How should we catalogue, describe, present, and interpret museum objects? These are never easy questions and even more difficult when they form part of an ‘ethnographic’ collection.
The @leverartgallery in Port Sunlight has a major collection gathered by industrialist William Lever from his sojourns to West and Central Africa – but very little is known about the objects, and they rarely get displayed because of this.
Together with colleagues from @liverpoolmuseums and AHUWA / Liverpool University we invited members of the Congolese Association to join us in a workshop and to rethink how we might begin to catalogue and understand the art, instruments, weapons, fabrics… We were delighted to be joined by Congolese Ambassador Ndolamb Ngokwey and to have expert facilitation from @bluesaint .
It was only a trial , but the proof of concept worked really well. Looking forward to seeing the other objects and learning more.3 d
The Architectural History of Postcolonial West African Universities
Adefola Toye is a PhD student at the University of Liverpool, co-supervised with The National Archives through a Collaborative Doctoral Partnership scheme. Her research examines university architecture in mid-twentieth-century Nigeria, tracing how campus design and construction shifted as political control transferred from colonial to independent governments.
The post-war period saw a wave of university building across British West Africa, funded through Colonial Development and Welfare Acts and overseen by the Inter-University Council for Higher Education in the Colonies. University College Ibadan, designed by Maxwell Fry and Jane Drew, is the most widely studied example. But Adefola’s research moves beyond Ibadan to less well-known institutions: the Nigerian College of Art, Science and Technology (1951) and the four universities established immediately after independence in 1960, including Ahmadu Bello University, Obafemi Awolowo University, and the University of Lagos.
In this post for The National Archives, Adefola discusses how she has used colonial records at Kew to study these institutions and their built environments. She also addresses a problem central to any archival study of this period. As independence approached, British oversight diminished and documentation thinned out. The Colonial Office files become sparser, and the story can only be reconstructed by working across multiple archives and geographies, from the National Archives of Nigeria to the Bodleian Library in Oxford and Michigan State University. Her argument is clear: no single archive can sustain a full account of how these campuses were planned, negotiated, and built. The research demands a multi-archival and transnational approach.
Congratulations to Adefola on successfully defending her PhD on 8th May 2026.
We returned to Accra to take down the Kingsway Stores exhibition. It’s currently in storage at the emerging and wonderful Si Hene Foundation. The future of the exhibition is quite exciting – the details are still being resolved, but it’s certainly going to travel around Ghana and onto Nigeria (details to follow – and we’ll post updates here). Si Hene has it’s own collection of Kingsway archive material too – so it’s the ideal spot. The exhibition was dismantled and transported on the motorbike-truck.
I gave a talk to the archivist-curator-artists at Si Hene on our work, methods, practice and community engagement. This was great fun and the quality of the projects being produced here is astonishing.
After dismantling the exhibition there was time to search out some new, old, and modified structures. First on the list was the School of Law from 1959. Designed by Zdzisław Borysowicz of Nickson and Borys. I came across an archival image of the building in the Borys archives – and was eager to visit…
The kind people at the School allowed us to explore and take some photos.
Check out the curved brise soleil – how was this cast with such accuracy? It’s a similar size and proportion to the nearby Library also designed by Borys – but this time curved. This would involve some very tricky and geometrically complex formwork and there doesn’t appear to be a climatic/comfort reason for doing so? There was also the usual terrazzo and concrete with crustacean aggregate – all carefully finished. The most dramatic part of the design is the zig-zag concrete solar shading. This is projecting from the main facade – and appears to hang, unsupported. It’s audacious and brave. There’s new glazing been added behind, but the overall effect is just about retained… The brise Soleil features on the south and north facing facades – was tropical modernism becoming more of a ’style’ than a pragmatic solution by this stage?
Borys designed some of the finest buildings in West Africa. In Accra alone this includes the library, Padmore Memorial Library, PRAAD, Court extension, the law school – and as we went onto see, some excellent housing too.
There’s a fascinating villa in the Borys archive. It’s a house for “Mr and Mrs Pepera, Accra, Ghana”. Pepera was an industrialist and business owner and his family owned some large plots of land across the city. He commissioned Borys to design a house on Switchback Road in Accra. One of the facades contains a distinct mosaic mural. With the help of Allotey Bruce Konuah the family told us that the house had been redeveloped, but the mural survived. We went to take a look. It seems that the house has been rebuilt in a similar style and the mural has either been remade, or possibly partially preserved.
