Erhabor Ogieva Emokpae (1934-1984) and the timber carving at Unilever
The largest item in the Unilever archive at Port Sunlight is a carved timber mural by the Nigerian artist Emokpae. Stretching to over 4m x4.5m and made up of 35 individual panels, it depicts the story of palm oil harvesting and the production of palm oil.
The panels also show William Lever visiting Africa and his famous Sunlight soap brand. Itโs a vast piece of history and story telling revealing that behind ever bar of Sunlight soap was a vast system of extraction, production, logistics, and international trade stemming from Western Africa. The work was commissioned for the refurbishment of Unilever House in London in 1979. As well as being an influential and important artist Emokpae was a Creative Design Director for the design agency Lintas (also one of Unileverโs subsidiary companies).
I produced a measured drawing of the carving to help me to study it more carefully and because itโs almost impossible to photograph the original work in a single frame whilst capturing the detail. Together with Unileverโs Global Head of Art, Archives, and Records Management Claire Tunstall, we began discussing using the drawing to produce an animation that would help to explain part of the work and also make it more accessible. We shared our ideas with the agency Stone and Glow and commissioned them to develop an animation based on our text, keyframes, and artistic direction. Weโre delighted to be able to share this with you here and hope you enjoy it:
I wanted to know more about Emokpaeโs work and found some fascinating material in the Nigeria Magazines. Emokpae had worked on some major projects in Lagos and Iโve been eager to view them ever since. At the National Theatre (designed and constructed by the Bulgarian Techno Exporstroy in 1976) Emokpae was commissioned to produce the friezes that wrap around the lower parapet of the theatre as well as a series of mosaic murals at the entrances.
He also won a competition to design a concrete installation at the Nigerian Institute of International Affairs โ a significant building designed by Design Group. Here Emokpaeโs โThe Art of Understandingโ is composed of a large concrete mural with mosaic backing. The project also featured in Nigeria Magazine no.96 1968 with an extended article written by Alan Vaughan-Richards.
Iain Jackson, Ola Uduku, Ayo Olukoju, Claire Tunstall, Sam Ntewusu at Unilever, Port Sunlight
The objective of the visit was to visit and introduce Profs Olukoju and Ntewusu to the Unilever archive collection at Port Sunlight, particularly its subsidiary the United Africa Companyโ (UAC)โs extensive holdings on Western Africa covering its various business interests in the region. The symposium which took place the next day involved presentations by Profs Olukoju and Ntewusu on the state of archives and archival research in West Africa, which was attended by Merseyside researchers and PhD students.
ย
Professors Olukoju and Ntewusu at Unilever, Port Sunlight with bust of William Lever
The two-day visit also enabled discussions to be had about future collaborations at various levels, research, knowledge exchange capacity building at Masters degree level, and forms of impact for institutions in Western Africa and also the the UK and NW England in particular. Our thanks to all who contributed to the symposium. Particularly Claire Tunstall, and her team at the Unilever Archives, Dr Abraham Ngโanโga of the Andrew Walls Centre, Liverpool Hope University, Alex Buchanan, Archival Studies, University of Liverpool History Department, Suzie Goligher, Afrograph Ltd, and all other individual and institutional contributors to the symposium.ย
MoU signed by the University of Liverpoolโs APVC for the Faculty of Humanities Professor Fiona Beveridge, and received by Professor Olukoju, on behalf of the University of Lagos
The visit also coincided with the finalised signing off of the Memorandum of Understanding which has now been established between the University of Liverpool and the University of Lagos. The formal MoU, was signed by the University of Liverpoolโs APVC for the Faculty of Humanities Professor Fiona Beveridge, and received by Professor Olukoju, on behalf of the University of Lagos
Dr Christopher Turner co-curator of the exhibition watching film featuring Ola Uduku
Press Cuttings:
โLa Biennale di Venezia and the V&A present Tropical Modernism: Architecture and Power in West Africa. Organised in collaboration with the Architectural Association (AA), London, and Kwame Nkrumah University of Science and Technology (KNUST), Kumasi, this presentation at the Biennale Architettura 2023 critically reflects on the imperial history of Tropical Modernism through an analysis of the work of the Department of Tropical Architecture and a dozen key projects. It explores the ways in which this distinctive architectural style was initially developed and employed as a tool to support colonial rule before being adapted by West African architects to promote the excitement and possibilities of the period that followed Ghana becoming the first sub-Saharan African country to gain independence in 1957.
