Towards an Architectural Identity: Learning from the Communication Method of Contemporary Nigerian Art
International Journal of Architecture, Arts and Applications
Volume 5, Issue 2, June 2019, Pages: 37-41
Received: Apr. 7, 2019;
Accepted: May 29, 2019;
Published: Jul. 1, 2019
Views 29 Downloads 19
Olumide Oluwadamilola Ogeye, Department of Architecture, Facility Management and Geoinformation (FB 3) Dessau Institute of Architecture, Dessau, Germany
Follow on us
In a period such as now where there is a rapid rate of urbanization into different cultures, cultural identity is under the threat of being erased in the process. However, if architecture is for people, then it should be able to reflect, respect, as well as protect society’s respective identities. The Nigerian society being a culturally diverse one would greatly be affected by this change, but this paper seeks to redress that by providing solutions learnt from Contemporary Art in Nigeria. A study on prominent Contemporary artists in Nigeria reveals their use of culture as a strong design lexicon – a method used to effectively communicate the messages in their works. How would this change the way architecture is practiced and perceived? The theory that declares art and architecture as having interdisciplinary connections is the foundation upon which this paper stands, which also allows the researcher to relate certain principles from contemporary Nigerian art into how architecture is created. However, the line that separates art and architecture becomes visible when it comes to aspects such as freedom of expression, finance as well as creativity. In addition to this, the architect’s training develops him more rationally than expressively and vice versa for the artist. Therefore, it is rare to have an architect or an artist who spontaneously taps into both sides of the brain. However, this possibility could exist if the architect embraces the artist as a comrade-in-arms, in the art of designing buildings. This fusion would undoubtedly strengthen the diversity in terms of architecture within the country and would bring about the creation of buildings that Nigerians can relate with.
Architecture and Culture, Communication Methods, Contemporary Nigerian Art, Cultural Identity, Yoruba Culture
To cite this article
Olumide Oluwadamilola Ogeye,
Towards an Architectural Identity: Learning from the Communication Method of Contemporary Nigerian Art, International Journal of Architecture, Arts and Applications.
Vol. 5, No. 2,
2019, pp. 37-41.
Copyright © 2019 Authors retain the copyright of this article.
This article is an open access article distributed under the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/
) which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
W. Rodney, (1972), How Europe Underdeveloped Africa. Bogle-L’Ouverture Publications, London.
Bronze Head from Ife. (2019, May 09). Retrieved from https://en.wikipedia.org/wiki/Bronze_Head_from_Ife.
Adebowale, O. (2018, August 26). A Journey Into The World Of Nigerian Art. The Guardian. Retrieved May 26, 2019, from https://guardian.ng/life/a-journey-into-the-world-of-nigerian-art/.
A. Loos (1908). Ornament and Crime. Innsbruck, reprint Vienna.
Chukwuma, G. (2018, February 26). Communication methods of Art in Nigeria [Personal interview].
Adenowo, O. (2019, May 20). Democracy reflected in Form Space and Order: Learning from West Africa’s Ancient Empires. Lecture presented at The Architecture of Democracy: Inspirations from the Global South in Technische Univesität, München.
K. Akinsemoyin, B. Gholly, and A. Vaughan-Richards, (2009) Building Lagos. Prestige Books, Lagos.
H. Manuel, I. Schröder, H. Focketyn, J. Jamrozik, I. Baan, and A. Webster (2015). African Modernism: The Architecture Of Independence: Ghana, Senegal, CôtedIvoire, Kenya, Zambia. Park Books, Zurich.
U. Beier (1968) Contemporary Art In Africa. New York: Praeger Publishers, New York.
Carughi, U., Visone, M., & Uduku, O. (2017). Time frames: Conservation policies for twentieth-century architectural heritage. Abingdon, Oxon: Routledge.
J. Godwin, and G. Hopwood (2007). The Architecture Of Demas Nwoko. Farafina, Lagos.
A. Opoko, C. Adeokun, and A. Oluwatayo. (2016). Art in traditional African domestic architecture: Its place in modern housing and implications for the training of architects. New Trends and Issues Proceedings on Humanities and Social Sciences, 2 (1), 675-678. doi: 10.18844/gjhss.v2i1.1010.
E. Adeyemi. (2000) Lest we Forget. Keynote address to the 7th Annual General Meeting/National Workshop of the AARCHES, 24.
Bauhaus. (2019, May 20). Retrieved from https://en.wikipedia.org/wiki/Bauhaus.