Stephanie Ete - The Calabar Sculpture Garden by Amsterdam Academy of Architecture

The Calabar Sculpture Garden Design Thesis by Stephanie Idongesit Ete Project Location: Calabar, Cross River State, Nigeria Mentored by Jo Barnett Committee Members: Remco Rolvink & Joseph Litchfield Conteh

1.0 INTRODUCTION 1.1 Fascination 1.2 Context 2.0 LOCATION 2.1 The City 2.2 Old Calabar 2.3 Cultural Context

CHAPTERS

3.0 LOCATION 3.1 The History of the Botanical Gardens 3.2 The Botanical Gardens Today 3.3 Site Analysis and Opportunities 4.0 TOOLBOX 4.1 The Ukara Cloth 4.2 Vernacular Construction 4.3 Old Calabar Courtyard 4.4 Demas Nwoko 4.5 The Akwanshi 5.0 DESIGN BRIEF 5.1 Design Objectives 5.2 Programme and Users 6.0 CONCEPT 6.1 Layers and Hierarchy 6.2 Family of Buildings 7.0 DESIGN 7.1 The Gardens 7.2 Edges 7.3 The Festival Pavilion 7.4 Monument of The Lost Monoliths 7.5 The House of the Akwanshi 7.6 The Garden Compound 8.0 SUMMARY 8.1 Conclusion and Reflection APPENDIX i. Image Attributes and References

INTRODUCTION

1.1 | Fascination

Fascination At a time where museums across Europe and North America are confronting the legacy of colonialism and its taint on their collections, sparking a debate on the return of looted goods, I find myself in a museum in South East Nigeria, in the City of Calabar. The space was uninviting and felt no different from and old office building or elementary school. Not at all like a museum and yet, I am vigorously eyed by the museum guide to ensure my respectful behaviour. Approaching the final exhibition room, I fixate on the blue prikboard, mounted on wall, displaying photographs of indigenous artefacts. Photographs of indigenous artefacts.... rather than the artefacts themselves. A sadness and frustration rushed over my body as I found myself grieved by the museum’s physical separation from its items of heritage and also how lacking it was of the essence of the culture from which the objects came. The museum was hollow.

GREAT BRITAIN GREAT BRITAIN

GREAT BRITAIN

OVERLOOKING FORMER BRITISH TERRITORY

Old Residence, Calabar National Museum

OLD MILITARY BARRACKS

Slave Trade Museum Calabar

FORMER SLAVE PORT

1.2 | Context

Context In the city of Calabar as well as Cross River State as a whole, cultural heritage is falling into disarray for a vast number of complexed reasons. This has meant that the artefacts and objects, both natural and manmade that exist and add to the identity of Calabar’s cultural space could disappear or become ever more tenuous in the coming years. Simultaneously, vast collections of Calabarian art and culture are in Western museums, furthering the disconnection between Calabarians and their art and cultural heritage in museum spaces. The museums that are maintained in Calabar are relics of a colonial influence both in function and form but more importantly, fail to capture the essence of a locally distinctive cultural space. What would it mean, therefore to imagine the culturally rich museum space that Calabar deserves and that taps into the 3 branches of Calabar’s identity: ethnic traditions, history & heritage and ecology, flora & fauna.

LOCATION

Benin

Nigeria Lagos Lekki

Benin City

Asaba Onitsha

Warri Calabar

Cameroon

Port Harcourt

Cross River State

Cameroon

Rivers and Estuaries around Calabar

2.1 | The City

Calabar Municipal

1990

Calabar South

2000

2010

2016

5km

The City The city of Calabar is located in the South East of Nigeria. Calabar is the capital city of Cross River State which is in the Niger Delta Region of Nigeria and boarders Western Cameroon. Cross River State is about 20,156 km2 whilst the city of Calabar only occupies 406 km2 which makes it about 1/50th the size of the entire state. The estimated population in the Calabar Metropolitan Area for 2020 is approximately 570,000 inhabitants. Calabar is a coastal, port city that sits between the Calabar River and The Great Kwa Rivers and the creeks of the Cross River (from its inland delta). Today, the city is split into two Local Government Areas. Calabar Municipal and Calabar South. The urban core of Calabar is quite compact but you can tell that the city is expanding to the north as the city is bordered in the East, west and south by water bodies and low-lying grounds. In a period of 24 years it is clear to identify that the lower urban region of Calabar is the oldest part of the city and the northern expansion and growth of Calabar municipal is fairly recent.

OLD CALABAR

Creek Town (Ikot Itunko)

Old Town (Obutong)

Duke Town

(Iboku Atapka)

Henshaw Town (Nsidung)

2.2 | Old Calabar

CREEK TOWN OLD TOWN HENSHAW TOWN

CALABAR CROSSING OLD CALABAR REACH

CALABAR CROSSING DUKE TOWN Duke Town shown on both sides of the river

Old Calabar Much of Calabar’s urban character is influenced by the colonial towns of Old Calabar; Creek Town and Duke Town. To understand the growth pattern of the city it helps to identify the old colonial city. Old Calabar, consisted of Old Town, Duke Town and Creek Town. However, Creek Town is no longer considered a part of the modern city, but in those times would have been only a short journey away by boat. The colonist defined the city territories on both sides of the Old Calabar River. Looking at this map from 1869-1890 we can see that the cartographer is naming both sides of the river with the town names as the colonist used ships and boats to occupy the territories of Old Calabar and were forbidden from coming too far inland by the local Efik tribes that played a convoy role to the European traders. This meant that all settlements by the Europeans were mainly by the waterfront before gradually spreading inland as the Europeans gained more political power over the region.

