THE PEOPLE’S PALACE
AÁFIN AWON ENIYAN DESIGN STRATEGY - DECEMBER SUBMISSION
Oluwafolasadeorimi Okunribido
ADS9
2
DESIGN STRATEGY
See this Square?
Download Ativive App
Point camera at image to watch music video
DESIGN STRATEGY
3
Contents
4
DESIGN STRATEGY
00 Abstract 01 The project 02 Tradition + Expectation 6
8
12
03 Alté 04 The Aura 05 Representation 94
160
Bibliography
192
194 DESIGN STRATEGY
5
Abstract | The project is a ‘p will assimilate the concept o and the emerging, emancipa the Alté community to create that is a centre for exchange and a shelter for celebration will trace the evolution of how in Nigeria and re-democratis establishing a new boundary secure and enabled to live a will be inhabited by a range Alté community. The project of the home, to redefine ho perceived, developed and inh 6
DESIGN STRATEGY
palace’ in Lagos, Nigeria. It of traditional Yorùbá palaces atory and vibrant culture of a place that reveres freedom, e, a harbour for commoning n and ceremony. The project w people have lived together se the notion of the palace by y within which people can be as they see fit. These spaces of groups which include the t will challenge the typology ow communal spaces can be habited in Lagos, Nigeria. DESIGN STRATEGY
7
The project | An Áfin (refer to page 15 for definition) Key points: 1) 2) 3)
Reclaim the organisational typology of the Áfin, in relation to how to was used for celebration, exchange, and commoning, for use of a new community in Lagos, Nigeria. Challenge the typology of the home in the context of Lagos and introduce a new typology of rooms for collective living space. The use of intense colour, derived from the vibrancy of the Alté community (see Alté chapter for more information) to create phenomena.
What is the context? The project is based in Lagos, Nigeria. The project exists between the well-established hierarchical and patriotic system in Nigeria, that is deeply juxtaposed by an emerging desire of many Nigerians to emancipate themselves from this conservative culture. The emerging desire seems to manifest itself in many ways, some of which are through music and fashion. Who are the spaces for? The building will be for a group of women. It will provide a shelter within which they can be enabled to live as they see fit. Establishing a boundary around these women will enable the project to reassure their modes of living. What is the building? The building is a low lying, deep and heavy mass which is elevated by a single story and punctured by carved out courtyards. Collective living spaces above stretch by 100x100m, reaching five levels which over shadow the perimeter of the site. It sits in the centre of Lagos, providing an inward-looking shelter for its inhabitants, using light, colour and mass to create spaces of exchange, commoning and celebration. (Refer to page 176 - 179 for early tests). Typological counters The project will challenge the existing archetypes and power structures in Nigeria, through an understanding of the kinship and family relationship models and explore the counter cultures/ negation presented by the Alté community in order to develope a new typology of space.
8
DESIGN STRATEGY
Instagram post from Wavy the Creater, artist from the AltĂŠ community. DESIGN STRATEGY
9
Traditions + Expectations | B
AltĂŠ community, we must un they are countering. Nigerian and tailors, their clothing is fu also have a passion for some in life of dance, music and fi was a key aspect of one stan expressed through the spaces the complex Ă fin (palace) to the clothes that were worn e purposes. There are three m religion, Christianity and Isl were expected to give the ut and for those who could affo university was a way to bring
Before we can understand the nderstand the culture which ns are expert dyers, weavers ull of pattern and texture. They e of the ubiquitous pleasures film. Traditionally, hierarchy nding in community, this was s people would inhabit, from o the humble farm house, to every day and for celebratory main religions; the traditional lam. The younger generation tmost respect to their elders ord it, success at school and g honour to your family. DESIGN STRATEGY
11
12
DESIGN STRATEGY
DESIGN STRATEGY
13
Palace 1.a large house that is the official home of a king, queen, or other person of high social rank: a royal/presidential palace Buckingham Palace is open to the public. 2. old-fashioned used in the names of large buildings, such as cinemas or places where people go dancing1 /ˈpalɪs/ noun
a large and impressive building forming the official residence of a ruler, pope, archbishop, etc. INFORMAL a large, splendid house or place of entertainment.2
1 ‘PALACE | Meaning in the Cambridge English Dictionary’ <https://dictionary.cambridge.org/dictionary/ english/palace> [accessed 10 December 2019]. 2 ‘Palace Definition - Google Search’ <https://www.google.com/ search?ei=CqbvXZ3gF62P1fAPvuOT2AE&q=palace+definition&oq=palace+definition&gs_l=psy-ab.3..0i70i249j0 j0i22i30l8.6447.10701..10949...2.4..0.90.1274.19......0....1..gws-wiz.......0i71j0i131i273j0i67j0i131j0i273j0i131i67j 0i10.fB19hwcLd4U&ved=0ahUKEwidjdD6n6vmAhWtRxUIHb7xBBsQ4dUDCAs&uact=5> [accessed 10 December 2019].
14
DESIGN STRATEGY
Áfin “The royal residence of a Yoruba Oba is known as the Àfin, a term which is broadly equivalent to the English word palace. The term Àfin refers exclusively to the official residence of an Oba: hence it does not mean exactly the same thing as the word palace, which embraces not only the official residencies of sovereigns and primates such as archbishops and bishops but also, when used figuratively, other large buildings. To avoid repetition, the word palace is used occasionally here after. It is so used, however, on the assumption that the Yoruba meaning is implied.”1
“All roads lead to the Àfin, for it contained, among many things, the town’s assembly hall, court of justice, theatre and sports ground”2 “Until recently the word Àfin was not used for the residence of the bales. In the past, the official residence of the bales was simply known as Ile Oloja (the House of the Lord of the Market)” The Àfin was a glorious building, a place of privacy, celebration, sanctity and worship, a home for the King, his many wives, children, servants and slaves, a place of debate, exchange and punishment, but also a solace for the afflicted.3
1 2 3
Ojo, G.J.Afolabi, Yoruba Palaces (London: University of London Press LTD, 1966). p.13 Ojo, G.J.Afolabi. p.13 Ojo, G.J.Afolabi. p.72
DESIGN STRATEGY
15
16
DESIGN STRATEGY
A reception at the afin (palace). See the people prostrating in the middle, doing the “dọ̀bálẹ̀” greeting, also turning on their sides for the Oba (King).
DESIGN STRATEGY
17
18
DESIGN STRATEGY
Ilé Ifẹ, Nigeria, as depicted in ‘Missions Builder’ from 1875.
