2
Chapter 2
Introduction
This report critically examines the theoretical and conceptual framework for a proposed live in museum development in Abeokuta, Nigeria. It aims to reform the identified gap by connecting historical and cultural narratives to the Nigerian contemporary interior experience.
REHABILITATION OF M.K.O ABIOLA PRESIDENTIAL RESIDENCE ABANDONED SINCE 1993
PROJECT SUMMARY
PROBLEM: Abandoned and demolished heritage buildings in Nigeria BUILDING: Uncompleted presidential lodge belonging to a personality of political and historical importance in Nigeria LOCATION: Abeokuta, Ogun State, Nigeria CONDITION: 22 years of degradation and decay due to adverse eect of weathering because construction was stopped at roofing stage. BACKGROUND RESEARCH : STAGE 1:Memory of place: An exploration into conservation of architectural heritage in Nigeria. 1A: CONTEXTUAL STUDY: conceptual video on context phenomenon and 1B: PRIMARY RESEARCH: Interviews and questions to address attitude towards heritage in the historical town of Abeokuta. 1C: SOCIOCULTURAL ASPECTS: Valorisation of cultural heritage 1D: CRITICAL REGIONALISM: Evolution of Traditional/Vernacular Architecture in Nigeria, Post colonial phenomenon STAGE 2: Research to discover potential use: feasibility, user studies 2B: PRINCIPLES: Adaptive reuse: Strategies and tactics 2C: DESIGN STRATEGIES: Intangible cultural heritage : Symbolism, Afrocentric Architecture: Reinterpreting the vernacular
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Idi Ere , The first Alaake’s palace (1853) Background Culture is a fuzzy idea, We all point to it when we see it amongst others, but when asked to place a boundary around it, define it or express it, it becomes a difficulty. Being a historical heritage, the building narrative, is not only one of physical decay, it bears with it the weight of both a cultural and historical decline.It was therefore important to examine conservation from a socio cultural perspective in my previous report, this study revealed that: • The grounds for abandonment and demolition of built heritage in Nigeria is not only engrained in a faulted national group value system, but exposes missing links between cultural identity , place and people.
This discovery, backed up by a user study and feasibility report provided me with a deeper, more significant vision of how Nigerians interact with and within their spaces. With such a promising economical and sustainable viability, located in the heart of Abeokuta, the H93 building could potentially become a historical and socially meaningful venue; not only for the visitors, but also for locals in the long run. On the other hand, It was discovered that most Nigerians do not appreciate things from the past or the old because it might allude to poverty and backwardness. Because of this sentimental bias, the design should not only engage in a dialogue between past and present , it should be able to bridge the gap between traditional and modern, old and new, and ultimately making heritage relevant within contemporary lifestyle.
• This missing link is continuity; there is no responsive plan in place to tackle the transformative process of change, new technology, culture and material value .
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Vision The H93 vision is to be experimental and provocative. Providing a Live in Museum with unprecedented quality of both a museum and a hotel is only the starting point of this experimentation. I began to wonder if these visions were mere theoretical postulations. Is it really possible to encapsulate the intangible aspect of building heritage? Can design really change the way people feel about the old? Is this even a design problem? Can physical space transcend the functional in favor of the experiential? Having done my preparatory design project on immersive design, I was convinced that design can not only solve functional or spatial problems, it can also aect our experience, memories, emotions and physical connection with space.Yes it can be done, but the real challenge is how? The solution may lie on the boarder line of adaptive reuse and conservation, but this threshold needs to be systematically and strategically defined before it can yield successfully outcomes.
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Question10: Where should we draw the line between past, present and future?
We should not forget our past, at the same time we have to forge ahead‌ Any aspect of our culture that does not make for progress should be removed, and others fine tuned to meet the needs of civilisation. The Alaake of Egbaland, Paramount Ruler
Most of the stories and histories behind these heritage buildings have been passed down through social memory family history and personal interest. Abeokuta Elder/ Historian : Baba Oguntoyinbo People need to separate culture from religion .Young people attribute ancient architecture and buildings to voodoo. They believe that there are ghosts in them. Young Indigene: Mr Adeyinka Adeyemi
Chapter 4
Potential Use
To connect people to past and history, one needs to reinvent. This may involve not only involve setting an economically viable and sustainable new use within the existing, but it should also generate interest and imagination.