5km

Tinapa Business Park

Calabar International Convention Center

Drill Ranch

Calabar Monorail

Monolith Roundabout

Efik Sculpture

State Library

Cross River Roundabout

Efik Cultural Landmark

Old Residence, Calabar National Museum

Bricksfield Prison Calabar Roundabout

Henshaw Monument

Slave Trade Museum

Hope Waddel Institute

Millennium Park

Anasa Shrine

Okpa House

The Africa Club

Calabar Cultural Centre

Mary Slessor Monument Ekikak printing works

Calabar Bell at Eleven Eleven Roundabout

Calabar Botanical Gardens

Egbo Bassey House

Obong of Calabar Palace

Great Duke Ephriam IV’s complete brass chair

Efe Ekpe Iboku Utan The Ekpe Shrine

The European Cementry

Old Red Brick Church

Thomas Eyamba Bell

First Photographer of Eastern Nigeria

University of Calabar Monument

2.3 | Cultural Context

Chieftaincies

Shrines Monoliths

Sculptures Attire

Cults, Clubs & Societies

Carnivals & Festival

Ethnic Tradition & Culture

Slave Trade Museum Old Residency/ National Museum

Wildlife Reserves

History & Heritage

National Park

Ecology, Flora & Fauna

Botanical Garden Waterfalls

National & Local Monuments

Historic Neighbourhoods

Protected Species

Ruins

Obudu Plateau 3 Branches of Cross River State Tourism

sti Fe nd

l va

ute

la iva rn Ca

Carniva l and

Ca rn iva la

nd F estival

Festi val R ou

Carn ival and Fes tiv al R ou te

Heritage walks

Calabar’s Tourism Constellation

Expression of Tourism in Calabar

Cultural Context And throughout the city of Calabar, many relics of this Colonial history can be found today as well as monuments and places of significant ethnic and traditional heritage. In fact, the entire city of Calabar explodes with landmarks, hidden artefacts as well as physical and temporal expressions of its hybrid cultural character. This can be understood in three branches: Ethnic Traditions and Ethnic Culture History and Heritage Ecology, Flora & Fauna These branches of the cultural character define the whole tourism sector in Cross River State. In Calabar city, the most explicit representation of Ethnic Traditions and Ethnic Culture in tourism is the Carnival and festivals that typically take place in December. History and Heritage finds its expression in the museums as well as heritage tours that meander through the old part of the city in Calabar South.

Nsibidi, ancient language

Nnabo Masqueraders

Statue in Calabar of Efik Maiden

Image Of Slave Capture And Deportation At The Bight Of Biafra

Mary Slessor’s House in Calabar

Ekpe Masquerader

Parade dancer, Efik Maiden attire

Dancers in the Calabar Carnival

Map From An Archive of Autograph Letters Signed from Old Calabar: written by King Eyo Honesty II of Creek Town, and King Eyamba V of Duke Town, 1842-45

Mary Slessor, Famed Scottish Missionary in Calabar

King Duke Ephraim Eyamba IX / Orok Edem Eyamba IX (1880– 1896)- Old Calabar

Obong Eyo Honesty IX

2.3 | Cultural Context

Cross River National Park

Obudu Plateau and Ranch

Agbokim Waterfalls

Drill Rehab and Conservation Centre in Cross River State

Great Kwa River

What currently lacks in Calabar is the explicit expression of the Ecology, Flora & Fauna of the state, which since the closure of the both the Zoo and the Drill Ranch in the city and the perceived closed nature of the Botanical Garden is not actively experienced in the city but only when travelling further through out the state to the nature and wildlife reserves, waterfalls and plateaus. But the Botanical Gardens itself has a layered history of uses making it a prime location in the city for tourist and natives alike, to experience the three branches of culture character of Cross River State

SITE

Coffee

Mangoes

Co ffe e

Coffee

Rubber

Cashew

Pineapples

Mangoes

les

e App

Ros

Bananas

Coffee

e nu ve ATeak

an Or

Pineapples r

bbe

Kola Nut

1:2000 0

100m

492m

Extended Boundary calculated from marked point

40.5 ha 824m

40.5 ha

Watt Market is thought to be the boundary at one point of the Botanical Garden

1: 10 000 0.6

0.8

1km

0.4

0.2

3.1 | The History of the Botanical Gardens

The History of the Botanical Gardens The Botanical Garden in the Calabar is a product of the Colonial Legacy of British Rule in South Eastern Nigeria. At that time it was used as an economic tool to house and contain the flora found across the commonwealth whilst indigenous flora from the region was shipped in Wardian Cases to Kew Gardens in London to be studied and propagated. The Botanical Gardens was a permaculture plantation growing Rubber, Mangoes, Banana, Coffee, fine timbers and medicinal and ornamental flowers. In 1907, the Gardens was 40.5 hectare and is know to have extended up to the Watt Market in Calabar but its precise location and boundaries are unknown.

Broken Wall of Gardens on Mary Slessor Ave

Entrance of Gardens

Features: - The plan allows the user to come through and see the whole garden

Asita Road on East Edge of Gardens

- The user would be directed to 3 key moments with a few smaller features along the way. - A meandering path is employed to assisst main circulation through the garden to encourage wandering.

Canal on East Edge of Gardens

Cons: - The sightlines propsed do not necessarily lead the eye to lnotable andmark Target Road on Edge of Gardens

- CRSFC is completely sectioned out of the park

100m

2004 Map of the Botanical Gardens and Perimeter views

Schoenaich Rees Landscape Architects Design 2005

After independence, parts of the botanical gardens were gradually divided and sold off leaving the form that we see today of 4.8 hectares of landscape. At some point the gardens became a Zoo housing enclosures for different animals but by the early 2000’s all wildlife that remained was transported to the Cross River National Wildlife Reserves.

3.1 | The History of the Botanical Gardens

Hyena Enclosures

Cross River Forestry Commission Offices

Alligator Enclosures

Features: - The plan allows the user to come through and see the whole garden

Opening in trees

- The user would be directed to 3 key moments with a few smaller features along the way. - A meandering path is employed to assisst main circulation through the garden to encourage wandering.

Large Tree Along Path

Cons: - The sightlines propsed do not necessarily lead the eye to lnotable andmark - CRSFC is completely sectioned out of the park Opening in trees

100m

2004 Map of the Botanical Gardens and Internal views

Schoenaich Rees Landscape Architects Design 2005

In 2004 new design was proposed for the gardens but after a few short months of initial landscaping and construction the project was abandon. The only fully realised part of that proposal that still remains is the walls of the garden.

3.2 | The Botanical Gardens Today

The Botanical Gardens Today

3.2 | The Botanical Gardens Today

Remnant of removed cage After the 2005 plan was abandoned the mayor in 2008 used the park for parties and festivals. Remnants of this are still in the garden

Former entrance to site now closed to public

Cross River Forestry Commission Offices

Palms reorganised according to 2005 plan

Pergola that was built in 2005 now destroyed. Paths still partial remain Nurseries managed by CRSFC

Current Pedestrian entrance

Canal at West edge of site

Features:

Openings amongst trees

- The plan allows the user to come through and see the whole garden

Town Hall

- The user would be directed to 3 key moments with a few smaller features alongLarge the way. trees

Openings amongst trees

- A meandering path is employed to assisst main circulation through the garden to encourage wandering. 28 m

29 m

Cons: 30 m - The sightlines propsed do not 31 m necessarily lead the eye to lnotable 32 m andmark 33 m 34 m

Exit of Canal

- CRSFC is completely sectioned 35 m out of the park 36 m

37 m 38 m 39 m

Target Road on Edge of Gardens

100m

Schoenaich Rees Landscape Architects Design 2005

The Botanical Gardens has had many lives and the remnants of some of its more recent adaptions can be found scattered around the site. Today, it is currently home to the Cross River Forestry Commission who have offices and propagation nurseries on the east and north parts of the site. The rest of the site is unused, save for a few temporary structures near to the offices.

