Have a look at https://www.design233.com/articles/from-buckman-to-turkson for my article on some lesser known Ghanaian architects, including John Buckman and Peter Nathaniel Kwegyir Turkson. I uncovered Turkson’s architecture thesis project in the University of Liverpool archives and discuss his plans for a new Parliament Assembly building in Accra.
Turkson wanted a design that was ‘classic in character and at the same time distinctly modern in feeling and detail…[exhibiting] the spirit of modern times’.
Turkson’s solution proposed using a ‘sandcrete’ (laterite soil mixed with cement) block wall along with a brise-soleil frame of fixed vertical and horizontal fins. Topping the structure and reflecting the chamber below was a reinforced concrete dome clad in copper, whilst some of the walls would be clad with faience finish. The plan was symmetrical forming two courtyards with a central drum for the debating chamber and library above.
Recent years have seen an upsurge of academic, curatorial and critical interest in postwar art in Britain and around the world. This has included addressing the question of how we define what “postwar” is and how expansively we might think about the period and its cultural significance. This series of Paul Mellon Centre research seminars will showcase new perspectives on the arts of postwar Britain as an interdisciplinary and transcultural terrain of research. Talks in the series engage with the issues of empire and worldmaking, with questions of migration, the environment and with the intersections of art, technology and new media.
A series of summer research seminars to be held on Wednesdays from May to July 2022
Paul Mellon Centre [online and in person]
Iain Jackson – Modern Architecture in West Africa: Schools, Sculptures and Magazines
This paper is concerned with modernist architecture in “British West Africa” produced in the aftermath of World War Two and the independence period of these countries.
These experimental and often provocative structures were designed for climatic comfort, as well as becoming didactic vehicles for ideas sharing ideas of a modern and liberated Africa.
The paper will discuss attempts at forming a “Bauhaus” Art School in Accra, followed by various commissions of libraries, community centres and museums that attempted to blend the most radical architectural designs with decoration, murals and sculptures. The West African context seemingly presented a “blank canvas” for newly qualified architects eager to “experiment” in ways that would be impossible in Britain. Whilst these buildings were often presented as symbols of an emerging nationalism and expectation of liberation, they also reveal the ongoing neo-colonial methods, with many relying on the patronage of multinationals such as the United Africa Company.
Finally, the paper will discuss how these projects were reported and shared, especially through the high-brow magazine Nigeria, which regularly featured extensive articles written by the architects on the latest designs.
The result was a diverse and extremely fertile context that reveals an often-overlooked set of important structures responding to a period of political flux and cultural exchange.
Rixt Woudstra – “A feeling of warmth”: Tropical Timber, Modern Interiors and the United Africa Company in Postwar Britain
In 1960, the new, modernist headquarters of the United Africa Company (UAC), one of the leading British trading businesses extracting palm oil, cocoa and other raw goods from West Africa since the late nineteenth century, opened near Blackfriars Bridge in central London. While the structure’s grey concrete and glass exterior appeared cold, inside the architects used a strikingly large variety of gleaming tropical timbers. The doors, floors and panelling, as well as most of the furniture, were made of honey-coloured idigbo, pinkish makore, fine-textured guarea, reddish-brown sapele and deep-brown African mahogany – all logged by one of the company’s subsidiaries, the African Timber and Plywood Company, in Nigeria and Ghana. Although an exceptional example, it was certainly not the only building containing exotic timbers in postwar Britain; tropical wood could be seen in and on the outside of university building, civic centres, housing estates, sport facilities and offices.
Scholars have explored how Jamaican and Honduran mahogany, sourced by enslaved workers, left an imprint on British domestic interiors and furniture design in the late seventeenth and eighteenth century. Less well known, however, is that “empire timber” – and later, “world woods” – continued to permeate British design and interior architecture well into the twentieth century. This talk focuses on the commercial activities of the UAC in Nigeria and Ghana during the 1950s and ’60s and considers how tropical timber was deployed to soften or provide a decorative element to modernism, often perceived as cold and austere. Moreover, examining tropical timber and tracing where and by whom it was logged, how it was processed, sawn, shipped and sold, enables us to see how British postwar modernism was dependent on imperial and neo-imperial networks of extraction and colonial labour.
