear as wall textures around the building
in form of murals and wall relief.
Culture
1.Impluvia Design Element
2.Corridor Typology Layout
3.Design Simplicity
4.Local Materials
Culture formed the foundation for the design.
It began with an understanding of what
a cultural space meant within the Yoruba
context. The typologies of housing within
the culture were examined and the idea of
the impluvia was adopted in the design as
way to draw natural light into the indoor
performance hall and the underground
parking. The impluvia gives the building
character and sparks up curiosity in the minds
of people as they move around the site. The
disposition of the spaces along a large lobby
or corridor is another cultural point in the
design, as it references the Yoruba corridor
housing circulation pattern. The corridor
hosts activities such as small exhibitions and
serves as a waiting area for the cinema hall.
Local building materials such as wood, raffia
and bamboo are used interchangeably to
create an atmosphere that mimics the life in
remote villages, which is a direct contrast to
what exists in the city of Lagos. This gesture
gives the building a special quality that makes
it sought after.
Design Summary

49. 96 97
The result of the study and interviews with the Nigerian artists
reveals that there is a lot the architect could learn from them.
The architect’s training is one that is often directed towards
strengthening the logical part of his brain, which is the left
hemisphere and is responsible for coordinating tasks that
involves logic i.e., science and mathematics. And as far as the
fulfilment of function makes the most significant part of an
architectural design, it draws upon strength from the logical
part of the mind. This means that the more an architect designs,
the more he is likely to develop the left hemisphere of his brain,
thereby leaving the irrational side, which is the expressive and
artistic side unrefined. As a result of this, it would be difficult to
have an architect who spontaneously taps into both the rational
and irrational sides of the brain. However, this possibility could
exist if only the architect would embrace the artist as a comrade
– in – arms, and together create a lovely work of „Artchitecture“,
that speaks to both sides of the brain.
Itwasalsodiscoveredthatalotofthehistoryandanunderstanding
of cultural traditions are very unfamiliar to many Nigerian
architects. Hence, it becomes impossible for them to create
architecture that pays homage in certain ways to local traditions.
A major reason for this inability is the failure in transmitting the
cultural knowledge from those who have them to students in
the classrooms. The reason isn‘t far-fetched because at a certain
time in the country the art profession was being looked down
upon and parents discouraged their wards from studying it
because they felt it could no longer sustain a good living; such
is the story of Gerald Chukwuma, who eventually rebelled and
today that rebellion is paying off. On the other hand, the Schools
of architecture within the country have not done their best in
ensuring the students’ all–round development especially in
aspects that inform him on his identity, while on the contrary,
a great deal of the study focuses on foreign architects who are
not so helpful to the cultural context of the continent. In order to
bridge this gap, a solution would be the collaboration between
members from the art societies and various art guilds to join
in raising the future architects. This type of training would be
similar to that of the Bauhaus[1]
, which had the goal of uniting
art and crafts together with architecture into one synthesis of art.
In executing a piece of artchitecture, there must be a perfect
balance between the input of the architect and that of the artist,
1 The Bauhaus was a school of design, architecture, and applied arts,
founded in 1913 by Walter Gropius in Germany. The school trained students
in art as well as in technical craftsmanship. It was eventually responsible for
pioneering modern Architecture in the world today.
and this may not necessarily be a 50–50 affair
whereby both parties play equal parts in the
production. Every project is special, and
creates the circumstances that dictate where
the balance swings to.
As a recommendation, more similar research
should be done in the aspect of cultural
appreciation because it uncovers in layers the
ingenuity and genius of our forefathers which
was lost in the transit to nationhood.
05CONCLUSION

50. 98 99
BIBLIOGRAPHY
Books
Akinsemoyin, Kunle, Gholly Balogun, and Alan Vaughan-Richards. Building Lagos. Lagos: Prestige Books, 2009.
Alexander, Christopher, Sara Ishikawa, and Murray Silverstein. A Pattern Language: Towns, Buildings,
Construction. Place of publication not identified, 1974.
Beier, Ulli. Contemporary Art In Africa. New York: Praeger Publishers, 1968.
Coomaraswamy, Ananda K. Transformation of Nature in Art. 1934.
Eco, Umberto, Caterina Mongiat Farina, Geoff Farina, and Francesco Erspamer. How To Write A Thesis.
Cambridge, MA: MIT Press, 2015.
Eco, Umberto. The Search For The Perfect Language. Oxford UK: Blackwell, 1997.
Elie G. Haddad and David Rifkind. A Critical History Of Contemporary Architecture 1960-2010. Milton: Ashgate
Publishing Ltd, 2014.
Godwin, John, and Gillian Hopwood. The Architecture Of Demas Nwoko. Lagos: Farafina, 2007.
Herz, Manuel, Ingrid Schröder, Hans Focketyn, Julia Jamrozik, Iwan Baan, and Alexia Webster. African
Modernism: The Architecture Of Independence: Ghana, Senegal, Côte dIvoire, Kenya, Zambia. Zurich: Park
Books, 2015.
Holl, Steven, Juhani Pallasmaa, and Alberto Pérez Gómez. Questions of Perception: Phenomenology Of
Architecture. Tokyo: A u Pub., 1994.
Kukreja, C. P. Tropical Architecture. New Delhi: Tata McGraw-Hill, 1978.
Semper, Gottfried, and Harry Francis. Mallgrave. Style: style in the technical and tectonic arts, or, Practical
aesthetics. Los Angeles: Getty Research Institute, 2004.
Zumthor, Peter. Thinking architecture. Baden: Lars Müller, 1998.
Articles / Essays
Loos, Adolf. “Ornamentation and Crime”. Cahiers d’aujourd’hui, June 1913.
Wölfflin, Heinrich. “Prolegomena to a Psychology of Architecture”. Santa Monica : Getty Publications Program,
1994, pp. 149–192, here p. 151–152.