June 21

Features:

March 21 Mar Sb September 21

- The plan allows the user to come through and see the whole garden

December 21

- A meandering path is employed to assisst main circulation through the garden to encourage wandering. Cons: - The sightlines propsed do not necessarily lead the eye to lnotable andmark

28 m 29 m 30 m 31 m

- CRSFC is completely sectioned out of the park

- The plan allows the user to come through and see the whole garden - The user would be directed to 3 key moments with a few smaller features along the way.

- The user would be directed to 3 key moments with a few smaller features along the way.

33 m

32 m 33 m

34 m

35 m

36 m

37 m

38 m

39 m

28 m 29 m 30 m 31 m

- CRSFC is completely sectioned out of the park

32 m

39 m

100m

Schoenaich Rees Landscape Architects Design 2005

To best utilised the site the palm trees in the garden have been cleared and will be replanted in a new location. This leaves the mature trees, bushes and the offices.

100m

Schoenaich Rees Landscape Architects Design 2005

Sun path over the site helps us to see that the central part of the gardens towards the west will be most shaded parts of the garden due to terrain height and trees. The eastern part needing more shade (natural or built)

177.

299. 4m

165.1 m

28m

201.2

4.8 ha

The area of the site is 4.8 hectare and bordered on its west side by the canal that runs through much of the city into the estuaries. Effectively the gardens is boarded on all sides.

Direction

ing

od of site ﬂo

39m

4.8 ha +2 ha The site happens to flood in the south-west and this is also the direction of prevailing rainfall. The idea is to incorporate the canal into the gardens rather than sitting on the edge of the site. This increases the gardens to 6.8 hectare.

3.3 | Analysis and Opportunities

Reserved for Parking

The neighbouring town hall building is now engulfed into the site and the canal partially floods into water body inside the garden following the contours of the site

Reserved for Parking

The gardens can then be divided into a paid for part access of the museum and a more public side that allows of the overspill along the carnival route, parking spaces and connection to the heritage tours.

Analysis and Opportunities An analysis has been done of the Botanical Gardens to assess the opportunites that can be taken advantage of on the site to reopen the gardens to the city and create a dynamic space through which one can explore. The biggest adaption to the site would be to extend the gardens to the West by 2 hectare to both deal with the current hard canal edge and the flooding that occurs in the south west of the gardens. Also an effort has been made to keep mature trees in the garden and replant palms at a later design stage. As well as this, making a clear division of the fully public part of the gardens versus the museum gardens open to the museum visitors with the remit of the CRSFC staff and gardeners as a mediator inbetween both zones.

Calabar’s Tourism Constellation

l va

ute

l iva rn Ca

ti es dF an

Ca rn iva la

nd F estival

Ca r n i v al an d Fe stiva l Rou Carn ival an dF es ti va lR ou te

Heritage walks

Carnival Route and Heritage walks

Ca rn i va l ro ute

3.3 | Analysis and Opportunities

alks ew itag Her

Strategic reintroduction of the Botanical Gardens as a part of the Carnival Route and Heritage walks

The Botanical Gardens is situated on Mary Slessor Road which as well as being a primary road for traffic around the city, it also doubles as a carnival procession route. The Carnival route has several puncture point including several roundabouts and the UJ Eseune Stadium. The Gardens was formerly one of these points and is very close to the Mary Slessor Roundabout point where stalls and seating are erected around. The gardens is also a short walk to the European Cemetery which is an important tourist and the key marker of most heritage tours in the older part of the city. It is quite feasible to see that the botanical gardens could be re-introduced in to the carnival and festival procession. Acting as an overspill pavilion close to the Mary Slessor Roundabout and a location for smaller performances to take place. On the south east part of the site the gardens is leading towards the European Cemetery and becomes apart of the heritage walks.

TOOLBOX

Regalia of Chief Francais Ede - Photograph by Jordan A Fenton

Procession in streets of Calabar of the Ekpe Society’s Masquerade

4.1 | Ukara Cloth

Ukara Cloth The Botanical Gardens in contemporary Calabar culture is shrouded in folklore and mystery. Due to its perceived closure to the public and its state of abandon, many believe it to be the place where nefarious traditions take place. But it is known to have unofficially hosted rituals for the Ekpe society. The Ekpe (Leopard) Society and their traditions are one of the most distinguishable traditions to the Efik and Ejagham peoples of Cross River State as well as other regional tribes. Their most prominent signifier being the Ukara cloth. The Ukara cloth is a blueish indigo cloth with white lines, figures and symbols and it is used as a tool of communication. Some symbols are easier to decipher whilst others are written in the regional script of the Nsibidi. Nsibidi is a pre-colonial writing system or alphabet used by many people groups in the South East of Nigeria meaning that its is a universal script for peoples using different oral languages.

Sekere/ Barbwire

Likeness to Insel Hombroich, Labyrinth

Talking Drum

Cowbells

Likeness to Efik Bell Sculptures seen in the city

Water + The Egbo Fighting Club

Likeness to Roofs of Demas Nwoko’s Church in Idumje Ugboko

Moon and Stars in the Sky

A Tortoise

A Sickle

A Rod or manilla refer to wealth or a U shaped form meaning under or below

Moon and Stars in the Sky

A Leopard

4.1 | Ukara Cloth

Interior Courtyard Wall at the Ekpe Asibong Ekondo Lodge with Nsbidi Animal Motifs- Photograph by Jordan A Fenton

Decoration of Wall, Egbo Wall, Ekuri Owal -from In the shadow of the Bush by Percy Talbot

Whilst individual symbols and motifs have individual meanings, collectively the cloths tell stories and narratives that only initiated members of the Ekpe understand. Often these meanings are figurative or performative but we can also gauge from the cloths that some have architectural meaning. The most recognisable aspect of the Ukara Cloth is its grid structure and the repetition of the concentric rectangles or squares that we know to be representative of the Ekpe house.

This study seeks to understand and read the Ukara cloths to derive architectural and value and form that can be applied to the organising of the Botanical Gardens. First by analysing the types of grids use and then the representation and the arrangement of figures.

fold lines

breaks in grid

push/ pull undulating grid

concentric rectangle in every other box

warping grid

4.1 | Ukara Cloth

key figures of cloth unbouded by grid

borders around figures do not follow grid

Cloth A : This cloth has a bold white grid which almost disguises its four key figures, the leopard snake, gecko and man. When found the it can be seen that the figures are unbounded by the grid.