A fascinating article by Peter Halliday on Tropical Modernism in West Africa – including some previously unseen photographs taken by his father, and site architect at Ibadan University, Anthony Halliday.
Peter Halliday is a writer, photographer and member of the Modernist Society. He’s written several publications and produced a photographic documentary How Grey Was My Valley of the disappearing architectural post-war environment in Wales, recently featured in the Guardian. You should follow this brilliant writer and photographer on IG if you don’t already!
In this fascinating article, Peter transports us back to the 1950s when his Dad worked under Maxwell Fry and Jane Dew at the University of Ibadan in Nigeria. But how does tropical modernism, a decade earlier, tie in with the plateglass universities? Read on..
PH: Plenty has been written about the University of Ibadan and its architecture.
Established in the late 1940s as Africa’s first university, it has been variously described as an ‘emblem of modernity’, the ‘crown in the career’ of one of our most influential modernist architects, and wholly inappropriate ‘constructions of whiteness’.
‘Archival Urge’ is the second part of the symposium ‘Document Fever’ organised by the Architectural Association in collaboration with the Architecture Space & Society Centre, Birkbeck School of Arts on 25 February 2022. This time in partnership with KNUST, this panel aims to celebrate three projects that ‘collect’ histories of architecture in very different ways. We will think, amongst other questions, about the archival impulse/fever that made these projects coincide in time and space; the archival need to collect histories that are missing in architectural history; and the diverse formats of archive-making that these projects have taken or are taking.
Adil Dalbai Adil graduated from Humboldt University of Berlin with a master’s degree in modern history and cultural theory, specializing in the architectural history of Eurasia and (post)colonial contexts. He worked as an editor and author for DOM publishers, focusing on architecture and urbanism. He went on to study architecture at the Technical University of Berlin and worked at Meuser Architekten on architecture projects in Western Africa. He researches and writes about architecture in Central Asia and Africa and its global interconnections. Additionally, he is a guest critic and lecturer, as well as (co)editor and author of several articles and books on architecture, including Theorising Architecture in Sub-Saharan Africa (DOM publishers, 2021). Since 2014, he has been managing editorial director of Architectural Guide Sub-Saharan Africa (DOM publishers, 2021, with Philipp Meuser and Livingstone Mukasa), a seven–volume documentation of the architecture of all 49 African countries south of the Sahara.
Kuukuwa Manful Kuukuwa is a Doctoral Researcher at the Department of Politics and International Studies at SOAS, University of London. Her research examines the sociopolitics of West African nation-building and citizenship through a study of the architecture of educational institutions. She has a Master of Architecture and a BSc Architecture degree from the Kwame Nkrumah University of Science and Technology (KNUST), and an MSc in African Studies from The University of Oxford. Her previous research has explored the positioning of Ghanaian architects in the modernist movement; Asante architectural identity; and social acceptance of earth building in urban areas. She has published in Al Jazeera, Burning House Press, Africa Is A Country, and The Metropole. Kuukuwa curates Adansisɛm— an architecture collective that documents Ghanaian architecture theory, research and practice, and runs accra archive— an architecture archives digitisation project. She also co-founded and runs sociarchi— a social architectural enterprise that advocates for, and provides architectural services to people who ordinarily cannot afford architects.
Philipp Meuser Born 1969, Managing director of Meuser Architekten GmbH and head of DOM publishers. From 1991 to 1995, studied architecture at the Berlin Technical University. From 1995 to 1996, editorial work for the Neue Zürcher Zeitung, Switzerland. Part-time postgraduate studies in the History and Theory of Architecture at the Swiss Federal Institute of Technology Zurich (ETH Zürich), graduating in 1997. PhD on the Soviet Mass Housing (Berlin Technical University, 2015). Federal Cross of Merit for cultural and scientific exchange with the states of the former Soviet Union (2018). From 1996 to 2001, policy advisor to the Senate Department for Urban Development as part of the Stadtforum Berlin. Visiting Professorship at the Kazakh National Technical University, Almaty (2015). Tutor at the Strelka Institute Moscow (2016/2017) and the Architectural Association London (Easter Island Visiting School 2017). Since 2018 Honorary Professorship at the O.M. Beketov National University of Urban Economy in Kharkiv, Ukraine. 2022 Visiting Professor for Public Humantities at Brown University in Providence/Rhode Island.