DESIGN STRATEGY
19
OWO CITY | ONDO STATE | NIGERIA
King
Chief
Townspeople
Basic hierarchy diagram
The project begins with an enquiry into the Yoruba tribe, which is one of many that was distingusihed by itâ&#x20AC;&#x2122;s territory, language and customs before Nigeria became a colony in 1914. Owo is a city in South-western Nigeria that dates back to between 1400 and 1600AD. It was the capital of a Yoruba city-state. The city traces its origins back to the ancient city of Ile-Ife, the cradle of Yoruba culture. The city is designed in a circular formation, with a defensive wall around the perimeter and the palace (afin) and market place at the core, this would be the home to the king. Many of the chiefâ&#x20AC;&#x2122;s houses are dispersed around the city, with the townspeople living around various chiefs.
20
DESIGN STRATEGY
Town Wall
Palace Wall
Main Residential Building
0
Palace Grounds
10
500
Central Market
Built Up Area
Unbuilt Land
1000m
DESIGN STRATEGY
21
ÀFIN OLOWO IN 1964 | OWO CITY
1 Ugha Gbebu - Courtyard for the wives 2 Ugha Yeyeowa - Courtyard where some of the wives are installed chiefs. Also where the wives make sacrifices and celebrate during the new maze and new yam festivals. 3 Ugha Tere - Courtyard for the wives 4 Ugha Okelade - Courtyard assigned to the Oluwa, head of the Oloris (wives of the Olowo). Food and presents for the Oloris are served here, the Oloris are also punished here. 5 Ugha Odoile - Courtyard where the Olowo takes his meals 6 Ugha Oluwabunmile - Courtyard for the wives 7 Ugha Moron - Courtyard where the Olowo worships his head sculpture 8 Ugha Eyinode 9 Ugha Ugankun - Courtyard for the Olowo to retire, to rest 10 Ugha Agwe - Courtyard where the Olowo makes medicines 11 Ugha Akomaduse - Courtyard for senior chiefs to pay homage to King 12 Ugha Dunmo - Courtyard used by chiefs for ajo festival every nine days 13 Ugha Okeagbala - Courtyard for princes and princesses to play 14 Ugha Obga - Courtyard where food presented to the Olowo during festivals is stored 15 Ugha Odoile Each courtyard is named after a previous King.
A Former ugha okunrin (modern playing field) B Chapel C Garage D Olowo’s modern storey building E District Council dispensary F Town Library G Market Shed for Olowo’s wives H Apartment for Olowo’s paid employees I Grade ‘B’ Court
22
DESIGN STRATEGY
E
B
C
15 D A
15 12
13
F
13
14
13
13 10
7 6 2
11
9
5 3 5
1
5 4
G
8
4
ILEDE MARKET
H
I
100m
0 Wall surrounding Built-up part of Palace
Part of the Palace Wall
Modern Playing field
00
10
Interior Space
20
External Courtyard
50
Lawn
Market
Hedge
100m 100m DESIGN STRATEGY
23
ÀFIN EWI IN 1923 | ADO - EKITI | NIGERIA
1 2
5 6 7
Igabamote - Courtyard where two hundred can spread out Owa Oio - Courtyard used by the princes and princesses/ space for egungun (Masqueraders)/ sheltered area for taking oaths. Owa Uwa - Meeting place for the King and his Chiefs from the town and neighbouring village Owa Osunnura - Courtyard space for castrated male servants/ Iwemo ceremonies (Christening royal children) Owa Adele - Courtyard strictly for Ewa’s wives Ule sare - Courtyard surrounded by kitchens (strictly no males allowed) Ode Afin - Courtyard use by the mother of the child, christened during the Iwemo Ceremony, for three days.
A B C
Chief servant quarters Arowo’s Compound Compound of Ewi’s relatives
3 4
24
DESIGN STRATEGY
2
A
3 4 5 6
1 7
B
EREKESAN MARKET
Palace Wall Internal space
C
External courtyard Market Surrounding forest Path 0
100m
DESIGN STRATEGY
25
STRUCTURE OF MAIN BUILDING OF Ă&#x20AC;FIN AKURE | NIGERIA
Yoruba Kings were regarded as divine so the center of the city, their home, would be a focal point for religious, economic and political activity. It was the Kingâ&#x20AC;&#x2122;s job to host festivals for the community and deal with the disputes of the city. The plan for the building reflects the density of activity that went on in the building which hosted many courtyards (akodi - place of unity and harmony where love and peace dwell) for various activities. Each courtyard had a particular purpose: some were used to offer sacrifices to various deities, there was one where dead kings would be buried, some were dedicated for use by only the king, some only for the queen and women (and the king), some for meetings between the king and the ward chiefs ,some for hearing the problems of the townspeople. It was forbidden for the King to live with a woman so his room would be separate.
26
DESIGN STRATEGY
0
5
10
20m
DESIGN STRATEGY
27
28
DESIGN STRATEGY
DESIGN STRATEGY
29
CHIEFâ&#x20AC;&#x2122;S RESIDENCE | ILE IFE | NIGERIA
Bedroom Kitchen/Parlour
The residence of a chief is usually more highly decorated for the purpose if demonstrating their status. The house will be graced with a gabled porch (kobi), as a sign of authority and tend to have three or four courtyards. The front room was used as a market or meeting place, a place of exchange.
30
DESIGN STRATEGY
0
5
10
20m
DESIGN STRATEGY
31
FAMILY HOUSES | FAMILY COMPOUNDS | NIGERIA
Bedroom Kitchen/Parlour
1
Three-legged house from a sample survey of Yoruba rural buildings. The Oyo Yoruba designed these dwellings in a long rectangular structure divided into rooms along the back wall, leaving the remaining front section to act as a veranda or lobby. The house thus has three major walls, hence the name.