Bleeding indigo edges

4.1 | Ukara Cloth

Grid bends itself around the masquerader figure

Cloth B : This cloth is the most regular in organisation, the grid is more orderly with only one breakout figure, a masquerader holding a sword or sickle. The rest of the figures stay within the grid structure but the indigo dye bleeds more freely inside those rectangles. The fold line is centred in the cloth and the indigo dye bleeds from the edges of the cloth to the fold line and breaks into a few boxes, unbounded by the grid. One might view this as somewhat porous.

Signia of the Aro confederacy (Cross River Igbos)

Cloth C : This cloth has a much more uniform appearance but what is most intriguing about it is how the figures interrupt the grid and how around these figures the indigo dye bleeds more loosely. From this grid one might remark the ability of the natural figures to defy the uniformity of the grid but blend and hide within the structure. This is the only cloth without any visible fold lines.

4.1 | Ukara Cloth

Secondary grid

Cloth D : This cloth has the boldest white grid of the four. The indigo grid is not allowed to bleed through the grid freely as seen in others. In fact, whilst studying this cloth we can see that it has a double structure. A secondary diamond grid

4.2 | Vernacular Construction

Vernacular Construction The Soil Type in Calabar is NTu- FRp1 (Humic Nitisols - Plinthic Ferralsols). Nitisols are a deep, red, well-drained soil with a clay content of more than 30% and a blocky structure. Ferralsols are red and yellow weathered soils whose colours result from an accumulation of metal oxides, particularly iron and aluminum. The Earth Sample taken clearly shows a predominance of the yellow coloured soil. It appears to be a more sand clay. The typical construction method of the traditional Efik Compound is a wattle and daub method in which, bamboo or timber is used to create a skeleton structure for the building which is then filled in with an adobe mud mixture. A typical Wattle and Daub construction spaces the bamboo at 300m intervals, however, the Efik typology uses a much tighter grid structure with spacing between 150 -200mm

Typical Single Courtyard Building, Old Calabar

Typical Multi Courtyard, Building, Old Calabar

The Effect of Modern Technology on Traditional Architectural Expression: Case of Old Calabar Architecture Mbina, A; Edem, E & Otto, N

Single Unit Dwelling

Scales and Proportional Arrangement of Courtyard

4.3 | Old Calabar Courtyard

Traditional compound Axo - Jospeh Godleweski

Old Calabar Courtyard

During the British occupation of Old Calabar, it was noted that the traditional building typology amongst the Efik peoples as well as other local ethnic groups was the courtyard compound typology. The most regarded was the multi courtyard typology. The arrangement of these courtyards were formed by a single units that might houses the wives and children of the patriarch and servants all situated around the unit occupied by the family/ community patriarch himself. The external view of these compound was unassuming and to the onlookers was just a simple walled typology without windows or openings. This was because, culturally the view was that private activities should not be seen by the public. The wall of the compound, therefore concealing the most private and sacred activities. Often the courtyard acted as the kitchen or the altars of the family or community that occupied the compound. The construction of these compounds follows the vernacular style explored previously. Furthermore, the roofs were always straw or raffia palms over a timber structure with bamboo rafters.

Benin

Nigeria Lagos Lekki

Benin City

Asaba Onitsha

Warri

Calabar

Cameroon

Port Harcourt

Idumuje Ugboko near Asaba, Delta State

The Villa of Demas Nwoko

Single Wall Ventilation

Impluvium

Latcrete Block

4.4 | Demas Nwoko

Demas Nwoko Demas Nwoko is Nigeria’s most prominent Architect whose life’s work has centred on prescribing the identity of Modern Nigeria based on an infusion of the cultural arts and knowledge from different regions of the country and Modernist design principles. In the Villa of Demas Nwoko, in Idumje Ugboko, Delta State he employs many architecture techniques to improve circulation through the dwelling. In some rooms he uses single sided ventilation, drawing cool air from the bottom of the building and pushing warm air through louvres higher up in the building. This provides a cool environment for dwellers in the space. In the villa, Nwoko, uses the impluvium inside the building as a focal point in the space and also a method of cooling and ventilation. The impluvium allows for the exchange of cool and warm air and it allows rainfall and light to enter the space creating a spiritual meditative moment in the building. Nwoko is also known for his use of Latcrete Blocks which he views as the Modern Adobe Brick. The Block is a mixture of Laterite ground (the earth from the location) gravel and a small amount of cement which essentially stabilises the blockwork.

Community presentation preservation of the Monoliths in Akumabal

Speculative sketches on how to arrange the Akwanshi

Scale of the Akwanshi

4.5 | The Akwanshi

The Akwanshi The Akwanshi Stone Monoliths are sacred sculpture to the native ethinic groups of Cross River State and another recogonisable part of the regions culture. The Ekoi-speaking Ejagham people call them Akwanshi, which means “dead person in the ground”, suggesting they are memorials for ancestors. Akwasnshi are distributed among over “thirty communities across Cross River State. In each community, the stones are found in circles, sometimes perfect circles, facing each other standing erect, except where they have been tampered with by weather or man.” (Factum Foundation 2018) There are currently 295 monoliths that are recorded in the diferent communities. The Trust for African Rock Art (TARA) works in tandem with these 30 communities in an effort to preserve the culture that has been the victim of looting, vandalism and disregard. What could it mean therefore to design a space to celebrate, honour and preserve these artefacts and encourge engagement with the communites and museum space by finding a home for a small selection of the monoliths?

DESIGN BRIEF

5.1 | Design Objectives

he City of Calabar is like one City of Calabar is like one rge Museum of Artefacts The Large Museum of Artefacts

y of Calabar is like one Museum of Artefacts

The M shou the c The Museum therefore should reﬂect the nature of the city

5.1 | Design Objectives

Chieftaincies

Shrines Monoliths

Sculptures Attire

Cults, Clubs & Societies

Carnivals & Festival

Ethnic Tradition & Culture

Slave Trade Museum Old Residency/ National Museum

Wildlife Reserves

History & Heritage

Ecology, Flora & Fauna

National Park Botanical Garden Waterfalls

National & Local Monuments

Historic Neighbourhoods

Protected Species

Ruins

Obudu Plateau

Design Objectives The Botanical Gardens will once again be open to the people of the city but now as The Calabar Sculptural Gardens. A natural home for the indigenous flora of the state in the historic heart of the city, it will now additionally house a collection of Cross River State’s sculptural works and artefacts as well as pay homage to the works of Calabarian art and heritage still in captivity. The new garden makes the case for a culturally contextual and specific museum typology in the city drawing on the 3 branches of cultural character for its built form and experience through the gardens. Its buildings transform and reinterpret the region’s vernacular architecture and its gardens applying the hierarchical rules of the Ukara cloth.