Livingstone Mukasa Livingstone Mukasa’s career has included architectural practice, urban design, master planning, real estate development, and sustainable development consulting. He founded and managed Archability, an online architectural crowdsourcing start-up, and Afritecture, an online platform on architecture in Africa. He is currently principal of Mahali, a collaborative design studio focused on cultural and contextual architectural engagement, and a frequent guest reviewer at Rensselaer Polytechnic Institute’s School of Architecture. Passionate about architecture in Africa, he is coauthor and associate editor of Theorising Architecture in Sub-Saharan Africa (DOM publishers, 2021), and Architectural Guide Sub-Saharan Africa (DOM publishers, 2021, with Philipp Meuser and Adil Dalbai), a seven–volume documentation of the architecture of all 49 countries south of the Sahara. Born in Kampala, Uganda, he holds a bachelor’s degree in Architecture from New York Institute of Technology, and graduate certificates from the Graduate School of Architecture, Harvard University in Urban Housing and Mixed–Use Developments.
Rexford Assassie Opong Rexford Assassie Opong (PhD) is currently a Full Professor of Architecture and Dean of International Programmes Office of Kwame Nkrumah University of Science and Technology (KNUST), Kumasi. He is a practicing architect of over twenty years’ experience. He obtained his Doctor of Philosophy in Architecture from the premier Liverpool School of Architecture — University of Liverpool; Masters in Urban Planning and Management from University of Rome-La Sapienza; Postgraduate Diploma in Architecture, KNUST; and Bachelor of Science in Design, UST, Kumasi. He researches and has widely published on the following topics: Architectural Identity, Metamorphosis and Disorderliness, Ecological Aesthetics and Architecture, Architecture and Fractals, The Built Environment and Climate Change,Urbanism and Architectural Modernism in Africa, Architecture and Health, Architectural Habitus, Architecture and land, Taste in Architecture, Architecture; Science and Arts Debate, and Kinship, Land, and Architecture in Urban Ghana.
Organiser and chair: Albert Brenchat-Aguilar Albert is a Lecturer (teaching) at the Bartlett School of Architecture, University College London. Previously, he co-curated the public programme and publications of the Institute of Advanced Studies, UCL, edited the digital platform Ceramic Architectures and worked as an architect in Bombas Gens Arts Centre. He is a CHASE-funded PhD student at Birkbeck and the Architectural Association with the project ‘Resource: Humans Matter and the Patterns of International Planning c. 1957-76’, whilst cataloguing the archive of educator, architect, and planner Otto Koenigsberger. His coedited volume ‘Wastiary: A bestiary of waste’ will be published soon he hopes. He has published in Architecture&Culture, Espacio Fronterizo, and The Scottish Left Review, curated shows at UCL and the Polytechnic University of Valencia, and exhibited his artworks at Museu Nogueira Da Silva. He is currently a visiting researcher at the Department of Architecture, KNUST.
PhD Research Title and Summary: Development and National Identity: Tropical Modernism in Post-Independence Nigerian Universities
The aftermath of the Second World War brought a shift in the policies of the British Empire towards the infrastructural development of colonies in West Africa. Massive projects ranging from transportation to healthcare and including education went underway in Nigeria, the largest colony in West Africa. Various commissions from the 1940s and nationalist agitations eventually led to the establishment of the first university in West Africa in 1947- the University of Ibadan, Nigeria. Colonial architects such as Maxwell Fry and Jane Drew, who specialised in modernist designs for the tropics, were hired for this and other major projects.
With the country’s independence from colonial rule in the foresights in the late 1950’s, a new desire for a unified national identity arose. This aimed to erase dividing ethnic lines and create a collective identity in the culturally heterogeneous new nation. Infrastructural projects were commissioned, ranging from public buildings to higher education institutions. These projects designed and built following the tropical modernist architecture of the colonial were used in developing a new built environment for Nigeria. I am interested in examining the tropical modernist architecture of Nigerian higher education projects in the 1960s and their role in the country’s development and representing the national identity for the newly independent Nigeria.