2
Family elder residence in Ile Ife, Nigeria. Such a house could be home to one man and his several wives or multiple nuclear families from the same blood line. There is a clear separation here between the street and the main internal space which belongs to the family. The building follows the same formation of the two-room house with the extension of extra rooms for storage and an internal family courtyard. 3
Family compound in Ebunabon, Nigeria. The family residence is very plain, with little decoration. They consisting of one very large courtyard which is used for living by the whole family. ‘In the courtyard of the house, elders may discuss family concerns while children dart in between them and chickens scurry under their benches. Not too far away some women may be pounding yam with their pestles in a steady thumping cadence. Other youngsters may argue loudly and start to fight on top of the graves of some ancestors whose remains are buried under the floor’1 It is clear that the design of the compound fosters the Yoruba’s desire for an architecture of intimacy. The design actively encourages the gathering, living and dwelling of the extended family. 1 32
John Michael Vlach, ‘Affecting Architecture of the Yoruba’, African Arts, 10.1 (1976), 48–99 <https://doi.org/10.2307/3335257>. DESIGN STRATEGY
1
2
3
0
5
10
20m
DESIGN STRATEGY
33
TWO ROOM YORUBA HOUSES | RURAL NIGERIA
Bedroom Kitchen/Parlour
1
Basic two room house in Aroko, Nigeria. This is the core unit for Yoruba architecture. The building is typically 3x3m and simply made from mud walls and a thatched roof which can last hundreds of years with vigilant care and maintenance. Two room houses are usually built for individuals on farm sites outside of the city and would be a home away from home when a farmer is working on the land. The first room doubles as the kitchen and parlour whilst the inner room is reserved for sleeping and storing private items. Bush houses are designed for individual intimacy. 2
Triple - module housing unit in Atiba, Nigeria. The series is a collection of three two room houses which are often built to provide a separation between individuals and families. Each unit has its own kitchen/parlour and sleeping room. 3
Double - module rural compound in Aroko, Nigeria. Buildings use the same 3x3m module to create a rows and clusters of houses. Compound farms use multiple buildings inhabited by multiple families to create an exterior communal focus. It is clear that the Yoruba express in their architecture a desire to be part of social, family and personal affairs. This is the most basic compound house agbo ile which means â&#x20AC;&#x2DC;a flock of housesâ&#x20AC;&#x2122;.
34
DESIGN STRATEGY
1
2
3
0
5
10
20m
DESIGN STRATEGY
35
Women cooking a traditional meal for the King 36
DESIGN STRATEGY
Servant/ slave disturbs the King as he sacrifices a pigeon for a deity. DESIGN STRATEGY
37
Left a young man bringing the Orisha stolen from his mother to the church. 38
DESIGN STRATEGY
Father punishes daughter for refusing to worship one of the deities. DESIGN STRATEGY
39
40
DESIGN STRATEGY
DESIGN STRATEGY
41
42
DESIGN STRATEGY
DESIGN STRATEGY
43
44
DESIGN STRATEGY
Shango was a Yoruba deity, viewed as the most powerful and feared. He could cast ‘thundersone’, to earth which would create thunder and lightning to anyone who offends him. DESIGN STRATEGY 45
Tribal marks were part of Yoruba culture and were inscribed on the body by burning or cutting the skin at a young age. Its primary function was to provide a distinction between various tribes, families and patrilineal heritage. 46
DESIGN STRATEGY
DESIGN STRATEGY
47
48
DESIGN STRATEGY
DESIGN STRATEGY
49
Oba (King) Oyewusi, II, Olokuku of Okuku surrounded by his children during the Oluku festival, 1971
50
DESIGN STRATEGY
DESIGN STRATEGY
51
King Olateru Olagbegi II(1910- 1998) the Olowo of Owo in Ondo state during a photo shoot at his Palace in 1959. Olagbegi was the epitome of a modern Traditional ruler, quite erudite and also an avid Tennis player who championed the development of the game in Nigeria. He was rumoured to have fathered over 140 children of which over 120 are graduate, making some label him as the â&#x20AC;&#x2DC;father of many nationsâ&#x20AC;&#x2122;...
52
DESIGN STRATEGY
DESIGN STRATEGY
53
Traditional Dress for festival
54
DESIGN STRATEGY
DESIGN STRATEGY
55
Ife Art in Ancient Nigeria: The Wunmonije heads at the British Museum in 1948. Published in Drewal (H.J.) & Schildkrout (E.), Dynasty and Divinity. It was believed that the Orí, head, contained our souls so monuments of King’s heads were created (source Yoruba Palaces) 56
DESIGN STRATEGY
DESIGN STRATEGY
57
Gates into tradition family residencies
58
DESIGN STRATEGY
DESIGN STRATEGY
59
King wearing traditional attire for ceremony.
60
DESIGN STRATEGY
Chiefâ&#x20AC;&#x2122;s house, Benin Kingdom, Nigeria, 1994. Photo by Kathy Curnow. DESIGN STRATEGY
61
62
DESIGN STRATEGY
DESIGN STRATEGY
63
64
DESIGN STRATEGY
Chief Aiyevbekpen Ero, the Ero of Benin, one of the seven Uzama, wearing coral regalia, Eroâ&#x20AC;&#x2122;s palace, Urubi, Benin City, Nigeria, October 1981. Photo by Barbara W. Blackmun.
DESIGN STRATEGY
65
Three chiefs wearing traditional attire.
66
DESIGN STRATEGY
Man greets his elder.
DESIGN STRATEGY
67
Young boys at school.
68
DESIGN STRATEGY
DESIGN STRATEGY
69
Student gradating from Medical school and later taking part in National Youth Service Corps, Nigeria, a compulsory service that must be attended by all univeristy graduates.
70
DESIGN STRATEGY
DESIGN STRATEGY
71
Women pounding yam. 72
DESIGN STRATEGY
DESIGN STRATEGY
73
Wedding Preparations, early 1970s, Lafia Road, Kaduna.
74
DESIGN STRATEGY
DESIGN STRATEGY
75
A Nigerian market in the 1940s. Iddo Island
76
DESIGN STRATEGY
DESIGN STRATEGY
77
This is Mapo Hall, Mapo Hill, Ibadan, 1975 Above is a photo showing the famous Mapo Hall proudly sitting on Mapo Hill, Ibadan in 1975. Mapo Hall was built during the colonial days of Ibadan by Engineer Robert Taffy Jones. The historical Mapo Hall which was built in 1925 now serve as a conference hall and a mini museum displaying historical artefacts and relics of colonialism. Mapo Hall played an important role in the colonial history of Ibadan. 78
DESIGN STRATEGY
DESIGN STRATEGY
79
Painted entry wall of communal shrine.
Wall painters in front of their work.
80
DESIGN STRATEGY
A market in Kano, 1960s
DESIGN STRATEGY
81
Igbo soldier during the Nigerian Civil War, November, 1968
82
DESIGN STRATEGY
DESIGN STRATEGY
83
Fela Kuti
84
DESIGN STRATEGY
Igbo women dancing on the street.