There’s a few other interesting dwellings on the same stretch of Switchback Road – how long they’ll remain isn’t certain – the land value and rapid development is forcing vast highrise construction here and these villas set within large landscaped gardens are at risk.
There are some smaller clinics and hospitals along this road too, with accompanying residences.
The new @adjayeassociates offices opened earlier this month in Accra. It’s an impressive structure with generous interior and exterior spaces for exchanges, meetings, displays, and studios. The gallery contains some of the most beautiful and carefully crafted models we’ve seen.
Stabilised rammed earth (swishcrete) features heavily on the exterior – mirroring the marble clad vertical fins and approach of Lasdun’s Takoradi bank . The most startling aspect of the design is the decision to raise the structure up from the ground level. The structural span is vast and courageous, with the entirely building appearing to perch on a large round concrete drum form at one end (it’s a kind of inhabitable piloti containing a fire escape). It’s quite an unusual gesture to only use as a means of escape.
The structural solution is impressive – but it left me wondering why was it done? Is it referencing the modernist piloti concept, or the colonial bungalow model, or perhaps the former US embassy in Accra ? The underpass could make for a great outside studio, exhibition space, or a spot for a planted garden and evaporation pool – but it’s only used to provide shade for parked cars at the moment… Perhaps the landscaping and activation of the space will follow – it takes time to bed into a space like this – and the roof garden and kitchen makes up for it with views to the ocean and across the city.
Going back to the ‘rammed earth’ – it would be good to know the cement content. Are we really dealing with a pigmented concrete solution here rather than adobe ?
Very grateful @phelim_owusu for kindly giving us a tour and to @k_of_i for organising the visit.
Finally a visit to the Danish embassy – a villa set in gardens in North Ridge. Architect unknown – but a careful design that blended the garden and interiors – perfect setting for the art exhibition, performance, and gathering.
Our new monograph on the city of Freetown, Sierra Leone has (finally) been published – open access and you can download it here. It’s a major output stretching to 240 pages across a chunky 250x250mm format and is the third book in our series on sharing the archives of the United Africa Company. The other two books are on Kingsway Stores and The Photocard collection.
Photocard and Kingsway catalogue
Our approach in Freetown was to identify and write brief historical narratives on the city’s development using archival photographs mainly from the Unilever UAC collection, alongside recent photographs. Archival work took place at Unilever, Bodlean Library, UK National Archives, as well as at Fourah Bay in Freetown – and this informed our fieldwork and photography. The approach is a classic ‘before and after’ set of images with descriptions. There isn’t an architectural guide book or detailed study of Freetown and it’s architecture – which is quite shocking considering the quality of the work and the architects involved (including Nickson and Borys; Jame Cubitt; Ronald Ward and many others….)
Freetown An Architectural Gazetteer
As well as covering the major buildings in the city we include an extended essay on Fourah Bay College, and a write up on Bonthe at Sherbro that we were fortunate to visit. We’re particularly proud of the Bonthe work – and there is certainly a lot more research to undertake into its history and architecture.
Have a listen to Rixt Woudstra and Ewan Harrison talking more about how we researched, made, and designed our latest book ‘Architecture, Empire and Trade‘ on the New Books in Architecture podcast series…. Thank you to Matthew Wells for hosting the podcast and for the super questions and comments.
During the 1960s, Accra stood at the center of the anticolonial world. As the capital of Ghana—the first independent country in sub-Saharan Africa following European colonization—the city drew revolutionaries, intellectuals, and artists from across the continent and the Cold War divides. Ghana’s first leader, Kwame Nkrumah, envisioned Accra as a showcase of African statehood and invited architects to help shape its future.
Exhibition Photograph, courtesy of Łukasz Stanek, 2025.
Intersections traces the collaboration of two architects who responded to that call: Ghanaian Victor Adegbite (1925–2014) and Hungarian Charles Polónyi (1928–2002). Polónyi arrived in Accra as part of Eastern European technical assistance programs supporting Ghana’s transition to socialism. He worked for the Ghana National Construction Corporation (GNCC), where Adegbite—a Howard University graduate—served as chief architect. In their work at the GNCC they mobilized architectural resources from the socialist, capitalist, and non-aligned countries and designed buildings that responded to Ghana’s needs, means, and aspirations.