Aims and Objectives:
-examine the position of higher education projects in creating a new sense of identity and nation building
-explore the first universities established in post-independent Nigeria within the social and political context of the 1960s
-highlight the roles of Nigerian actors who championed, designed, and built higher education projects
-compare tropical modernist style of higher educational buildings before independence and post-independence
What did you do before the PhD Research?
I recently completed my master’s degree in Environmental Design at the University of Lagos, Nigeria where I also obtained my undergraduate degree in Architecture. I also worked part-time at A3: Archives of African Architecture, an organization based in Lagos that documents architecture of practices in the country and promotes documentation of endangered built environments in Africa.
Why did you pursue a PhD, and what made you choose the University of Liverpool?
I first made a choice to purse a PhD in the third year of my undergraduate degree. Research satisfied my curiosity and I found it interesting and fulfilling to investigate the unknown and/or under researched areas in architecture (that I could relate to) and share it to the public. I think I also had enough time to weigh the pros and cons and honestly question my reasons and be certain for my interest in undertaking a PhD.
I chose the University of Liverpool for a few reasons. The research area was of great interest to me. I was surrounded by tropical architecture in the University of Lagos and studied some of the buildings only as case studies for studio projects. It was exciting to do a PhD on this topic that didn’t study these buildings in isolation but within the wider context of the period they were designed and built.
The programme also provided me with the opportunity to gain experience outside academia at the National Archives in London which caught my interest. I was also confident in the calibre of my supervisors and the wealth of experience they had in their fields. It also helped that Liverpool is a coastal city with beaches and waterfront views just like Lagos.
What have you found the most fun part of the PhD, and the most challenging?
I am at the beginning of my PhD, and I find learning more about my research area interesting. There is something new to learn everyday and that alone excites me.
I think the most challenging part for me is managing the scale of my research. It is still a new experience and managing my project myself is still very unfamiliar.
Post-PhD? Any ideas of what you’d like to do next?
I do not yet have a clear path post-PhD but I am sure my programme will enable me try new opportunities within and outside academia. I think this will help me make a more informed choice.
Any advice for others interested in doing a PhD?
It is particularly important to like what you want to research. When it becomes challenging, it helps to know that you are working on something that you chose and genuinely enjoy.
You also don’t have to be very excellent in research, although experience in research helps. A PhD is a learning process, and it gets better.
Call for Papers for Modern Heritage in the Anthropocene Symposium
Modern Heritage in the Anthropocene is part of the MoHoA global collaborative and builds on the Modern Heritage of Africa symposium hosted by the University of Cape Town in September 2021. Coordinated by The Bartlett’s Professor Edward Denison and Head of the University of Liverpool’s School of Architecture, Professor Ola Uduku, along with partners at the University of Cape Town, the Africa World Heritage Fund and around the world, this upcoming hybrid symposium responds to an age of planetary crisis in which a precarious present reflects an inequitable past and a perilous future.
Modern heritage in all its forms and from around the world is the subject of this multidisciplinary symposium, presenting the paradox of being of modernity and yet threatened by its consequences. MoHoA was originally conceived within an African context to interrogate this paradox because the continent encapsulates the historical inequities that characterise the modern and its associated notions of development and progress while also facing the highest rates of urbanisation over the next 30 years, demanding new approaches to the past and present that achieve equitable and sustainable futures on a planetary scale. The outcomes of the two symposia will synthesise in the recognition of the Cape Town Document on Modern Heritage.
Call for papers
Submissions are invited from researchers, academics, and practitioners. The organisers are seeking papers or equivalent submissions that critically engage with reframing, re-evaluating, decentring, and decolonising recent, hidden or marginalised pasts in pursuit of achieving more equitable, just, and sustainable futures. Participants will contribute to the completion of the Cape Town Document on Modern Heritage, supporting policy change at a global level through our partner UNESCO.