User and feasibility study After deciding on the potential new uses for the building, It was important to get to know my audience and the demographic of visitors.The user study revealed that • Nigerians favour passive indoor recreation to active outdoor recreation. • It also indicated that married couples with children are the most frequent seekers of recreational activities. • Tour of monuments is the third lowest recreational activity Nigerians engage in after wild life and outdoor related activities. • Business visitors are the most frequent in Abeokuta hospitality market followed by family visitors. • The highest in demand in spatial need of Abeokuta people is a a spacious void unit in the city centre for social activities and parties. followed by a cinema and art and cultural centre amongst others. The results of the studies were utilised to : • Figure out the most pressing spatial needs of the locals • Pin down the kind of crowd and audience that will be interested in the museum • Get a glimpse of the hospitality market in the area and most importantly, • To determine the appropriate program for the Museum hotel especially in relation to the limitations of the existing structure.
Human - oriented principle of safeguarding intangible heritage : This is based on the idea that a historic area can be safe guarded only if it is inhabited, if its inhabitants are part of it. For example, by conserving the traditional life style you are invariably conserving the essence of the traditions. This principle was used to back up my decision to create a live - in museum, where a hotel is integrated in the museum and people can experience the culture and intangible aspect of the heritage building alongside the physical traces left behind. The H93 museum is different in approach because in safe guarding the essence of these buildings, traditions can be re lived within a new context or environment through tourism or hospitality development. The focus of Heritage 93 museum hotel is in the hopes that it’s design will communicate and create awareness of not only what they have in stock or exhibitions but on the underlying essence of traditions that can be passed on for generations to come ; of both the tangible and intangible, engaging the community through a reconstructed past.
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Mind map showing initial Live in museum ideas
Consequently, as with many of these museums today, the main challenge for the museum will be how to: •
Attract audiences over and over again,
•
achieve social relevance,
•
be of service to the society and contribute to its development.
Other general hospitality and museographical considerations are: • Lighting, Services, • Planning, • The Exterior, • Arrangement,
The issue of attraction may have been by passed with the incorporation of other viable commercial activities within the museum as well as the unique twist of having a live -in museum with a hotel centered design.
• Entrance,
Also the sentiments behind the personality of the building as an important aspect of Nigerian history covers the issue of social relevance
• social spaces.
Finally, it is important that the museum does not try to “sell” to the public only its traditional offerings but rather try to create wholesome experiences , where every aspect of the building will command the interest, not just the gallery or exhibitions i.e in whole rather than in parts.
• Exhibition Rooms (Shape and flexibility Requirements) and
Initial Flow and traffic movement diagram
Therefore, the design will focus on: orientation , movement and form implemented with the following tactics: • Provision of good public spaces: to accommodate, and attract, lingering. Differentiated exhibit spaces with varied styles of seating will also be an important aspect of the Museum’s visitor provision. With these setting, the relationship of the museum and the public can be guaranteed. Furthermore, in order to realize both objective and functions, other considerations will be : • Diversification of spaces: This will allow each function to be undertaken separately. especially making sure that the hotel requirements do not clash with those of the museum. • Multi functional space: Requirements needed by both Museum and hotel will be integrated by combining certain activities in a single area or demarcated where necessary . • Support services: Separation of certain functions into separate blocks i.e housekeeping, curatorial procedures and back up services will allow relationship between functions and physical facilities.
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Chapter 5
Spatial Exploration
Although the original spatial hierarchy of a building is always established by its first architect, subsequent iterations of the interior may not be, and for obvious reasons, older structures are often modified by designers of a dierent generation according to society’s changing needs as our cities evolve.
Defining the method for the adaptation of the existing structure
The Journey Collage When the planning and conceptual program was concluded, the challenge was how to translate these new design requirement within the old. will it be mashed-up, engrained or plunked into the uncompleted H93 building?
Eventually, I choose to explore the later, because from the site context and case studies, this sort of intervention in adaptive reuse is usually more sympathetic of context and historical premise and will be most suitable in designing the immaterial.
The starting point was to ask , what does this heritage building want to be? • An enclosure from the exterior? (contrasting the rural context, the landscape) • An encasement of the interior spaces? (featuring installation and insertion adaptive reuse strategies) )or • An embodiment of cultural living. A symbol of what it would have meant to live in one of these traditional spaces. (intervention of new within the old, except the old in this case, is not just the physical structure but also the essence of the heritage, driven by the context. All these options were explored using conceptual zoning and models.
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Chapter 6
Rationale
The quest for the “message� of cultural properties enabled me to identify the ethical values, social customs, beliefs or myths of my people. These heritage buildings are merely the physical traces and signs of our cultural expression, in time and space.
Traditional Abeokuta Settlement, 1801 My explorations on traditional and vernacular architecture particular to the background and history of the building led me to go beyond the question of "how to conserve?� to more fundamental questions: "why conserve?" "conserve for whom?" and eventually, What to conserve?