Curated by Dr Christopher Turner (V&A) with Nana Biamah-Ofosu and Bushra Mohamed (AA), the Venice presentation in the Applied Arts Pavilion is centred around a multi-channel film installation featuring interviews with surviving protagonists and footage of remaining buildings. Responding to the theme of the 18th International Architecture Exhibition conceived by Director Lesley Lokko, who writes โAfricaย isย the laboratory of the futureโ in her curatorial statement for the Biennale Architettura 2023, the presentation also lays the groundwork for a larger exhibition scheduled to take place at the V&A in London in 2024.โ
The Transnational Architecture Group is 10 year’s old this year. Thank you for supporting the blog and to all of our excellent contributors over the years for enriching the content and generously sharing their work. We’d also like to thank the communities in the places in which we work, the archivists and librarians for making material available to us and sharing their expertise, our respective institutions for supporting our research, and to the research funders who make travel, time, and resources available to us.
The blog started as a means to share our work-in-progress ideas and to promote events – and that is still at the core of what we do. We continue to add updates from our ventures into the archives, travel reports, and to share interesting events and innovative papers. These small reports and updates have compounded into something of a large resource and repository, and we’re delighted so many people have been able to make good use of (and to correct and expand upon) our work and attempts at writing these histories.
To celebrate the 10 year anniversary we held a small gathering at the Liverpool School of Architecture on Wednesday 8th March, curated and organised by Dr Alistair Cartwright. Our speakers were all PhD students, post-doctoral researchers, and research associates at the school. You may watch the proceedings here:
The speakers and titles of the presentations are below, with timings if you’d like to skip to a particular talk:
Rixt Woudstra, “Sapele and Samreboi: Building Company Towns in British West Africa” 5:25
Excy Hansda, “Indigenous Modernities in the Twentieth Century Architecture of Bombay” 20:00
Adefola Toye, “Tropical Modernism in Nigeriaโs First Universities: Accessing Sources Beyond the Archives.” 37:00
Ewan Harrison, “Planning for Post/Neo Coloniality: the Paramount Hotel in Freetown” 1:11
Iain Jackson, “Erhabor Emokae and the curious case of the UAC Mural: tropical modernism and decorative arts” 1:31
Daneel Starr, “How and why has the vernacular architecture and intangible cultural heritage of the Akha people changed in the face of globalization: Using the village of A Lu Lao Zhai, Xishuangbanna (sipsongpanna) China, as a case study.” 1:50
Paul Robinson, “Freetown, the UAC and urban design” 2:20
Alistair Cartwright, “Ecologies of Vulnerability: Post-Cyclone Reconstruction in Mauritius, c. 1945” 2:35
We also heard an excellent paper from Razan Simbawa, “The Effects of Demolish-based Urban Regeneration on Displaced Residents in Jeddah, Saudi Arabia” – which cannot be shared on the video recording at the moment.
Thank you again to all of the speakers for their wonderful talks, presentations, and work-in-progress. There was such variety and richness in the topics and methods, and at the same time numerous connections and cross-overs between the work.
Please do get in touch if you’d like to know more, or to share your work on the blog.
We have recently established a new research centre, based at the Liverpool School of Architecture calledย Architecture, Heritage, and Urbanism, in West Africaย (AHUWA): https://ahuwa.org/ Weโre hosting a launch event and would be honoured if you could join us on Tuesday 13th December, 3-5pm at theย Arts Library, 19-23 Abercromby Square, Liverpool Universityย for tea and cake. ย Friends and colleagues from all of the North-Westโs major collections, repositories, and archives with material on West Africa have been invited, and weโre excited to share ideas and build up new networks across the region and beyond.
If you could registerย hereย weโd appreciate it, and look forward to seeing you on the 13th. Weโll have an informal presentation at 3:30pm โ please do come along and stay as long as youโre able. Weโll be onย Zoom too from 3:30-4:00pmย if youโd like to join us virtually for the presentation.ย
The first architectural journal in West Africa, The West African Builder and Architect (WABA) was published in 8 volumes between 1961 and 1968, and covered the field of architecture and building in the region. Nation-building programmes had started in newly independent West African nations by the early 1960s. These projects were centred on large-scale infrastructure projects for national development, which sparked a boom in design and construction. In contrast to earlierโฏarchitectureโฏjournals on colonial Africa that wereโฏpublishedโฏforโฏaโฏmetropolitan readership,i WABA wasโฏfoundedโฏbyโฏand forโฏprofessionals based in WestโฏAfricanโฏcountries to share information on practice in the developing industry and encourage cooperation among practitioners. iiย
The journal began with an editorial panel of British architects: Kennett Scott in Ghana, and Anthony Halliday and Robin Atkinson of Fry & Drew and Partners in Nigeria.iiiโฏโฏOluwole Olumuyiwa,โฏoneโฏofโฏtheโฏfew Nigerianโฏarchitectsโฏwhoโฏstudiedโฏabroadโฏandโฏestablished practices upon their return,โฏwasโฏtheโฏonlyโฏWestโฏAfricanโฏonโฏtheโฏpanel. Among the WABA’s target audience was the modest number of engineering and architecture students studying in West Africa. It aspired to equip them with valuable information regarding their future careers that were specific to their environment.โฏย
Published articles included news on new projects finished in Ghana, Nigeria, Liberia, and Sierra Leone as well as articles by skilled professionals discussing contemporary design and building methods in West Africa. Regular publication features included technical reviews of new products, updates on developmentโฏwork in the countries covered, and advertising placements.