Topics can include, but are not limited to:
Practices of coloniality, decentring and decolonising history and historiography
Considerations and conceptualisations of multiple modernities
Modern heritage and Sustainable Development Goals (SDGs)
Planetary futures and the Anthropocene
Infrastructure and (post)-industrial heritage
Combining culture and nature, and the role of natural heritage in society
Public space and memory: memorialisation, commemoration and remembering
Modern heritage and the World Heritage Convention
How to submit
Submissions should be in English or French and should be emailed to firstname.lastname@example.org by 31 May 2022.
Notification of acceptance will be provided by 30 June. Abstracts should be a maximum of 300 words or equivalent format (e.g. film shorts, blog, or Instagram story) for other types of digital submissions.
Selected papers or presentations will be published as part of the MoHoA Book Series after the conference and selected extended papers will appear in a special edition of the journal ‘Curator’.
During this international conference, a series of scholars from different disciplines (history, anthropology, political science, architecture,..) and backgrounds will present their (ongoing) research on railways in Africa and engage in a conversation with Anne Wetsi Mpoma and two artists currently in residence in the context of Europalia Arts Festival, Alexandre Kyungu Mwilambwe and Arnaud Makalou. Aymar Nyenyezi Bisoka will start the day with a keynote lecture. Please note that interventions will be in French and/or English, with no simultaneous translation.
We will open a work-in-progress exhibition of work produced by students and staff of the Department of Architecture and Planning of Ghent University on the theme of the railway in Africa, conducted over the last couple of years. Two keynote lectures, one by historian Geert Castryck (University of Leipzig, Germany) and one by digital humanities scholar Chao Tayiana Maina (African Digital Heritage, Kenya) will provide a broader context on the theme. The interventions will be in English.
Document Fever: Encounters with the architecture of the *colonial architecture archive: Organised by the Architectural Association in collaboration with the Architecture Space & Society Centre, Birkbeck School of Arts
Date: Friday 25 February 2022 Time:10:00 – 17:00
Fever: An intense enthusiasm for or interest in a person, pastime, event, etc., typically widespread but short-lived; an obsession, a craze / A state of intense nervous excitement or agitation / to elevate in intensity, temperature, etc., to heighten emotionally. OED
An architectural archive is expected to contain drawings, plans, maps, photographs, models, and sample materials. However, the archives of post-war architects working for the United Nations — Jacky Tyrwhitt, Charles Abrams, or Otto Koenigsberger, to name a few — contain letters, invoices, book drafts, repetitive lecture notes, photographs, press cuttings, and, mostly, reports, piles of them. Reports consist of from two to dozens of typed pages with advice on the development of the environment as a whole, spanning issues such as landscape, ecology, economy, housing, migration, labour, water management, and others. These reports are mostly addressed at regions in Africa, Latin America, and South and Southeast Asia that were colonised at the time or had recently gained independence.
It is common to find report-based archives in Western departments of architecture and architectural institutions. Both the architectural category and the Western homes of these archives could be questioned for their interdisciplinary content and their embodiment of neo/post/post-/re/trans/inter/—/*colonial relations. These probably get complicated by other questions: the exiled condition of some of its authors, the aspirations of the UN and of the recipients of these reports, or the political and economic international dynamics behind these reports. Maybe one first question is about what these archives represent: is it their authors, their ideas and practices, their network, the lands and peoples reported, or something other?
This symposium adds to the work on *colonial networks of planning consultants since the 2000s and specifically to the work from critical studies and the social sciences developed in the 2010s on *colonial exchanges between Argentina, Brazil, Mexico, US, UK, Nigeria, South Africa, Singapore, The Philippines, Indonesia, India, Pakistan, Kuwait, Iran, Iraq, Ghana, Germany, Poland, Romania, and Belgium. This work has until now scrutinised these archives through theses on climate and race, capitalism and extraction, green infrastructure, socialist worldmaking, and misogynist endurances, amongst others. None of these topics were explicit in the archives which are partial, unclassified, and under rigorous custodianship most of the times. This symposium focusses on the feverish encounter with the architecture of the archive that made possible these forms of research and asks how to make ‘privilegings, elisions, and silencing’ of the ‘work of the archive’ present, accessible, and suggestive, if at all appropriate, in the architectural *colonial archive?