DESIGN STRATEGY
85
Fela was a musician, multi instrumentalist, composer, pioneer to Afro-beat music and human rights activist. He was born into an upper middle class family in Ogun State, Nigeria. His mother was a chief, feminist activist in the anti colonial movement, whilst his father was an Anglican minister, school principal and the first precedent to the Nigerian Union of teachers. Two of his brothers became doctors and his cousin Wole Soyinka was the first African to win a Nobel Prize for Literature. Felaâ&#x20AC;&#x2122;s band the Afrika â&#x20AC;&#x2DC;70, had lyrical themes of love and social issues. He formed the Kalatuta Republic, a commune, with a recording studio and a home for many of the people connected to the band, which he later declared as independent from the Nigerian state.
86
DESIGN STRATEGY
DESIGN STRATEGY
87
88
DESIGN STRATEGY
Obey began his professional career in the mid-1950s after moving to Lagos. After tutelage under Fatai Rolling-Dollar’s band, he formed a band called The International Brothers in 1964, playing highlife–jùjúfusion. The band later metamorphosed into InterReformers in the early-1970s, with a long list of Juju album hits on the West African Decca musical label. Obey began experimenting with Yoruba percussion style and expanding on the band by adding more drum kits, guitars and talking drums. Obey’s musical strengths lie in weaving intricate Yoruba axioms into dance-floor compositions. As is characteristic of Nigerian Yoruba social-circle music, the Inter-Reformers band excel in praise-singing for rich Nigerian socialites and business tycoons. Obey, however, is also renowned for Christian spiritual themes in his music and has since the early-1990s retired into Nigerian gospel music ministry.
DESIGN STRATEGY
89
90
DESIGN STRATEGY
DESIGN STRATEGY
91
AltĂŠ | The AltĂŠ communi affluent Nigerian artists them are successfully cr music videos, fashion, styl through social media. M members are wealthy, they grew up together and had each other. As a result th which is key the groups su start creating from thei family home as space to through Sound Cloud and 92
DESIGN STRATEGY
ity are a group of young, living in Lagos. Many of reating their own music, list and modelling careers Many of the pioneering y went to the same schools, d parents who also know hey will often collaborate, uccess. Individuals usually ir bedrooms, using their gain an online following d Instagram. DESIGN STRATEGY
93
Alté |
Pioneers
Followers
Basic hierarchy diagram
Urban Dictionary definition: Means ‘alternative’, often misunderstood for a habit, it is a lifestyle; a group of Nigerian youth with a unique sense of fashion and music. Alté fashion embraces a retro and vintage style, but is some how tagged as “new school”. Alté music on the other hand is not mainstream, it is a melodic, whimsy, almost-spiritual groove. The melody and harmony somehow layer over each other, making it a seamless experience in the ear.1
1 ‘Urban Dictionary: Alté’, Urban Dictionary <https://www. urbandictionary.com/define.php?term=Alt%C3%A9> [accessed 10 December 2019].
94
DESIGN STRATEGY
Music artists from the scene are known for blending a variety of sounds from R&B, soul and rap to Afro-beats and indie guitar music. Musicians such as Odunsi, Santi and Lady Donli are pioneering the ‘emancipated pop scene’2, encouraging others to follow their own path away from the conservative culture in Nigeria. In most cases this is visible through fashion. The group rebel against the mainstream in an effort to freely express themselves. Their sense of style is not widely accepted to the average Nigerian and this is exactly the type of prejudice they wish to free themselves from. What can be learnt from the Alté community? How are they trying to emancipate themselves and how could these findings be used to benefit other members of the Nigerian community? It is clear that the line between work and entertainment is blurred within the Alté community, this is visible through music videos directed during house parties, concerts regular posts on Instagram. The group are carving out their own spaces within the city, whether it be through central courtyards in apartment complexes, quite beaches that can only be reached by sea, or small burger joints offering food and games from 8am to 4am.
Each of these spaces seem to provide a solace or get away from the main city, with each offering different scales for group interaction. The music is what gives the Alté community a platform to speak of and display their thoughts on the importance for the freedom of expression. In addition to the music, fashion designers, directors and bloggers and appearing to compliment the music scene. A space for listening to music and entertainment will accompany the communal living spaces within the project. The same logic could to be applied globally, giving other artists the opportunity to have their music and thoughts heard. One does not ‘express themselves’, one learns the tools which they can use to express themselves, the ability to express one’s self freely can be learn through being involved in such music events. The project aims to counter the conservative hierarchical structure of Nigerian culture, which is emulated through the organisation of the traditional cities and attire, by providing a space for Nigerians to gather together in the sound of music, in the presence of colour and the diversity of light.
2 Yemisi Adegoke, ‘Alté, Nigeria’s Emancipated Pop Scene: “People Aren’t Used to Being Free”’, The Guardian, 23 September 2019, section Music <https://www.theguardian.com/music/2019/sep/23/alte-nigeria-popsanti-odunsi-lady-donli> [accessed 21 October 2019].
DESIGN STRATEGY
95
“It’s not just about the mu
“People don’t think it’s p Nigerian and have freedo Santi
96
DESIGN STRATEGY
usic, it’s about freedom,”
possible for you to be a om to express yourself.”
DESIGN STRATEGY
97
98
DESIGN STRATEGY
“If you want to express yourself so much, and no one is giving you what you want, you just do it yourself,” “The first set of people that were receptive to it were Nigerians outside Nigeria,” “They directly saw the value in us. You speak to a lot of young people and they’d be like, ‘I’ve not been listening to Nigerian music for a while and I just started listening again.’” “If anything is classist music, it’s Nigerian pop,” “They talk about things the average Nigerian is never going to attain. The aim [of alté] is not to isolate anything, it’s to let more people be expressive. People aren’t used to being free, they aren’t used to seeing expression, so they don’t know how to react to it.”
Odunsi
DESIGN STRATEGY
99
100 DESIGN STRATEGY
“Every genre of music with an alternative twist” “They’re all just trying to be free,” “They will stop at nothing to keep creating.”
Santi
DESIGN STRATEGY 101
102 DESIGN STRATEGY
“If you’re about expressing yourself and not conforming to the norm, no one [in the scene] is going to be like, ‘You’re not alté enough’,” she says. Instead, she says, the lack of inclusion is a result of the focus on Lagos as the country’s entertainment hub. “You have people making music in Port Harcourt, but the greater Nigerian scene doesn’t know them because they’re not in Lagos,” she says. “If only one state is representing what the music industry is, that in itself is exclusionary.”