Atโฏthatโฏtime,โฏBritishโฏpracticesโฏoperatingโฏsinceโฏtheโฏ1940sโฏdominatedโฏtheโฏarchitecture field in the region.โฏ Theyโฏcompletedโฏlateโฏcolonialโฏbuildings usingโฏtropical modernistโฏdesigns. This group of foreign architecturalโฏfirms,โฏincluding James Cubittโฏ& Partners, KennettโฏScott Associates,โฏArchitectsโ Co-Partnership,โฏFry,โฏ Drewโฏ&โฏPartners,โฏetc.,โฏ producedโฏa significant numberโฏofโฏthe newโฏstructures publishedโฏinโฏtheโฏ WABAโฏjournal.โฏThe projectsโฏofโฏthe generalโฏcontractor, TaylorโฏWoodrow andโฏthe engineeringโฏconsultant,โฏOve Arup &โฏPartnersโฏwereโฏalsoโฏlisted. Buildings for government organisations, corporations, and residences,โฏconstitutedโฏtheโฏbulkโฏofโฏtheโฏreportedโฏprojects. Facilities for telecommunications, transportโฏandโฏhealthcareโฏwereโฏalso mentioned.โฏย
The WABA journal served as a reference for the purchase and sale of building supplies and services through advert placements, advertisers index and buyersโ guides. Advertisements in volumes 1 and 2 of the journal reflect the state of the construction industry in the early 1960s independent West Africa. As the regionโs manufacturing industry was in its cradle, building supplies and equipment were primarily imported and distributed by West African-based agents. Most of the distributors’ advertisements in the journal were from multinational corporations that were at the forefront of trade in colonial West Africa such as United Africa Company, GBO (G.B. Ollivant) and CFAO (CompagnieโฏFranรงaiseโฏde l’AfriqueโฏOccidentale). GBO Building Department for example was a former subsidiary of British merchant GB Ollivant and had been operating in Nigeria since the late 19th century. Vivian, Younger & Bond Ltd and John Holt Technical were among more well-known suppliers with numerous locations throughout West Africa.ย
By constructing new facilities and forming partnerships with public and private organisations, foreign manufacturers also expanded their presence in West Africa. In their various local factories, International Paints (West Africa) Ltd., Dorman Long (Ghana) Ltd., and Nigerite (in Nigeria) produced paint, steel, and asbestos sheets respectively. The headlines of these corporations’ advertisements in WABA highlighted the launch of new plants and their support of the local economy. Additionally, advertisements for locally produced goods included the clause “made in Ghana” or “made in Nigeria.”. There was a minimal presence of indigenous manufacturing companies. NIGERCEM-Nigeriaโs first locally owned cement factory was the only producer to include this feat in its advertisement.
Some organizations used their advertisements to highlight their importance and reputation in the sector. Advertisements for general contractors and subcontractors were designed to appear as portfolios of completed and continuing projects. The advertisement pages for the metal component company Henry Hope & Sons Ltd always showed an image of a brand-new building fittedโฏwith their curtainwalls and/or sun breakers.โฏ This was displayed alongside a brief overview of the building including its location and architect’s name.
The journal adverts reflected companiesโ recognition of their role in nation-building. Multinational corporations boasted of their delight and pride in partaking in the โprogressโ and โgrowthโ of the economy and the future of new countries. Was this marketing approach merely chosen to appeal to the development-oriented nature of the new market, or was it implemented to emulate previous advertisements by foreign businesses (like UAC) in response to criticism of neo-colonialism? ivย ย
Companies targeted their advertisements not only at professionals but also at citizens in West Africa. These advertisements directed at building occupants first appeared in the 1962 issues and frequently alluded to modernity. Adverts for flooring, sanitary fittings, and appliances included large texts with phrases like “gracefully modern” and “modern living.” This contrasted with building supplies adverts-directed at professionals-which hardlyโฏreferenced modern living. The late colonial era’s โafricanizationโ programmes aided the growth of the middle class by giving priority to the education and employment of Africans by public and private sector organisations. Likewise, housing initiatives launched by government agencies like the Ghana Housing Corporation and the Nigerian LEDB (Lagos Executive Development Board) in the 1950s attracted this demographic. They were characterised by their higher economic and educational status, as well as a household lifestyle distinct from the traditional communal family structure.v Was the reference to a modern lifestyle a marketing strategy to attract the West African middle class who had adopted a western-oriented lifestyle?