City of Calabar is like one ge Museum of Artefacts

Calabar’s Tourism Constellation

The Museum therefore should reﬂect the nature of the city

The Calabar Sculpture Gardens will have be a constellation of buildings and experiences arranged through the site

The Museum therefore should reﬂect the nature of the city

5.1 | Design Objectives

Buildings punctuated over the site

Spaces for gathering, sitting and eating

Live art performance and installations having spaces in the gardens

Nurseries propagated by the CRSFC throughout the garden

Sculptures placed throughout the gardens

In the same way that the city of Calabar explodes with landmarks and forms cultural expression in the urban space, so too should The Calabar Sculptural Garden be pixelated with many experiences, buildings and spaces to entice visitors and enrich the experiences of the main users of the gardens. This will create a truly dynamic experience as one explores the garden.

Programme and Users The Programme of The Calabar Sculpture Gardens is divide in 3 parts, the indigenous flora, the ethnic and cultural artefacts and Art installations and performances. The Indigenous Flora is under the remit of the Cross River Forestry Commission who will continue to maintain the gardens. Therefore their offices will be redesigned on the site and spaces for plant nurseries will be allocated in the gardens. Their offices will also be connected to classroom space that can be used to educate visitors on the ecology as well history and heritage of Cross River State. The users of this programme being CRSFC research staff and gardeners Two buildings will be provided for the collected, as well as lost cultural artefacts like monoliths, sculptures and masks. These buildings will

5.2 | Programme and Users

be the main exhibition/museum spaces but the gardens will also have sculpture and artefacts throughout the landscape therefore the Museum visitors will be the predominant users of the whole gardens. The third part of the programme is for live art and performances, this includes the carnival and festival procession that will occur in front of the gardens. Therefore a pavilion will be designed as an overspill space for the carnival as well as space for temporary art installations and performances that may happen through out the year. This pavilion will also be a space for sitting and eating under the shade.

CONCEPT

Undulating grid applied to gardens breaking at natural elements

Rills for site drainage following like the fold lines of the Ukara Cloth

6.1 | Layers and Hierarchy

Layers and Hierarchy Learning from the Ukara Cloth the landscape is now arranged according to its hierarchy, principles and motifs so that, like the Ukara cloth, the mystery of the gardens can be read as one proceeds through the gardens. Starting from the terrain of the gardens, two rills are added at the cross-section of the site parallel to the contours of the landscape. The rills emulate the fold lines of the Ukara cloth and allow for water drainage from the top of the site to the water body at the lower edge. The grid is then applied to the gardens, breaking where it meets the natural elements of the gardens. Trees and bushes start to emulate the figures and motifs from the Ukara cloth. The grid is approximately 21x18m per segment. This grid scale is chosen due to it proportion to the Old Calabar courtyard and Efik Compound.

Palm trees replanted

Nsibidi motifs and figures extrapolated to form paths through site

6.1 | Layers and Hierarchy

Buildings proportional and aligned to grid

The Nsibidi sign for ‘Union” is extrapolated and used to form the main path through the site and unify the public and private use of the site. Palm trees formerly on the site are replanted like an enlarged segment of the grid. And the buildings also follow the compound motif (concentric rectangles) aligned with the core grid structure. The buildings in the garden are designed according to the concentric rectangles that represent the Efik Compound and therefore are proportional to the scale of the grid. The buildings are also designed as a family of buildings to reflect uniformity

Undulating/ Push and pull rammed earth wall Light bamboo fencing

landscaping on both sides of the gardens peak-a-boo windows into the garden

Bamboo planted along west edge of gardens

Bleeding/ porous edge as applied to gardens

6.1 | Layers and Hierarchy

seating and rest stops under the festival pavilion but also elsewhere

live art performance under the festival pavilion but also elsewhere

Nurseries propagated by the CRSFC throughout the garden sculptures placed throughout the gardens

Currently the Botanical Gardens is fenced off and walled all around its boarder, with only one open entrance on the side road (Target Road). But having learnt from the Ukara cloth, the intention is now to create a more porous edge around the gardens to invoke a curiosity and mystery whilst also conveying that it is open to the public. An undulating rammed earth wall that echoes the rhythms of the Ukara cloth to induce the feeling that the gardens extends beyond its enclosure, giving back parts of the garden to the city. And the ground like the indigo dye of the cloth bleeds into the garden. This is the natural yellowish earth of Calabar and where it seeps into the grid of the sculpture gardens no landscape treatment should be planned The grid applied to the Sculpture Gardens is not seen as final but rather expansive or additive, giving a hierarchy and structure that can therefore be added to with elements like nurseries, seating, more sculptures and live art installations/performances can be placed into the grid until the cloth is complete.

Family of Buildings arranged over the grid of the site

Contemporary forms of Earth Construction

Bamboo structure extracted from the brick /blockwork construction

Guadua angustifolia bamboo

6.2 | Family of Buildings

Family of Buildings The buildings in the Gardens will be designed as a family of buildings based on a reinterpretation of the vernacular style of architecture. Instead of building in the wattle and daub earth construction a more contemporary form of earth construction will be used. Sometimes this will be rammed earth constriction but predominately this will be stabilised Compressed Earth Blockwork Bamboo will still be used structurally however the bamboo species local to Calabar and the whole of Nigeria (Bambusa vulgaris / common bamboo) is not strong enough for contemporary building structures. Therefore the building inside the gardens, utilise the Bamboo type Guadua angustifolia local to Columbia but can be grown in tropical climates like Nigeria. The Guadua Bamboo grows much taller (20 -30m). This can be used for spans of Bamboo columns or beams of up to 8-10m. Where greater spans are required for the pitched roofs, the buildings will instead use CLT Beams. Roofs will differ, some being brick whilst others being a traditional thatched straw or raffia roof covering.

DESIGN

100m

The Gardens

7.1 | The Gardens

North Elevation Main Entrance Mary Slessor Road

East Elevation Entrance from Car Park

Edges

South East Elevation Target Road

West Elevation Edem Effio Road

50m

7.2 | Edges

50m

6 meters

Activities in Festival Pavilion Courtyard Exploded Axonometric of Structure

7.3 | The Festival Pavilion

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Movement under the Pavilion

The Festival Pavilion The Festival Pavilion is the first structure of the Gardens that is accessible. It is open to the main road and becomes a roof under which the public can rest and watch the festivities of the carnival. The structure is scaled up from the compound motif but completely open beneath. The main structure is CLT wood columns (25x50mm thickness) and pitched beams spaced at 6 meter spans and has a 6 meter inside depth and 6- 8.5meter height. The secondary structure is 200mm diameter bamboo that guides the movement around the structure, becoming more dense on the side toward the Sculpture Gardens and completely open to the main roads. The roof is a lightweight straw material and the ground on the inside courtyard is the natural earth unpaved. The Festival Pavilion courtyard is used for performance, live art installations and Carnival processions. Whilst under the roof is reserved for seating and watching.