While the conservation of intangible cultural heritage is usually carried out unconsciously, through social memory, folklore and documentation. In my opinion, it is a combination of the traces (physical) and their meanings (intangible) that creates the memory of place. Therefore, I will be adopting a more conscious approach by setting a conceptual plan
In the end, the social representation of the cultural property became more important than the object itself: the intangible dimension prevailed. The conventional conservation and adaptive ideas may prove particularly fruitful in providing greater representation for other cultures, but because Nigerian physical heritage consists of more humble works in perishable materials, conservation or monumental ideologies can not fully embody their essence. Although Museums have managed to collect and keep some of these physical traces of heritage and culture, it is the intangible elements that give the past meanings that endure over time.
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Simplified Mind map diagram
Conservation
Adaptive Reuse
Values, Ideologies
Culture
Nigerian Built heritage
Memory of Place
Physical/
Folk/
Tangible
Intangible
Traces
Meanings
Reinterpreting, Re - envisioning, Redefining
Traces + Meanings = Memory of Place : Physical heritage only attains its true significance when it sheds light on it's underlying values
Chapter 7
Building Context
The site comprises of a 4 in 1 residential structure, only connected by an internal passageway that runs horizontally across the entire length of the building, but appears to be 1 unit from the exterior. 1 boys quarters, a one storey guest chalet and 2 gate houses all in one
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r(III NJ
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,
.' ,
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Representation of the original vision for the building
block 1
block 2
I was able to get hand drawn plans from the original architects, on the condition that I would not publish it in any form, to maintain privacy and for security reasons. These drawings gave a prescriptive plan of the proposed function and scale of the resulting spaces.
block 3
Guest Chalet
Boys Quarters
Main building
N Proposed Carpark
gate house 1
In comparison to what is on ground, the exterior form takes shape of the proposed, but there is no similarity between the plan for and the interior spaces based on the state of what I met on ground. It is basically a carcass encasing nothingness; an empty shell that has been degraded to the point of almost no redemption. Extra attention had to be paid to the methodology that best accomplishes these tasks. If explored properly, this was a potential conceptual idea in terms of the direction to drive my planning considerations.
gate house 2 In
19
sketch illustrating Spatial Vagueness and Decay, Rendered in SketchBook Pro
Capturing the level of the degradation
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Chapter 8
Design Framework
From the onset of the design , I kept redefining my title because I had not quite found a framework that encapsulated my ideas fully. My design endeavors did not fit in the niche of conservation or adaptive reuse and a combination of both was still a little o.
Because there was no use to adapt, I had to redefine what I wanted to conserve. I have narrowed it down two major aspects which are to: • Conserve the relationship between the local setting and the heritage place • Reveal and interpret the heritage significance of the place as an integral and meaningful part of the adaptation I was tempted to take the easier route to create a design with modernised versions of traditional materials, style and forms similar to Nigerian African vernacular architecture: I had initial ideas of using thatch, rammed earth and dark wood and other locally sourced materials, which would have been quite neat from the aesthetics point of view, but not doing much with my research findings. I changed my mind based on the following : • A conservative/ restorative strategy is likely to copy the externals without reproducing the essence or the core qualities of the style. • Collecting the best stylistic features of the past style and adapting them into a new synthesis is also likely to end up as a themed and eclectic(kitsch) concoction of past elements. • Also, if I were to provide a direct translation of “Nigerian traditional Architecture, there is likely to be a problem of the appropriateness of such blend to contemporary needs and lifestyles. As mentioned earlier, placing greater authenticity on the superficial physical elements will not produce lasting qualities of traditional architectural excellence. These concerns led me to question : What intangible features are identifiable in the Nigeria's building tradition which may inform authentic contemporary forms? I compiled a reflective photo album during my field study. While going through it again, I realised that what fascinated me the most about the heritage buildings I explored was their layout. For this reason, the scope of the intangible cultural heritage i want to interpret to the layout of typical Nigerian indigenous / traditional house forms.