The symposium will explore the following themes:
space, geoposition, and structure of the archive;
property, representation, and audience;
fantasies of the writer of the document;
encounters with the document;
critical approaches to the architectural category of these papers;
intellectual frameworks to approach these archives;
evidence finding and the power of “critical fabulations”;
emotional fever in the archive;
connection to the material and personal qualities of the archive;
and the way one would have liked that the encounter with the archive could be framed for future researchers.
Keynote: Sabelo J. Ndlovu-Gatsheni (Professor and Chair of Epistemologies of the Global South with Emphasis on Africa at the University of Bayreuth in Germany)
In the UAC archive amongst the Public Relations files is ‘Nigeria Magazine‘. From within the mat brown cardboard of the archive box springs a collection of beautifully designed and printed set of publications. The magazine was a Government sponsored venture, published by the Cultural Division of the Ministry of Information in Lagos. It was issuedquarterly from around 1937 until the mid-1980s “for everyone interested in the country and its peoples”. The focus of the editorial was varied and wide ranging, covering topics across the arts, history, architecture, literature, and culture in Nigeria. There was a strong commitment and celebration of ‘local’ art, as well as extensive articles on planning, housing, and architecture from across the ages. The contributing authors were often experts and highly regarded scholars. Ulli Beier was a frequent writer, and the quality and tone of the editorial was consciously accomplished, supplemented by some striking images and high quality graphics.
Articles were published on the history of cities, including “Ibadan, Black Metropolis” in 1961, relishing in the city’s longevity and traditions, as well as welcoming its position as a new centre for finance and media (see Design Group’s Finance building below). Other sections included biographies on key personalities, such as June 1966 with its feature on architect Alex Ifeanyichikwu Ekwueme (1932-2017).
Ekwueme studied at Washington University on a Fullbright Scholarship in 1952, and went onto to work at Nickson and Partners in London (is this Nickson and Boris?) before setting up a firm in Nigeria that grew to 16 offices. He designed the United Christian College at Apapa, Universal Insurance Building Enugu, and the Administration Building for the Nigerian Petroleum Refinery Company, amongst others. Ekwueme’s architectural career ended when he was elected Vice-President of Nigeria in 1979.
Whilst there was a lofty desire to promote local art, culture, and history, other articles appear to focus on trade and industry, presenting what are effectively op-eds or public relations pieces as historical accounts. In 1960 there was a special report on The Niger River Transport Company and Burutu, “Nigeria’s Timber Industry” featured in December 1962, focusing on the work and settlements of the African Timber and Plywood company – both subsidiary companies of of United Africa Company (UAC). Again, the Company features in various other articles, such as “The UAC in Nigeria’s economic growth” in December 1965. It’s a thorough and detailed account, going to some length to stress how the company is ‘inseparable’ from Nigeria’s economic growth. The article was also eager to stress the restructuring of the company and how it now operated as a series of smaller locally managed entities ‘to encourage the growth of industry and trade in local Nigerian hands’.
It seems that the magazine had a mandate beyond art and culture, and sought to shape opinion (particularly in the emerging and educated middle classes) on business and trade matters. The seductive and authoritative format of the journal gave these opinions validity, and allowed a particular and curated message to be carefully presented. The advertisements within the journal also reinforced these messages and narratives of progress through industry.
At the same time, ‘traditional’ and ‘local’ practices were celebrated and discussed. There is something disarming in this technique. An ahistorical image was usually shown on the front cover, often a decontextualised figure in traditional dress sometimes playing an instrument – followed on the inner leaf by an advertisement for the latest fashions from Kingsway department store. The advertisers tended to belong to, or were in partnership with, the UAC group (e.g. Taylor Woodrow, Guinness, Kingsway Stores), and it seems likely their extensive patronage held some sway over the editorial content. The adverts were not geared towards selling specific products, but were there simply to bolster public opinion and shift attitudes towards modernity, progress, and societal advancement alongside a romanticised nationalist sense of history and culture.