7.3 | The Festival Pavilion

Traversing into The Calabar Sculpture Garden, you meander along an contouring path and discover between the palm trees a carved monolithic from out of the ground protruding towards the skies...Reaching out to treasures long lost...

Akwanshi Monoliths found in museums around the world

7.4 | Monument of the Lost Monoliths

Monument of Lost Monoliths The Monument of Lost Monoliths is a folly, commemorating the loss of the artefacts and monoliths spread out around in the world in countries like the UK, France, America and Germany, separated from the ground from which the belong. Its unknown how many objects from South-east Nigeria and most specifically Cross River State that remain in captivity, yet this hollowed building awaits their return. The most hallowed of artefacts are the Akwanshi Monoliths. They are made from a singular material and carved with faces, body parts and motifs. They are scared objects to the local peoples therefore the Monument building invokes a spiritual procession through the space. The visitor is lead by the sky-light apertures that light the individual spaces. The atmosphere of each space differs from its predecessor due to the altering positioning of the apertures in each room and shifts with the passage of the dayand movement of thee sun. You become aware of the slowness of time...like the aged wait for the return of the lost Akwanshi

Extraction of form from the Ukara Motifs

Examples of Monolithic Architecture

Soil Type in Calabar is NTu- FRp1 (Humic Nitisols - Plinthic Ferralsols) will be used for both compressed earth brick and rammed earth walls

Using the Bamboo as a removed structure to create a textured interior

The form of the building is derived from the Ukara cloth. It is an extrusion of the concentric rectangles creating the pitched roof shape. Whilst the roofs all pitch the floor tiles of each room reflects the patterns one would read in an Ukara cloth. The building, from the outside should appear singular in material in the same way that the monoliths themselves are singular. All the buildings inside the garden are of the same material family: Compressed Earth Brick and Bamboo structure, hearkening to traditional construction

7.4 | Monument of the Lost Monoliths

Compressed Earth Brick Facade Skin

Rammed Earth Interior

Bamboo Formwork

material. So the exterior of the monolith building is also brick construction. But the interior texture reveals the contrary. The brick is only an outside skin and a more textured interior is created by bamboo formwork against a rammed earth core. The bamboo is removed leaving the rooms hollowed out as a homage to a hollowed museum space mourning its lost artefacts.

Minimal sun exposure due to roof shape

rainfall in Calabar mostly from the south west direction

Rainfall and Sun Diagram

The skylight apertures range from 1 meter width to 2 meter this reduces over exposure to sun light and limits the entrance rainfall into the buildings which is subsequently drained out of the building.

Monument of Lost Monoliths Floor Plans

7.4 | Monument of the Lost Monoliths

0 1

North Elevation

East Elevation

7.4 | Monument of the Lost Monoliths

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South Elevation

West Elevation

7.4 | Monument of the Lost Monoliths

As you continue on the path through The Calabar Sculpture Garden, you’ll arrive at a grand house.... It’s a home for the dead.

Community preservation of the Monoliths

Akwanshi in Circular arrangements

7.5 | House of the Akwanshi

House of the Akwanshi The second building in the sculpture garden is the House of The Akwanshi. This will house 30 preserved monoliths from the 30 Cross River ethnic groups that still have the remaining Monoliths scattered across the region. One monolith selected from each ethnic group to pay homage to the different tribes tasked with the care and preservation of these monoliths. The building form draws from the interruptions of the circle on Ukara cloths. In the Nsibidi language used on the Ukara cloths, the circle normally represents the House of the Nsibidi, the place where young boys/men learn to write Nsibidi. Other circular motifs tend to represent congress or meetings therefore symbolise moments of learning, debate or discussion.

Examples from Ukara cloth possibly symbolising meeting or congress

House of the Nsibidi symbol

400mm

2500mm

Scale variation of the Akwanshi

A circular arrangement is traditionally how the Akwanshi are situated in their local communities. The monoliths are not just extracted from their communities but rather the community chiefs or storytellers must be able to lead a dialogue/ discussion or meetings in and around the Akwanshi. Therefore, in the House of the Akwanshi, seating in the courtyard for community discussions and the ability to walk amongst the Akwanshi and discuss their histories and relevance is possible. Whilst the main form of the building extrapolates the courtyard pattern on the Ukara cloth, the spatial arrangement includes a circular interruption where the Akwanshi are housed.

7.5 | House of the Akwanshi

Initial Impulvium concept

Demas Nwoko Impulvium

Impulvium Bamboo Structure

Rainfall concept

The Akwanshi represent dead ancestors and therefore a spiritual catharsis is also incorporated in the form of the building. The impluvium like that in the villa of Demas Nwoko can be used to infuse such a cathartic moment in the building. In the Villa of Demas Nwoko, the architect uses the impluvium as a focal point in the space. Drawing the outside in. The akwanshi are normally outdoors so this building intentionally invites the outside inside allowing rainfall to enter the building. The Impluvium in this building is a bamboo grid structure and covered in thatched straw that helps to absorb the rainfall. The length of the funnel is 10 meters and the narrowest width of the funnel’s opening is 2.5 meters, this reduces the over flooding of the exhibition space.

7.5 | House of the Akwanshi

Rainfall that does enter the space is directly stored and deposited into the canal via the rill. This rainfall is aptly caught by the positioning of the impluvium in the south west of the part of the building.

7.5 | House of the Akwanshi

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House of The Akwanshi Floor Plans 1-100

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North Elevation

East Elevation

7.5 | House of the Akwanshi

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South Elevation 1-200

West Elevation

7.5 | House of the Akwanshi

The gardens springs to life around the walls of the compound with innumerable species of flowers, trees and bushels. Hidden behind the pictured walls are the secrets of the Old Botanical Garden.

CRSFC Nurseries in the current Botanical Gardens

Species List

Nurseries propagated by the CRSFC throughout the garden

7.6 | The Garden Compound

The Garden Compound A new home is made for the Cross River State Forestry Commission (CRSFC) inside The Calabar Sculpture Gardens. The CRSFC retains a fundamental socio-economic value in the gardens, employing several research staff and gardeners that maintain the archives, seed banks and plant nurseries that foster the knowledge and seedlings of the regional indigenous flora and ecology. This is valuable for the local agriculture industries as well as holding historic and educational value internationally. Though many of the nurseries are plotted through out the gardens, The Garden Compound building provides space for the remaining programme requirements of the CRSFC such as reading rooms, labs and meeting spaces whilst providing some public facilities such as classrooms and a museum shop and a communal courtyard. This means that the location and the arrangement of the building requires intermediary/ shared space between what is workplaces and what is for the visiting public.