Lady Donali
DESIGN STRATEGY 103
104 DESIGN STRATEGY
Dami Oniru adds that she wants to “break out of the cycle where the normal perception is that as a woman in the Nigerian music industry, you have to have sex appeal or be a sex symbol.” Dami Oniru “Nigerian culture instils some sort of fear in you,” she says. “And you’re told to become a doctor, lawyer or an engineer. If you’re not, you’ve basically failed in life.” Dami Oniru
DESIGN STRATEGY 105
106 DESIGN STRATEGY
DESIGN STRATEGY 107
108 DESIGN STRATEGY
DESIGN STRATEGY 109
110 DESIGN STRATEGY
DESIGN STRATEGY 111
112 DESIGN STRATEGY
DESIGN STRATEGY 113
114 DESIGN STRATEGY
DESIGN STRATEGY 115
116 DESIGN STRATEGY
DESIGN STRATEGY 117
118 DESIGN STRATEGY
DESIGN STRATEGY 119
120 DESIGN STRATEGY
Bayo, Founder of Orange Culture
DESIGN STRATEGY 121
122 DESIGN STRATEGY
DESIGN STRATEGY 123 Alani Adenle, Creative
Ashley Okoli, Stylist and Model
124 DESIGN STRATEGY
DESIGN STRATEGY 125
Jess Jess Finesse, Podcast Host and Creative
126 DESIGN STRATEGY
DESIGN STRATEGY 127
Solis, Singer and Song-writer
128 DESIGN STRATEGY
DESIGN STRATEGY 129
130 DESIGN STRATEGY
Steven Tayo, Photographer
DESIGN STRATEGY 131
132 DESIGN STRATEGY
DESIGN STRATEGY 133
134 DESIGN STRATEGY
Alte website DESIGN STRATEGY 135
136 DESIGN STRATEGY
Instagram model also seen in various music videos
DESIGN STRATEGY 137
138 DESIGN STRATEGY
DESIGN STRATEGY 139
Primewaterview Gardens Primewaterview gardens is where many of the members live. Events are organised around this area and one will often find groups of them hanging out on the grounds. The apartments are described as luxury property developments with two other block in Ikoyo and Victoria Island.
140 DESIGN STRATEGY
+
+
+
+
DESIGN STRATEGY 141
+
142 DESIGN STRATEGY
+
DESIGN STRATEGY 143
Primewaterview Gardens
144 DESIGN STRATEGY
DESIGN STRATEGY 145
146 DESIGN STRATEGY
DESIGN STRATEGY 147
Burg.co BURG.CO is a popular hang out spot for the AltĂŠ and other creatives alike. The joint host three main spaces. At the front is a gated entrance with parking spaces shared with the next door shop, inside one will find an indoor dining space, counter/ bar and kitchen. Towards the back is a secret garden which is hidden deep in the plan of the building with games such as foosball, table tennis, chess and checkers. It is popular to instagrammers and bloggers who the restaurant to eat, drink and spend time together,
148 DESIGN STRATEGY
+
+
DESIGN STRATEGY 149
+
+
150 DESIGN STRATEGY
DESIGN STRATEGY 151
Tarkwa Bay Beach Tarkwa Bay Beach is an enclosed beach near the Lagos Harbour. It is an Island and can therefore only be reached by boat. It is far away from the noise and chaos of the city.
152 DESIGN STRATEGY
DESIGN STRATEGY 153
154 DESIGN STRATEGY
DESIGN STRATEGY 155
156 DESIGN STRATEGY
DESIGN STRATEGY 157
Au 158 DESIGN STRATEGY
ura DESIGN STRATEGY 159
Aura
170 DESIGN STRATEGY
DESIGN STRATEGY 171
172 DESIGN STRATEGY
DESIGN STRATEGY 173
174 DESIGN STRATEGY
DESIGN STRATEGY 175
Aura |
The Alté community present an aesthetic of intense colour and vibrancy. The group use this as a way to freely express themselves within a hierarchical power structure that would usually supress this kind of self-expression. This use of colour and vibrancy will be reflected in the building project as a way to provide a community of women, who are also often supressed by the culture, with a space within which they too could also counter the existing culture in Lagos, Nigeria. The project will explore how one could use colour to create different environments. How could one use colour to create a sense of depth or shallowness and how could these spaces characterise a range of uses that are directly informed by the spatial phenomena created? Early tests focussed on how one could create a range of spaces using colour as a reflective planar surface. This was coupled with a series of open courtyards which would harness the colour and reflect an intense blue light on the ground below. Further tests will focus on; what the relationship is between the chosen colours and the Alté community, how one could use colour as more than just a planar surface, and how one could create their own colours with the knowledge of the Alté community. The project will also focus on what can be learnt from the existing family relationships as well as traditional dwellings and how their spatial organisation encouraged collective life in the form of celebration, exchanged and commoming. The project will develop a new typology that both reflects the aura of the traditional dwellings of the past, whilst challenging the power structures that once defined them in the past.
176 DESIGN STRATEGY
Model tests used to test various courtyard conditions
DESIGN STRATEGY 177
The time was two And light from the sun was reflecting an intense Blue colour that shimmered across the main courtyard space. It was our first time here For an intimate concert to see Odunsi And the rest of the AltĂŠ crew. We couldnâ&#x20AC;&#x2122;t wait, but were glad to have found a good spot 178 DESIGN STRATEGY Before the crowds appear. Fictional poem
Conceptual model used to test how one could create a range of spatial conditions using colour reflected from DESIGN STRATEGY 179 surfaces and light.
Aura | Precedent
Lina Bo Bardi | MASP | Brazil | 1947 The MASP was designed to ensure that the new museum would not block the sites panoramic vistas. The building is therefore both raised and sunk by two levels, leaving the ground floor plan open to the street to be used as an informal gathering space. The bridge structure above the ground level is supported by two large, pre-stressed concrete portal frames which are supported by four feet below the ground. A glass lift transports the public to the upper floors of the museum providing subtle glimpses into the open plan gallery spaces. The gallery spaces on both upper floors host an open plan arrangement, encouraging visitors to meander amongst the artwork. In the top floor gallery space art pieces are mounted on glass panels grounded by concrete blocks, creating the appearance of floating and weightlessness, whilst still allowing views out to the city. These elements were also designed by Bo Bardi and clearly emulate the floating bridge structure seen from the street level.