The WABA journal provides an account of the building sectorโs development in independent West Africa. The journal advertising demonstrated how companies promoted their products to appeal to both individual and national ideals of growth while navigating the shifting socio-political landscape.
i See Hannah le Roux and Ola Uduku, โThe Media and the Modern Movement in Nigeria and the Gold Coastโ, NKA (Brooklyn, N.Y.), 2004.19 (2004), 46โ49.
ii โIntroductionโ, The West African Builder and Architect, 1:1 (1961), 1.
iii In 1961, the Nigerian office of Fry, Drew and Partners became Fry, Drew, Atkinson Architects Nigeria under the leadership of Robin Atkinson. โNigeria Developmentsโ, The West African Builder and Architect, 1.4 (1961), 108.
iv Bianca Murillo, โโThe Devil We Knowโ: Gold Coast Consumers, Local Employees, and the United Africa Company, 1940โ1960โ, Enterprise & Society, 12.2 (2011), 317โ55
v Daniel Immerwahr, โThe Politics of Architecture and Urbanism in Postcolonial Lagos, 1960-1986โ, Journal of African Cultural Studies, 19.2 (2007), 165โ86 (p.175)
In theย Architect and Building News from July 1952 there’s an intriguing article for a partially-prefabricated โCommonwealth Houseโ.
The Commonwealth House
The house could be easily shipped and โerected by the average handymanโ, aided by a standardised kit of parts would make manufacturing simple and predictable.ย
The house was designed by Charles A. V. Smith with John Pearce Mockridge, following a consultation with potential makers and inhabitants. The architects adjusted their designs to suit a consensus – resulting in a house very much designed by committee with a predictable, if utilitarian and efficient, floor plan.
The brief was to develop a house that would be suitable across the geographical and climatic zones of Australia, New Zealand, Rhodesia (now Zimbabwe), and East Africa. Over 20,000 units were expected to be built per year to meet the demand for emigrating workers and their families eager to escape war-torn Britain for opportunities elsewhere.ย
The house had an aluminium frame structure, and the cladding materials could vary depending on availability and final conditions. It was placed on concrete posts with an ant-trap to resist termite attack. The prototype erected on Great West Road in Hounslow was fitted out with furniture and a fireplace designed by American architect Carl Koch (1912-1998), who later pioneered several prefabricated house designs in the US.ย
Theย Commonwealth Houseย design was very similar to houses we saw in the timber saw-mill town of Samreboi in Ghana – even down to the ant-trap detailing.ย
The African Timber and Plywood Company (AT&P), who owned the mill and were responsible for most of the housing, were also attempting to develop their own housing kits and to expand into new products and markets.ย
Timber framed housing in Samreboi, GhanaTimber framed housing in Samreboi, GhanaAnt trap detail
By 1954 AT&P had begun to discuss prefabrication techniques and processes at both Samreboi and their larger station at Sapele in Nigeria. The drive and urgency for this type of production was heightened by increased competition and political efforts to quickly improve housing standards in West Africa. The Dutch firm Schokbeton had been awarded a large order for prefabricated housing in Ghana, and contractors Taylor Woodrow were eager to expand their building products export wing.
Architect Edric Neel (1914-1952) developed a consortium of architectural consultants with Taylor Woodrow in 1944 to research new structures that could be quickly assembled and fabricated. The group was called Arcon and their first project was a temporary prefabricated house. The system developed into a set of lightweight tubular steel components that could be easily welded together. The faรงade, if required, could be made of local materials, metal sheets, or cement board cladding, as required. The system was intended for export and into โtropical conditionsโ in particular. The units could be readily scaled and used to assemble large factories and sheds with large spans. Many of the factories and mills (including those at Samreboi) utilised this standardised and low-risk approach to construction.
Saw Mill at Samreboi, Ghana
Over the next 15 years AT&P began developing a series of prefabricated houses, but rather than developing a frame and cladding approach they created integrated wall panels (like flat-pack furniture) with modular dimensions so that windows and doors could be added where required. They called it the AT&P System Building, and priced a small house at ยฃ500 โ compared to the ยฃ1200 Schokbeton model.