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varied occupancy

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Room Schedule

Sh are d

Ac ces s priv ate oﬃ ces

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Division of Spaces

Examples from Ukara Cloth of the divided Compound Motif N

Arrangement of Traditional Efik Compound

Initial sketches

7.6 | The Garden Compound

Wall decorations of the Efik Compound

Arrangement of Traditional Efik Compound

The arrangement takes inspiration once again from the Ukara cloth, where the compound symbol is split in two by a figure and the form of the building transforms the traditional closed Efik Compound typology into and open compound building. The walls around the compound are rammed earth and decorated with traditional figures similar to the Ukara Cloth but taking direct reference from the compound house typology.

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Section study of Demas Nwoko House

9am natural shade

higher occupancy

varied occupancy

Sun Path and Occupancy

7.6 | The Garden Compound

rainfall rolls of roof into gutter below cooler air from north east and air movement from courtyard

natural shading protection from western light

shaded walkway

Demas Nwoko ventilation method Shading and ventilation techniques

As the building is located in the eastern part of the site, more attention has to be paid to sun exposure and cooling. Being predominately an office space, occupancy of the building is from 9am to 5am. So the spaces with the highest occupancy level have been oriented away from direction sunlight or in places with beneficial shading. Attention has been given to natural ventilation moving trough the spaces of the building. Learning from the techniques of Demas Nwoko of allowing ventilation from the bottom and top of the wall so that cool air moves up through the space has been applied to all the workspaces in the building. Furthermore, the shared courtyard receives shade and has a bamboo pergola structure that creates a shaded walk way and also a landmarking structure for the compound.

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The Garden Compound Floor Plans 1-100

7.6 | The Garden Compound

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North Elevation

South Elevation

7.6 | The Garden Compound

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East Elevation 1-200

West Elevation 1-200

7.6 | The Garden Compound

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The Garden Compound Section 1-100

7.6 | The Garden Compound

SUMMARY

Festival Roof

8.1 | Reflection

The Monument to Lost Monoliths

House of the Akwanshi

8.1 | Reflection

The Garden Compound

8.1 | Reflection

Reflection The Calabar Sculpture Gardens not only showcases the array of cultural heritage across the state of Cross River and the South Eastern Nigerian region but it embodies and is reflective oft his cultural richness. It reintroduce the experience and value of indigenous flora to the city but also draws the community beyond its walls to be reconnected to the heritage, folklore and festivities of the place.

APPENDIX

Image Attributes and References Page 10 - Al Jazeera, 2015. The Old Residency building in Calabar, Nigeria. [image] Available at: <https://www.aljazeera.com/program/my-nigeria/2015/9/27/fromslave-trading-post-to-royal-prison> [Accessed 4 May 2021]. Paage 10 - Al Jazeera, 2015. A view of Old Calabar from Government Hill. [image] Available at: <https://www.aljazeera.com/program/my-nigeria/2015/9/27/fromslave-trading-post-to-royal-prison> [Accessed 4 May 2021]. Page 10 - 2015. Slave Museum Calabar. [image] Available at: <https://idafrica.ng/5reasons-why-you-should-spend-your-next-vacation-in-calabar-2/> [Accessed 4 May 2021]. Page 12 - Stanley, H., 1885. Picture of Old Calabar Factories from HM Stanley’s book “The Congo and the founding of its free state; a story of work and exploration. [image] Available at: <https://en.wikipedia.org/wiki/Duke_Town#/media/File:Stanley_ Founding_of_Congo_Free_State_232_Old_Calabar_Factories_near_Duke_Town.jpg> [Accessed 4 May 2021]. Page 12 - wu, s., 2017. Duke Town, Calabar, Nigeria. [image] Available at: <https://web.archive.org/web/20161101080356/http://www.panoramio.com/ photo/112872859> [Accessed 4 May 2021]. Page 20 - Wahlman, M., 2009. Nsibidi symbols - Signs and Symbols: African Images in African American Quilts. [image] Available at: <https://upload.wikimedia.org/ wikipedia/commons/8/89/Nsibidi.gif> [Accessed 4 May 2021]. Page 20 - Hotels NG, 2018. Calabar Carnival. [image] Available at: <https://guardian. ng/saturday-magazine/travel-a-tourism/rhythms-colours-of-calabar-carnival-2018/> [Accessed 4 May 2021]. Page 20 - De Bry, J. and De Bry, J., 1604. Repraesentatio maiestatis, qua rex in Cabo Lopo Gonsalves coram peregrinis sese ostentare soletRepraesentatio maiestatis, qua rex in Cabo Lopo Gonsalves coram peregrinis sese ostentare solet. [image] Available at: <http://www.slaveryimages.org/s/slaveryimages/item/2520> [Accessed 4 May 2021]. Page 20 - Grant, P., 2009. Mary Slessor’s House. [image] Available at: <https://www. flickriver.com/photos/christchurchcarrickfergus/3789352884/> [Accessed 4 May 2021]. Page 20 - 1845. An Archive of Autograph Letters Signed from Old Calabar: written by King Eyo Honesty II of Creek Town, and King Eyamba V of Duke Town, 1842-45.