The exhibition centers on the housing projects designed by Adegbite and Polónyi, which embodied the many dimensions of independence—from representing a new elite to the state’s provision of housing for all social groups. By juxtaposing family archives from the United States and Hungary—preserved by the architects’ daughters—the exhibition both reconstructs and reenacts an encounter from sixty years ago. By recording how the buildings designed by Adegbite and Polónyi have been appropriated by their inhabitants, it shows how the architects’ work continues to impact Accra’s urban landscapes.
Curators: Michael Dziwornu and Łukasz Stanek, in collaboration with Dana Salama.
As Hardly Found: Art and Tropical Architecture centres artists and artworks that have so far been overlooked by histories of ‘tropical architecture’. In this collection of essays, historians, artists and archivists address works of art connected to epicentres of teaching and practice within the movement – focusing on the Department of Tropical Architecture at the Architectural Association and its collaborators such as Kwame Nkrumah University of Science and Technology – which emerged in the mid-20th century alongside anticolonial struggles that dismantled the British Empire.
Here, authors use creative, critical and speculative methods to inhabit the gaps in archives of tropical architecture, highlighting artworks in Nigeria, Ghana, India, Indonesia, Singapore, Costa Rica, Cuba and the UK. Their contributions trace connections within a network of relations between art and architecture; one which recentres the rich and diverse forms of environmental knowledge, social values and material cultures contributed by artists working in these contexts.
We are delighted to welcome the editor, Albert Brenchat-Aguilar, and the team from AA Publications, who will give a short introduction to the book. A small installation will accompany, food and refreshments will be provided.
Hector Othon Corfiato (1892 – 3 May 1963) was a Greek architect (although some claim Egyptian). After studying at École nationale supérieure des Beaux-Arts in Paris, he established the firm of Corfiato, Thomson & Partners and was professor and director at The Bartlett School of Architecture, UCL from 1946 to 1959 (emeritus from 1960). He worked on various ecclesiastical projects including https://c20society.org.uk/c20-churches/notre-dame-de-france and https://www.architectsjournal.co.uk/news/grade-ii-listing-for-rare-corfiato-church and after his retirement the Church at Debre Libanos, Ethiopia (circa 1961).
Church at Debre Libanos, Ethiopia
He also completed some further projects in Burma, and in West Africa for the Nigerian College of Arts, Science and Technology (NCAS&T) in Zaria. Whilst in Nigeria he established an office at the collage and took on further projects including for the Manchester based firm G B Ollivant.
G B Ollivant (GBO) was bought by the United Africa Company in 1933 and transitioned from cotton and fabric trading into general retail, office supplies, and building management. Corfiato designed several bungalow types for the firm as well as a large retail store in Onitsha (1959) selling cottons, hardware, provisions, and fancy goods. The store was to connect to an existing Cosley store – which we suspect were hardware/builders merchants.
The building provided showroom spaces as well as retail and was probably used more for wholesaling than general retail. The exposed concrete frame of the building supported the overhanging roof to provide solar shading to the upper level whilst the ground floor had a further projecting canopy over pavement. It’s utilitarian and straightforward – but more than a mere warehouse and a considerable aesthetic departure from GBOs usual building style found elsewhere in West Africa. It’s looking more towards the ‘high end’ retail stores being built at the same time across Nigeria, and was part of the construction boom in Onitsha that saw the new cathedral (by Richard Nickson) and market hall (see Nigeria magazine no65, 1960).
Archive snaps of the GBO premises in Onitsha, 1959, designed by Corfiato and partners, from originals in the Unilever Archives, UAC/2/10/a1/4/4/1/5/2
Corfiato collaborated with various other architects about whom we know very little. They’re listed in Nigeria Magazine as just “Avis” and “Horner” and are given credit for designing the Dispensary at Zaria College and a store for Gottschalck in Kaduna. The Gottschalck store closely resembles the GBO store and was also part of the UAC group.
Above Gottschalck Store at Kaduna. BEAM on the right hand side was another UAC subsidiary, ‘Business Equipment And Machines’. From Nigeria Magazine no73, 1962.
These projects raise a number of questions: Did Corfiato ever visit West Africa? Was he responsible for obtaining these commissions in the UK and then establishing a satellite office in Nigeria? Who were Avis and Horner? They were clearly a capable team and delivered some significant residential, educational, and commercial projects across Nigeria.
It’s devoted to our work-in-progress on the Polish architect Zdzisław Borysowicz – complete with lots of photos, basic biog on ‘Borys’ and how we managed to finally find out more on this fascinating architect….