The articles on architecture were also propagandist and concerned with presenting Nigeria as a place of rapid progress and impatient ambition. Again, the UAC story is followed with interest, and their newly proposed offices in Lagos (by Watkins and Gray) demonstrates the Company’s commitment to ongoing business in the newly independent country, and also the shift in its focus from import/export to real estate and property development.
John Godwin, wrote an article entitled, “Architecture in Nigeria” in December 1966. It’s a potted history that starts with the regional building types, local materials, and climatic responses before moving onto the impact of corrugated iron sheeting (pan) and its limitations. Godwin sets out this story to demonstrate the sudden change in scale, building types, and growth of the construction industry in West Africa post-1945,
“Tower cranes were on the scene in 1955 and by 1961 two twenty-five-storey buildings had been completed in Ibadan and Lagos built by Italian firms who thirty years earlier were struggling with their labour force to build small houses”
Whilst acknowledging this rapid growth and exciting possibilities, he also goes on to caution that more ‘research’ is required, greater collaboration should exist between architects, and that building components and materials were still being imported at prohibitive costs. Overly extravagant “prestige building” was also targeted whilst low-cost housing problems remained unresolved. Whilst the claims and hopes for air-conditioning now seem somewhat out-dated, his desire for a civic pride and community spirit, tree planting, and care of the environment is pertinent and all the more urgent. Godwin’s approach was to propose an “architecture of ventilators and sun breakers”, a lexicon that he viewed as, “increasingly identifiable as West African.”
Contributing to this West African style was the Design Group’s “Nigerian Institute of International Affairs” (located on Lagos’s Kofo Abayomi Street). It was discussed at length by Alan Vaughan-Richards in the March/May 1968 edition of the magazine, where he particularly admired the sculptural mural, ‘The Art of Understanding” by Erhabor Emokpae in tooled concrete that revealed the granite aggregate. Inside the Institute are further sculptural elements, including a bronze figure representing Knowledge by Ben Enwonwu and positioned hovering above an evaporation pool. The interior includes some grand double-height spaces, dramatic cantilevered spiral staircases and travertine marble cladding (donated by the Italian contractor). At the rear of the plot there is an octagonal conference room with a dramatic star-shaped roof (still visible on Google maps).
The Institute was to promote peace and progress (the internal conflict taking place in Nigeria at that time was not mentioned), and was to operate as a centre for learning, research, and debate on global affairs.
June 1962 edition included an article on “Contemporary Nigerian Architecture” by D. J. Vickery, the former Head of Department at Singapore Polytechnic (did he then go on to work in Nigeria?). This is an exceptional article covering some of the latest construction in Nigeria, and Lagos in particular. As a gazetteer of the latest building work – including the work from recently qualified Nigerian architects – it formed one of the most detailed architectural surveys of the country. Although the crude categorisation of the works under three types; ‘Climate’, ‘Traditional Spirit’, and ‘Skyline’ is somewhat limited, it gets the message across, and more importantly illustrates what the Independence Boom meant to the towns and cities across Nigeria.
In addition to the speculative offices, headquarters and banking halls there was an impressive array of schools and libraries (many designed by James Cubitt who had also designed similar works in Sekondi and Koforidua, Ghana), but the focus here was undoubtedly on real estate and speculative construction.
Nigeria magazine illustrates how UAC and other global companies shifted their approach and emphasis during the early Independence period. UAC was presenting its suite of businesses as nationalist, pro-development, and key partners in the country’s future. They rapidly placed an emphasis on real estate, finance, and industrial development, whilst curating a sophisticated advertisement and public relations campaign, through an arts and culture journal, to bolster their local credentials and legitimacy in the history of Nigeria.
We are pleased to announce the launch of the 2022 ASAUK biennial conference titled: “Diaspora Remittance Flows: Restitution, Culture and Capital”. This is an innovative conference which seeks to harness the global two-year involvement with online communications with our physical engagement with conferencing which we hope will return in 2022. This conference is conceived to enable our research colleagues in Africa (Ibadan, Nigeria and Nairobi, Kenya) to be part of the research conversation at the 29th ASAUK biennial conference, via the zoom media platform. We also will be running a smaller traditional in-person conference in Liverpool addressing this and other ASAUK member-determined themes.