i. Image Attributes and References [image] Available at: <https://www.betweenthecovers.com/pages/books/415254/ eyo-honesty-ii-eyamba-v/an-archive-of-autograph-letters-signed-from-old-calabarwritten-by-king-eyo-honesty-ii-of-creek-town> [Accessed 4 January 2020]. Page 20 - Kingsley, M., 2021. King Duke of New Calabar in Full Dress. [image] Available at: <https://en.wikipedia.org/wiki/File:King-duke.jpg> [Accessed 4 September 2020]. Page 20 - 2018. Mary Slessor with her children. [image] Available at: <http:// dianaleaghmatthews.com/mary-slessor/> [Accessed 4 April 2021]. OBUDU Page 21 - MOUNTAIN RESORT, n.d. THE OBUDU PLATEAU. [image] Available at: <http://www.obudumountainresort.com/> [Accessed 4 September 2021]. Page 21 - Chakera, S., 2005. Kwa Falls, along the Kwa River in Cross River State, Nigeria. [image] Available at: <https://commons.wikimedia.org/wiki/File:Kwafalls.jpg> [Accessed 4 September 2021]. Page 21 - Ruoso, C., 2008. Dominant male Kebi smiling with some adult females in Group 1.. [image] Available at: <https://www.pandrillus.org/projects/drill-ranch/> [Accessed 4 September 2021]. Page 36 & 44 - 2015. Mazi Okereke Agbam of Arochukwu’s personalized ukara cloth. [image] Available at: <https://hoodmuseum.dartmouth.edu/explore/printarchive/ukara-ritual-cloth-ekpe-secret-society> [Accessed 4 September 2020]. Page 38 - FENTON, J., 2008. Mgbe chieftaincy regalia of chief Francais Edet with ukara nsibidi design indigo cloth. [image] Available at: <https://ukpuru.tumblr.com/ post/113026738382/mgbe-chieftaincy-regalia-of-chief-francais-edet> [Accessed 4 May 2021]. Page 38 - Bentor, E., 1989. Ekpe members in Ukara Cloth Courtesy. [image] Available at: <https://docplayer.net/45115098-Symbolic-values-of-clothing-and-textiles-art-intraditional-and-contemporary-africa.html> [Accessed 4 April 2021]. Page 40 - Stiftung Insel Hombroich, n.d. Renovation of the exhibition pavilion Labyrinth at Museum Insel Hombroich. [image] Available at: <https://www. inselhombroich.de/en/museum/renovation-labyrinth> [Accessed 4 July 2020]. Page 41 - FENTON, J., 2008. Interior Courtyard Wall at the Ekpe Asibong Ekondo Lodge with Nsbidi Animal Motifs [image] Available at: <https://hoodmuseum. dartmouth.edu/explore/print-archive/ukara-ritual-cloth-ekpe-secret-society> [Accessed 4 September 2020]. Page 41 - TALBOT, P., 1912. Decoration of Wall, Egbo Wall, Ekuri Owa. [image] In the Shadow of the Bush. London: W. Heinemann, pp.256-7. [Accessed 4 September 2020]. Page 42 - Brooklyn Museum, 2017. Igbo. Cloth (Ukara). [image] Available at:

<https://www.brooklynmuseum.org/opencollection/objects/125936> [Accessed 4 September 2020]. Page 47 - The British Museum, 2021. Adire. [image] Available at: <https://www. britishmuseum.org/collection/object/E_Af1983-34-1> [Accessed 4 September 2020]. Page 50 - Mbina, A., Edem, Ephraim, E., Otto, & Udosen, N. 2015. Figure 2 [image] The Effect of Modern Techonology on Traditonal Architectural Expression: Case of Old Calabar Architecture. Global Journal of Science Frontier Research, 15. Page 51 - GODLEWSKI, J., S. KRABATH, 2017. Traditional Èfik compound, axonometric diagram. [image] Zones of Entanglement: Nigeria’s Real and Imagined Compounds. Traditional Dwellings and Settlements Review, 28(2), 21-33. Avaliable at http://www.jstor.org/stable/44779809. [Accessed 4 June 2020]. Page 53 - NEW CULTURE DESIGNS, 2021. Demas-Nwoko-1-e1610127759141. [image] Available at: <https://newculturedesign.com/our-team/> [Accessed 4 July 2020]. Page 52 & 100- Factum Foundation, 2018. AKUMABAL MEETING. [image] Available at: <https://www.factumfoundation.org/pag/1173/bakor-monoliths-metropolitanfragment-conference-and-site-visits> [Accessed 4 June 2020]. Page 53 - New Orleans Museum of Art (NOMA), 2019. Ancestors in Stone with Curator Ndubuisi Ezeluomba. [image] Available at: <https://noma.org/event/ gallery-talk-on-ancestors-in-stone-with-curator-ndubuisi-ezeluomba/> [Accessed 4 November 2020]. Page 65 - Wiggers, B., 2019. School children visiting the National Museum. [image] Available at: <https://www.trouw.nl/nieuws/essay-bring-home-the-looted-benin-br onzes~ba60d5a4/?referrer=https%3A%2F%2Fwww.google.co.uk%2F> [Accessed 4 March 2020]. Page 65 - Williams, D., 2020. It’s that time of the year but this time all Covid 19 protocols will be observed #calabarfestival2020. [image] Available at: <https://www. facebook.com/calabarfestival/photos/a.363503903723604/4699633833443901/?t ype=3&comment_id=4707212996019318> [Accessed 4 April 2021]. Page 65 - Calfest2019., 2019. #calabarfestival2020. [image] Available at: <https:// www.facebook.com/calabarfestival/photos/a.363503903723604/46996338334439 01/?type=3&comment_id=4707212996019318> [Accessed 4 April 2021]. Page 74 - Gardiner, R., 2019. from gallery of Casa Ballena Art Center / RIMA Design Group. [image] Available at: <https://www.archdaily.com/942459/casa-ballena-artcenter-rima-arquitectura> [Accessed 4 January 2021]. Page 86 - Factum Foundation, 2018. Eting Nta monolith now in the Musée Quai Branly. [image] Available at: <https://www.factumfoundation.org/pag/1173/bakormonoliths-metropolitan-fragment-conference-and-site-visits> [Accessed 4 June 2020].

i. Image Attributes and References

Page 86 - Factum Foundation, 2018. Eting Nta monolith recently sold by Binoche & Giquello. [image] Available at: <https://www.factumfoundation.org/pag/1173/bakormonoliths-metropolitan-fragment-conference-and-site-visits> [Accessed 4 June 2020]. Page 86 - Factum Foundation, 2018. Ntitogo monolith pictured in Allison’s survey and in the Metropolitan’s collection. [image] Available at: <https://www. factumfoundation.org/pag/1173/bakor-monoliths-metropolitan-fragmentconference-and-site-visits> [Accessed 4 June 2020]. Page 86 - Museum of Fine Arts Boston, 1994. Carved stone (atal or akwanshi). [image] Available at: <https://collections.mfa.org/collections/315103/aaoart-ofafrica-and-oceania-collection-highlights/objects> [Accessed 4 October 2020]. Page 88 - Ludwig, S., 2021. 13 of 13 from gallery of Bruder Klaus Field Chapel / Peter Zumthor. [image] Available at: <https://www.archdaily.com/106352/bruderklaus-field-chapel-peter-zumthor/ludwig_bruderklauschapel_no-06> [Accessed 4 February 2020]. Page 100 - Factum Foundation, 2018. Oyengi. [image] Available at: <https:// www.factumfoundation.org/pag/1173/bakor-monoliths-metropolitan-fragmentconference-and-site-visits> [Accessed 4 June 2020]. Page 100 - Partridge, C. , 1905. Three of the stones at Agba. [image] Cross River Natives, Being Some Notes on the Primitive Pagans of Obubura Hill District, Southern Nigeria. Available at: https://ukpuru.tumblr.com/post/116205912047/three-of-thestones-at-agbaagba-is-a-small-village [Accessed 4 June 2020].