The system was adopted for military projects and housing, and continued to be deployed into the 1970s with AT&P developing many different variations and types.
โArchival Urgeโ is the second part of the symposium โDocument Feverโ organised by the Architectural Association in collaboration with the Architecture Space & Society Centre, Birkbeck School ofย Artsย on 25 February 2022. This time in partnership with KNUST, this panel aims to celebrate three projects that โcollectโ 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.ย ย
Adil Dalbaiย Adil graduated from Humboldt University of Berlin with a masterโs 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 sevenโvolume documentation of the architecture of all 49 African countries south of the Sahara.ย
Kuukuwa Manfulย 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 inย Al Jazeera,ย Burning House Press,ย Africa Is A Country,ย andย The Metropole. Kuukuwa curates Adansisษmโ an architecture collective that documents Ghanaian architecture theory, research and practice, and runs accra archiveโ an architecture archives digitisation project. She also co-founded and runs sociarchiโ 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 Zรผrcher Zeitung, Switzerland. Part-time postgraduate studies in the History and Theory of Architecture at the Swiss Federal Institute of Technology Zurich (ETH Zรผrich), 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.ย
Livingstone Mukasa Livingstone Mukasaโs 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 Instituteโs School of Architecture. Passionate about architecture in Africa, he is coauthor and associate editor ofย Theorising Architecture in Sub-Saharan Africaย (DOM publishers, 2021), andย Architectural Guide Sub-Saharan Africaย (DOM publishers, 2021, with Philipp Meuser and Adil Dalbai), a sevenโvolume documentation of the architecture of all 49 countries south of the Sahara. Born in Kampala, Uganda, he holds a bachelorโs degree in Architecture from New York Institute of Technology, and graduate certificates from the Graduate School of Architecture, Harvard University in Urban Housing and MixedโUse Developments.
Rexford Assassieย Opongย 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 yearsโ experience. He obtained his Doctor of Philosophy in Architecture from the premier Liverpool School of Architecture โ 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,ย Ecological Aesthetics and Architecture,ย Architecture and Fractals,ย The Built Environment and Climate Change,Urbanism and Architectural Modernism in Africa,ย Architecture and Health,ย Architectural Habitus,ย Architecture and land,ย Taste in Architecture,ย Architecture; Science and Arts Debate, andย Kinship, Land, and Architecture in Urban Ghana.ย ย Organiser and chair:ย Albert Brenchat-Aguilarย 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 โResource: Humans Matter and the Patterns of International Planning c. 1957-76โ, whilst cataloguing the archive of educator, architect, and planner Otto Koenigsberger. His coedited volume โWastiary: A bestiary of wasteโ will be published soon he hopes. He has published inย Architecture&Culture,ย Espacio Fronterizo, andย The Scottish Left Review, curated shows at UCL and the Polytechnic University of Valencia, and exhibited his artworks at Museu Nogueira Da Silva.ย He is currently a visiting researcher at the Department of Architecture, KNUST.ย
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.
Ibadan University
With the countryโs independence from colonial rule in the foresights in the late 1950โs, 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 countryโs development and representing the national identity for the newly independent Nigeria.
Ibadan University
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 masterโs 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 didnโt 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 youโd 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 donโt have to be very excellent in research, although experience in research helps. A PhD is a learning process, and it gets better.
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.
Covers of Nigeria Magazine from the 1960s, held in UAC archive
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.
Architect and Vice-President of Nigeria, Alex Ifeanyichikwu Ekwueme (1932-2017), from Nigeria Magazine, June 1966.
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.
Front Cover of Nigeria Magazine, June 1963UAC: New Industries, New ProsperityAdvertisement for Kingsway, showing the new Ibadan store in the background
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.
Artist impression of the UAC’s Niger House in Lagos. Designed by Watkins Gray and Partners.
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.”
Offices and Flats in Kaduna, designed by Godwin and Hopwood, 1964
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).
Interior of Institute of International Affairs, LibraryInstitute of International Affairs, sculptural muralConference Room, viewed from Lagoon Side.
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.
Oluwole Olumuyiwa’s school at Suru-LereJames Cubitt, Regional Library at EnuguGodwin and Hopwood, Hanbury House, LagosNickson and Boris, offices in ApapaJames Cubitt, Library in Port HarcourtWalker, Harwood and Cranswick, Barclays Bank, LagosACP, Investment House, LagosTaylor Woodrow – Build for it now!Contemporary Nigerian Architecture, June 1962
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.