Running from August 31st – September 4th, 2022, the ASAUK Biennial conference will be a unique two-part conference. With British Academy funding, the first part will take place entirely online and involve ASAUK research colleagues based in Ibadan and Nairobi engaging in the conference themes from Africa based platforms shared across Africa and Liverpool in the UK. This will be followed by a smaller, traditional in-person conference, hosted by the ASAUK at the University of Liverpool.
We invite you to attend the online conference, which is entirely free, and also to come to Liverpool for the ‘in-person’ conference, taking place from Friday 2nd – Sunday 4th September. The Liverpool conference will have a smaller audience, and conference panel requirements planned to pre-empt possible ongoing Covid health advice on conference size and appropriately spaced and ventilated conference facilities. Taking this into account, there will be online access to the physical Liverpool conference for a reduced fee.
THE ONLINE CONFERENCE 31st August – 2nd September
Restitution, Culture and Capital
This is an entirely free to attend conference (with registration required).
Hosted by ASAUK colleagues at the IFRA Institute, at the University of Ibadan and the BIEA, Nairobi, the online conference has been directly funded by the British Academy, with generous supplementary funding from the BIEA. It will be delivered entirely online from both Ibadan and Nairobi, using the Zoom platform. Working closely with the Institutes in Ibadan and Nairobi, these interactive conferences will be broadcast on two consecutive days, from Ibadan on Wednesday 31st August and Nairobi on Thursday, 1st September. The final part of the online conference will be broadcast from Liverpool on Friday 2nd September, jointly chaired by the ASAUK and RAS presidents.
We expect to curate and edit the key papers, from Ibadan, Nairobi and Liverpool that will be discussed at this unique online conference series. These with support from the British Academy will form the basis of the ASAUK publication Restitution Culture and Capital in Africa and the Diaspora, a trans-national conversation which will elaborate on the themes of the conference through the publication of the keynote papers and also the responses as recorded by participants at the three conference platforms.
The panel session themes and keynotes for the three day online conference are as follows:
HOSTED ONLINE FROM IFRA, UNIVERSITY OF IBADAN
Curated by Vincent Hiribarren, Director IFRA Ibadan
Ibadan Session 1. DIASPORA FLOWS OF CULTURAL ARTEFACTS TO AND FROM AFRICA
Prior to the online sessions keynote speakers will discuss their papers with Africa-based ECRs in workshop format.
THE LIVERPOOL ASAUK 29th BIENNIAL CONFERENCE
FRIDAY 2ND – SUNDAY 4TH September 2022
The ‘in-person’ Liverpool Conference follows the traditional panel theme format. Whilst the panel theme titled: “Diaspora: Restitution, Culture and Capital“, follows on directly from the online conference, we invite proposals for other panel themes.
As this is planned to be a smaller conference we call on panel proposers to ensure all panel proposals are sent in to the ASAUK conference team by 31st March, 2022. All proposals need to have the names of the 3 – 4 paper givers, and their abstracts submitted by the 31st March deadline. This will enable us to plan the conference space and facilities required. It will also mean that we can work to ensure that any documentation required for proposed international participants who might need this will get processed on time. We realise that this is different from the traditional conference format but hope you will join us for this unique, innovative conference in 2022. The 30th April is the later deadline for individual paper proposals. Due to the smaller conference format, space for individual papers will be limited and we encourage paper givers to consider working with emerging panel themes which will announce from February onwards.
The 29th ASAUK biennial conference dinner will be held at Liverpool University’s Victoria Gallery and Museum on Saturday 3rd September. This will also be the venue for announcement and awards ceremony for the Audrey Richards prize, the Fage and Oliver prize and the distinguished Africanist awards ceremony.
For more information about the 29th ASAUK conference. Please contact the conference organisation team via the email address: email@example.com. Panel proposals, comprising the 3 – 4 papers with abstracts, can also now be sent to this address.
We will be providing further information as the conference details develop on our website and via social media.