180 DESIGN STRATEGY
DESIGN STRATEGY 181
Luis Barragรกn | Casa Gilardi | Mexico | 1976 Barragan uses intense bold hues, based on Mexican paintings, in his buildings. Vertical gaps in the external surfaces allow light to penetrate into the building casting shadows that change and animate the spaces throughout the day. Some walls are left blank and unadorned allowing reflections and diffuse coloured light to paint them.
182 DESIGN STRATEGY
DESIGN STRATEGY 183
Sanaa | Eda Apartments | Japan | 2002 Eda is an unbuilt project in Tokyo, Japan. It has a large mass, lifted on dainty circular columns, encompassing a plethora of unique living spaces. The mass is punctured by irregularly shaped courtyards which bring light into a vast, single storey, shared and open ground floor level space.
184 DESIGN STRATEGY
DESIGN STRATEGY 185
Josef Albers | Homage to the Square | 1959 Albersâ&#x20AC;&#x2122;s Homage to the Square was a study on how colours, when organised into a series of cut out squares, could create a sense of depth or shallowness.
186 DESIGN STRATEGY
4
D
I
3
F
O
4
D
I
4
D
O
4
D
I
4
D
I
4
D
I
3
F
O
3
D
I
4
D
O
4
D
O
3
D
I
How can one use colour to create a sense of depth? For this test I will take a examples from ‘Homage to the square’ series, cut them out and space them at an equal distance to one another. How does our perception of a space change with each test? Do planes that appear to recede have a different aura to those that appear to deepen the space? Does it look like a tunnel or like objects are stacking onto one another? Which combinations create depth, which are shallow? ¾ squares S= Shallow | D= Depth | F= Flat O= Coming out of the page or stacking | I= Going into the page Variations with 4 colours as opposed to 3 generally create more depth.
DESIGN STRATEGY 187
Antoni Malinowski | Its so green outside its difficult to leave the window | 2014 Malinowski works with pigment, light and movement and time. In this painting Malinowski uses a mica-based background on paintings to make light refract from paintings, causing images to look unstable. What happens if you apply this to glass or other materials?
188 DESIGN STRATEGY
DESIGN STRATEGY 189
Olafur Eliasson | Your Blind Passenger | London | 2010 Eliasson used fog and light, which creates intense colour and restricts the viewers perception of the space. This is achieved through the use of florescent lamps and mono frequency yellow lamps which make other surfaces appear black and white.
190 DESIGN STRATEGY
DESIGN STRATEGY 191
Representation | METHODS OF REPRESENTATION The project will be accompanied by a research document which will incorporate a photo essay, texts, precedents, and videos depicting both traditional Nigerian culture and the new modes of living displayed by the AltĂŠ community. Traditional Afins, Yoruba towns and the existing gathering spaces of the AltĂŠ community will be drawn using coloured lines to depict the contrast in the modes if living. All drawings will be catalogued in order to allow comparison. The final project will also be illustrated through line draws, large scale models, model videos, renders and technical details.
192 DESIGN STRATEGY
DESIGN STRATEGY 193
Bibliography ‘2 Bedroom Flat / Apartment for Shortlet Prime Water View Apartments Lekki Phase 2 Lekki Lagos (PID: N1347)’, Https://Www.Propertypro. Ng <https://www.propertypro.ng/property/2-bedroom-flat-apartment-for-shortlet-prime-water-view-apartments-lekki-phase-2-lekki-lagos-N1347> [accessed 26 November 2019] ‘A COMPREHENSIVE REVIEW OF PRIMEWATERVIEW GARDENS ESTATE | Neighbourhoodreview.Com’ <https://www. neighbourhoodreview.com/a-comprehensive-review-of-primewaterview-gardens-estate/> [accessed 25 November 2019] ‘A Short History Of Yorubaland With Pictures - Culture - Nigeria’ <https://www.nairaland.com/1239208/short-history-yorubaland-pictures> [accessed 26 November 2019] Adegoke, Yemisi, ‘Alté, Nigeria’s Emancipated Pop Scene: “People Aren’t Used to Being Free”’, The Guardian, 23 September 2019, section Music <https://www.theguardian.com/music/2019/sep/23/alte-nigeria-pop-santi-odunsi-lady-donli> [accessed 21 October 2019] Adeosun, Adams, ‘The Evolution of Traditional Yoruba Architecture’, This Is Africa, 2017 <https://thisisafrica.me/politics-and-society/theevolution-of-traditional-yoruba-architecture/> [accessed 13 November 2019] Adeoye, Baingor Joiner, Aanu, ‘West African Music Is Much More Than Just Afrobeats’, Vice, 2019 <https://www.vice.com/en_uk/article/597x43/ afrobeats-nigeria-burnaboy-odunsi-oniru> [accessed 1 December 2019] Adesina, Precious, ‘Nigeria’s Alté Scene: “It’s Not Just about the Music, It’s about Freedom”’, Financial Times, 2018 <https://www.ft.com/ content/82b8f19e-fc8e-11e8-b03f-bc62050f3c4e> [accessed 22 October 2019] ‘African Wax Prints’, Wikipedia, 2019 <https://en.wikipedia.org/w/index.php?title=African_wax_prints&oldid=923948564> [accessed 26 November 2019] ‘AFROKLECTIC’, AFROKLECTIC <https://afroklectic.tumblr.com/post/76995664833/nigerianostalgia-plaiting-hair-in-kolese> [accessed 26 November 2019] ‘AFROKLECTIC’. ——— <https://afroklectic.tumblr.com/?og=1> [accessed 26 November 2019] Anita, ‘Yoruba People, Language, Religion, Tribe, Culture, Facts’, Answers Africa, 2016 <https://answersafrica.com/interesting-facts-yorubapeople.html> [accessed 26 November 2019] ‘Art And Architecture Of The Igbo