51. 100 101
Internet
Asa Ati Owe Ile Yoruba. “Asa Ila Kiko Ni Ile Yoruba”. Last Modified November25, 2014.
http://asaatioweileyoruba.blogspot.com/2014/11/asa-ila-kiko-ni-ile-yoruba.html
The Yoruba. “The Yoruba Symbols of Communication during the Middle Ages”. Accessed June 11, 2018.
https://www.theyoruba.com/2015/12/yoruba-symbols-of-communication-in-the-middle-ages/
Interviews:
Aremo, Korede. Personal interview. Yaba, Lagos. March 24, 2018.
Chukwuma, Gerald. Personal interview. Yaba, Lagos. February 26, 2018.
Ehikhamenor, Victor. Email interview. Dessau, Germany. February 5, 2018.
Emokpae, Isaac. Personal interview. Onikan, Lagos. March 2, 2018.
Ogun, Yeti. Personal Interview. Yaba, Lagos. March 11, 2018.
Dissertation
Okwumabua, Nmadili N. „Architectural retention and the development of modern African design in the works
of architect Demas Nwoko.“ Master‘s thesis, Clark Atlanta University, 2007.
Shehu, Maimuna B. „Cultural Symbolism In Traditional Hausa Architecture Of Northern Nigeria.“ Master‘s
thesis, University of Kent, 2016.
Journals
Adedokun Ade. “Incorporating Traditional Architecture into Modern Architecture: Case Study of Yoruba
Traditional Architecture”. British Journal of Humanities and Social Sciences, (February 2014). Vol. 11 (1) 39-45.
Accessed June 12 2018. http://www.ajournal.co.uk/HSpdfs/HSvolume11(1)/HSVol.11%20(1)%20Article%204.
pdf
Bogda Prucnal-Ogunsote. “Classification of Nigerian Architecture”. AArches Journal Volume 1, No. 6, 48-56.
Accessed Nov 4 2018.
http://sdngnet.com/Files/Papers/Journal%20Publications/Classification%20of%20Nigerian%20Architecture.pdf

52. 102 103
APPENDIX
Interview Questions
1. How do you start a design for a new project (personal and client commissions) ? And what inspires
the concept?
2. How are you able to tap into the creative nature of culture
3. What do you understand by Contemporary Vernacular Art and how important is it in your work?
4. Despite your foreign educational experience, how have you been able to successfully blend your
art into the African culture? And how easy has this task been?
5. Art is laden with emotions, what would you say is responsible for this?
6. At what point in your design process do you know when your art is laden with emotions?
7. Who are the artists your look up to, and what do they all have in common that attracts you to
them? (Mr SozayBoy, do you know much about Ovia Idah...his story and did it influence you?)
8. Looking at the works of some Nigerian and African artists, their representation of African faces in
their arts are very similar in abstractions. What would you say is responsible for this? Perhaps, could
there be a certain way in which African Artists interpret the world around them which is proper and
only visible to them?
9. What do you understand as vernacularism?
10. What does it mean to be Africa?
11. How would you say contemporary art can help architecture evolve?
12. Do you think there‘s a junction where art and architecture meet? If so what would you think or
want to happen at that intersection?
13. How are artists different from people of other professions? Do you think anyone can be an artist
if they put enough effort in or do you think it’s an innate ability one is born with? What do you think
makes an artist tick? What are traits you believe all artists have?
Questionnaire
1. Do you think artists are wired differently from people of other professions?
2. As a child did you always view the world differently from other people?
3. Which two artworks of yours would you consider as your personal best? Make provision for them
to provide you with a link to these art works or upload a photo.
4. What influences the way you create art?
5. Does it happen often that an individual with a non-artistic background shares the same or a similar
understanding of art with you?
6. Do you have a favorite building in Nigeria? If yes, which building is it?
7. Do you think there‘s a junction where art and architecture meet? If so what would you think or
want to happen at that intersection?
8. Do you think that art has an inbuilt quality that evokes emotions in people? And do you think
that an artist‘s innate ability to evoke emotion through their art gives them the ability to create
architecture in a way that would also evoke emotion?
9. Do you think architecture in Nigeria as evolving at the same pace as contemporary art?
10. How would you rate the emotive quality and creativity in Nigerian Architecture between 1960
and 2010
11. How would you rate the emotive quality and creativity in contemporary Nigerian Architecture
today (2010- 2017)?
12. Do you think Architecture has or should have any influence on art?

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