People - Culture (4) - Nigeria’ <https://www.nairaland.com/782659/art-architecture-igbo-people/3> [accessed 26 November 2019] Boluwaduro, Stephen Olabanji, ‘Lagos: Music and the Postcolonial Metropolis’, Muziki, 15.2 (2018), 44–60 <https://doi.org/10.1080/18125980.2 018.1527660> Böhme, Gernot, ‘Atmosphere as Mindful Physical Presence in Space’, OASE, Building Atmosphere, 91, 2013, 21–32 Böhme, Gernot, ‘Encountering Atmospheres A Reflection on the Concept of Atmosphere in the Work of Juhani Pallasmaa and Peter Zumthor’, OASE, 91, 2013 <https://www.oasejournal.nl/en/Issues/91/EncouteringAtmospheres> [accessed 30 November 2019] ‘Check out Our Alté Guide to Lagos’, 200AD <https://www.pulse.ng/lifestyle/food-travel/alternative-kids-check-out-our-alte-guide-to-lagos/6glttrl> [accessed 2 November 2019] ‘Culture of Nigeria - History, People, Clothing, Traditions, Women, Beliefs, Food, Customs, Family’ <https://www.everyculture.com/Ma-Ni/ Nigeria.html> [accessed 22 October 2019] ‘Dasalu, the Christian Yorùbá in Cuba’, Orisha Image <https://www.orishaimage.com/blog/dasalu> [accessed 29 November 2019] Dazed, ‘An Introduction to Nigeria’s Innovative “Alté” Scene’, Dazed, 2019 <https://www.dazeddigital.com/music/article/45115/1/introduction-tonigeria-alte-music-scene> [accessed 21 October 2019] Fela Anikulapo-Kuti and Egypt 80 - Beasts Of No Nation, Live at the Zenith, Paris in 1984 <https://www.youtube.com/watch?v=E0BhNPiq78k> [accessed 28 November 2019] Fela Kuti & Egypt 80 [Arsenal TV3 Catalonian TV 1987-08-04] <https://www.youtube.com/watch?v=gFY-6x1qTzU> [accessed 28 November 2019] ‘From The Horse’s Mouth | Naija Nomads Unravels Epe Mangroves’, Unravelling Nigeria, 2017 <https://unravellingnigeria.com/2017/11/16/ from-the-horses-mouth-naija-nomads-unravels-epe-mangroves/> [accessed 21 November 2019] Gollmer, Charles Henry Vidal, Charles Andrew Gollmer : His Life and Missionary Labours in West Africa, Compiled from His Journals and the Church Missionary Society’s Publications (London : Hodder and Stoughton, 1889) <http://archive.org/details/charlesandrewgol00goll> [accessed 29 November 2019]
194 DESIGN STRATEGY
Havik, Klaske, and Gus Tielens, ‘Atmosphere, Compassion and Embodies Experience A Conversation about Atmosphere with Juhani Pallasmaa’, OASE, Building Atmosphere, 91, 2013, 33–53 ‘Historic Orisha Illustration — Orisha Image’ <https://www.orishaimage.com/blog/orisha-illustration> [accessed 29 November 2019] ‘Ifa Mode of Divination’ <https://historicalupdate.blogspot.com/2019/07/ifa-mode-of-divination.html> [accessed 13 November 2019] ‘Images of Wiki Loves Monuments 2016 in Nigeria’ <https://tools.wmflabs.org/wikiloves/ images?event=monuments&year=2016&country=Nigeria&start=201> [accessed 10 December 2019] ‘J.B. Wood’, Litcaf, 2017 <https://litcaf.com/j-b-wood/> [accessed 30 November 2019] Johnson, Samuel, ‘MANNERS AND CUSTOMS’, The History of the Yorubas: From the Earliest Times to the Beginning of the British Protectorate, 2010 <https://doi.org/10.1017/CBO9780511702617.013> ‘Lagos Alté/Cool Kids Tea Thread’, Lipstick Alley <https://www.lipstickalley.com/threads/lagos-alt%C3%A9-cool-kids-tea-thread.1485075/> [accessed 2 November 2019] ‘Lagos Style - BBC News’ <https://www.bbc.co.uk/news/resources/idt-sh/Lagos_style> [accessed 2 November 2019] ‘Media - Art & Life in Africa - The University of Iowa Museum of Art’ <https://africa.uima.uiowa.edu/media/> [accessed 26 November 2019] Missions-Bilder: Sierra Leone und Yoruba (Bereinsbuchhandlung, 1875) naijalife, ‘Photos: Jameson Connects Hosts Independence Day Celebration At The Shrine’, Naijalife Magazine, 2018 <http://naijalifemagazine. com/blog/2018/10/09/photos-jameson-connects-hosts-independence-day-celebration-shrine/> [accessed 23 November 2019] ‘National GeoHazards Monitoring Centre | Nigerian Geological Survey Agency’ <https://www.ngsa.gov.ng/specialized-centers/nationalgeohazards-monitoring-centre> [accessed 12 November 2019] ‘Nigeria: “Religious Tolerance, a Major Aspect of Yoruba National Culture” – Tola Adenle’, Emotanafricana.Com, 2017 <https://emotan. wordpress.com/2017/12/21/nigeria-religious-tolerance-a-major-aspect-of-yoruba-national-culture-tola-adenle/> [accessed 26 November 2019] ‘Oba Olateru Olagbegi II, the Olowo of Owo, Seated beneath Carv...’, Smithsonian Learning Lab <https://learninglab.si.edu/resources/ view/443412> [accessed 26 November 2019] ‘Olowo of Owo - Alchetron, The Free Social Encyclopedia’, Alchetron.Com, 2017 <https://alchetron.com/Olowo-of-Owo> [accessed 26 November 2019] ‘PALACE | Meaning in the Cambridge English Dictionary’ <https://dictionary.cambridge.org/dictionary/english/palace> [accessed 10 December 2019] ‘Palace Courtyards in Iléṣà: A Melting Point of Traditional Yorùbá Architecture – News’ <https://news.clas.ufl.edu/palace-courtyards-inile%E1%B9%A3a-a-melting-point-of-traditional-yoruba-architecture/> [accessed 13 November 2019] ‘Palace Definition - Google Search’ <https://www.google.com/ search?ei=CqbvXZ3gF62P1fAPvuOT2AE&q=palace+definition&oq=palace+definition&gs_l=psy-ab.3..0i70i249j0j0i 22i30l8.6447.10701..10949...2.4..0.90.1274.19......0....1..gws-wiz.......0i71j0i131i273j0i67j0i131j0i273j0i131i67j0i10. fB19hwcLd4U&ved=0ahUKEwidjdD6n6vmAhWtRxUIHb7xBBsQ4dUDCAs&uact=5> [accessed 10 December 2019] ‘Palava- The First Film Shot in Nigeria, 1926’, OldNaija, 2017 <https://oldnaija.com/2017/04/06/palava-the-first-film-shot-in-nigeria-1926/> [accessed 26 November 2019] PennedMusingsNG, Motolani Alake-, ‘On the Matter of Santi, Pitchfork and the Alté Crowd’, Medium, 2019 <https://medium.com/@OneMotolani/ on-the-matter-of-santi-pitchfork-and-the-alt%C3%A9-crowd-ffa231092174> [accessed 15 November 2019] Post, Kevin Sieff Washington, November 22, 2017, and 2:31 p m Email to a Friend Share on Facebook Share on TwitterPrint this Article View Comments, ‘Lagos, Nigeria, Is Growing Fast — and so Is Its Mountain of Garbage - The Boston Globe’, BostonGlobe.Com <https://www. bostonglobe.com/news/world/2017/11/22/lagos-nigeria-growing-fast-and-its-mountain-garbage/tc235WZkFoZWL7N12mLGoN/story.html> [accessed 2 November 2019] ‘Rare 1960 Independence Day Parade’ <https://historicalupdate.blogspot.com/2019/10/rare-1960-independence-day-parade.html> [accessed 13 November 2019] ‘Rare Image Of HRH Oba Olateru Olagbegi Ii Olowo Of Owo Kingdom - Politics - Nigeria’ <https://www.nairaland.com/2596324/rare-image-hrhoba-olateru> [accessed 13 November 2019] ‘Restaurant Of The Week | Burg’, Unravelling Nigeria, 2018 <https://unravellingnigeria.com/2018/07/23/restaurant-of-the-week-burg/> [accessed 21 November 2019] ‘Santi: Twitter Users Come for Musician, but the Criticisms of His Art Makes No Sense’, Pulse Nigeria, 100AD <https://www.pulse.ng/ entertainment/music/santi-alte-music-unnecessary-twitter-attack/x9gv0dv> [accessed 28 November 2019] Shepherd, Harriet, ‘Stephen Tayo Is the Lagosian Photographer Telling It like It Is’, INDIE Magazine, 2019 <https://indie-mag.com/2019/10/
DESIGN STRATEGY 195
stephen-tayo-lagos/> [accessed 22 October 2019] StyleVitae, ‘The 8 Step Guide to Mastering Alté Style’, StyleVitae, 2019 <http://stylevitae.com/the-8-step-guide-to-mastering-alte-style/> [accessed 24 October 2019] ‘Tarkwa Bay’, Bids in Graceland, 2017 <http://www.bidsingraceland.com/2017/03/01/tarkwa-bay/> [accessed 1 December 2019] ‘Tarkwa Bay Island in 2018 - Shocking Story Of An Amazing Community’, DeeDee’s Blog, 2018 <https://deedeesblog.com/tarkwa-bayisland-2018-shocking-story-behind-an-amazing-community/> [accessed 22 November 2019] ‘Teni, Odunsi and Three Others Are among the Faces of the Alté Fashion Scene in Nigeria’, Within Nigeria, 2019 <https://www.withinnigeria. com/2019/02/20/teni-odunsi-and-three-others-are-among-the-faces-of-the-alte-fashion-scene-in-nigeria/> [accessed 2 November 2019] ‘The Art And Architecture Of Yorubaland! - Culture - Nigeria’ <https://www.nairaland.com/770881/art-architecture-yorubaland> [accessed 26 November 2019] ‘The History of Ile-Ife, the Ancient Yoruba Kingdom with Africa’s Most Striking Sculptures’, Face2Face Africa, 2018 <https://face2faceafrica. com/article/the-history-of-ile-ife-the-ancient-yoruba-kingdom-with-africas-most-striking-sculptures> [accessed 26 November 2019] ‘The Lemon Curd: Will Craft Ever Matter to Nigerian Performers?’, The Native, 2017 <https://thenativemag.com/music/lemon-curd-craftnigeria-performers> [accessed 2 November 2019] ‘The New Wave of Nigerian Street Musicians Is Riveting - Notjustok’, Latest Naija Nigerian Music, Songs & Video - Notjustok, 2019 <https:// notjustok.com/article/the-new-wave-of-nigerian-street-musicians-are-riveting/> [accessed 22 November 2019] ‘The Oyo Empire of the Yoruba - HistoryWiz Africa Civilization’ <https://www.historywiz.com/oyo.html> [accessed 29 November 2019] ‘Thread by @NzekweGerald: “HISTORY -- With Nzekwe Gerald Uchenna NIGERIA DURING THE TRANSATLANTIC SLAVE TRADE (Part 2) THE EMPIRICAL STUDY OF THE YORUBA PEOPLE, AND HO […]” #Nzekwe #MovementForTheEmancipationOfNigerianYouths’ <https://threadreaderapp.com/thread/1033427090274705409.html> [accessed 26 November 2019] ‘Trippin in Lagos’, Trippin <https://trippin.world/feature/trippin-in-lagos-with-farfetch> [accessed 1 December 2019] ‘Universal Music Group Nigeria’ <http://www.universalmusic.ng/> [accessed 15 November 2019] Unknown, ‘Tradition At Its Best: Origin of Owo,Ondo State’, Tradition At Its Best, 2014 <http://ijamidosource.blogspot.com/2014/07/origin-ofowoondo-state.html> [accessed 26 November 2019] ‘Urban Dictionary: Alté’, Urban Dictionary <https://www.urbandictionary.com/define.php?term=Alt%C3%A9> [accessed 10 December 2019] Vlach, John Michael, ‘Affecting Architecture of the Yoruba’, African Arts, 10.1 (1976), 48–99 <https://doi.org/10.2307/3335257> ‘WACOL NIGERIA – in Support for Women’ <https://wacolnigeria.org/> [accessed 17 October 2019] Welle (www.dw.com), Deutsche, ‘Nigeria’s Afropolitan Vibes Music Festival “more than Just Entertainment” | DW | 29.06.2018’, DW.COM <https://www.dw.com/en/nigerias-afropolitan-vibes-music-festival-more-than-just-entertainment/a-44400383> [accessed 2 November 2019] ‘What Do You Understand About The Misunderstood Alté Culture?’, Date360 Blog, 2019 <http://date360.net/2019/06/what-do-youunderstand-about-the-misunderstood-alte-culture/> [accessed 2 November 2019] Yeniajayiii, English: The Old Palace Of The Deji Of Akure, 2016, Own work <https://commons.wikimedia.org/wiki/File:The_Old_Palace_Of_ The_Deji_Of_Akure_place.jpg> [accessed 10 December 2019] ‘Yoruba Architecture - Afropedea’ <http://www.afropedea.org/yoruba-architecture> [accessed 4 November 2019] Yoruba Architecture: Afin Akure <https://www.youtube.com/watch?v=hxRftBxJQAM> [accessed 10 December 2019]