Modern take on the traditional thatched roof by MAAS architects , Sweden 23
Reflections on the Alaake’s balcony (The breeze and view were spectacular too)
Ake Centenary Hall, Abeokuta, (1930) A good example of social space in an early colonial style building. I loved the cantilevered internal balconies , great volume with the aded advantage for orienta-
Another example of 19th century colonial style Vernacular architecture with a compound layout. Chief Majekodunmi’s compound, Abeokuta
Layout of Traditional/ Indegineous house forms The Layout plan of the indigenous house forms in Nigeria is significant for its socio- cultural relevance, an attribute considered of greater importance than the technology of the house construction. The layouts have deep socio-cultural meaning and the decorations that go with the building are equally deeply rooted in the culture phenomenon. Key elements include: • Sculptured roofs : supported along the veranda's , originally made of thatch and bamboo, which later morphed into corrugated roofing sheets because of civilisation and fire harzards. • Verandas: Enclosing the courtyard with roof supports bearing images of revered gods or personalities • Balconies : Variants sprung up, allowing for balconies at the top of verandas, which served as entertainment hubs offering views into other peoples compounds or of the outside . • Murals: the murals on walls may be graphic representation of human experience or symbols of religions or of cultural relevance. These decorations give distinctive identity and character to the Architecture. • Loos: were separated from the main building because of association with uncleanliness. while outdoor bathing was the norm. • Cooking Area: activities were also separated from the house or open because it was a place for the woman only. • The language expressed by these seemingly insignificant aspects of the architectural character is perhaps stronger and more meaningful in creative thought and expression than the physical language or qualities of the style. • Variants :of the typical vernacular layout include parallel, double-loaded corridors, catering to the living-trading habits of the average Nigerian , or mimicking the “flat” layout of rentable accommodation in larger cities
The basic, single-storey traditional prototype with thatch roofing 25
Top: An example of a typical traditional house form with rusty corrugated roofing sheets . Patina shows evidence of age. Left: Schematic Layouts Showing Variants of Traditional / Vernacular House types
Pictures showing transition from Traditional to Vernacular
The Afro-Brazilian style was a vernacular variation of the traditional built form with Brazilian influences introduced by returnee slaves known as : The Aguda’s
Strategies The dynamic Conservation Principle The leading character of the intangible heritage is keeping it in existence and passing on these practices from generation to generation, so the method of protection should be dynamic. Spatial Symbolism: More often than not, the “meaning” of a thing (or phenomenon) is embedded in the function it serves, or the need it meets. In this context, function is synonymous with explicit meaning. However, when “meaning” becomes less related to perceived function — that is, when it becomes obscure , this covert (or implicit) meaning takes on the significance of symbolism.
Tokolor house and Le Corbusier’s sketch explaining sun-breakers and glass skins
Afrocentric architecture: reflects three principal essence in the African built environment: historic precedent, cultural elements and Environmental / ecological elements. In an ICOMOS article on intangible heritage, speakers explained that the intangible cannot be conserved, it can only be safe guarded. suggesting that Le Corbusier's invention of the brise- soleil, or "sun-breaker."might have been based on appropriation and transformation of vernacular features of North African desert architecture and gridded brick screens of coastal areas of the region. The proposition is obviously both debatable and defensible since Le Corbusier never acknowledged sub-Saharan sources.
Brise-soleil. Dogon dwelling and a proposal for an apartment building in Algiers, 1933
Notwithstanding, what I picked up from this argument did not so much lie in the tangible forms of his buildings, but rather in the culture infused thought processes that informed his conceptualisation and design resolution.Thinking about it in the context of my project, this seemed to be the missing link in my project. It involves both traditional built form and intangible culture in a way that is not superficial, it was contextual. Taking from this, I formulated a strategic table for my design based on these 3 principles. They later served as matrixes used to cross reference levels of vernacular human settlement with equivalent sets of architectural form-giving principles. With this table, I was able to translate these implicit meanings into functional tacctics that will be used in the design.
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CRITERIA: customs, living patterns and physical Traces] TRADITIONAL NAME
CONTEMPORARY EQUIVALENT
Agboole: African compound pattern e.g Homesteads of the Hausa and Yoruba people of Nigeria
ROOM IN A BOX. rectilinear spaces disposed around several courtyards
Akodi
internalised verandas or family hall can be articulated on two floors (balcony)
CULTURAL SYMBOLIC MEANING ELEMENT (EXPLICIT) living patterns
a) socialliving patterns b) culturalcustoms
kinship
the rallying-point for all descendants of the compound head, for the discussion of family matters, and for major family festivities
FUNCTIONAL MEANING
STRATEGY
TACTICS
flexibility The interior functions can be adapted to new needs or technologies without compromising the exterior envelope generously-scaled centralised communal courtyard (accessible from many directions) surrounded by private dwellings with courtyards as family sanctuaries.
Intervention introverted patterns consisting of well filled shells
• orientation, movement pattern centralised passage ways connecting the individual spaces to the core of the building.
social space in every sense. entertaining views into other spaces
separate pods around the central cores, all connected by pathways
adjoining the major courtyard of the residence of the family head, and innocuously serving as the visitors’ reception
• centrifugal grid
• balcony at top levels offering views to the core of the building and key spaces • Private access demarcating private 2) Contrasting plan hotel spaces from forms and public spaces. differentiated • This concept can spaces and also reduce the volumes can make intimidating effect of way finding unfamiliar, in a big building monolithic considerably easier. programmes of institutional buildings.
2) With nonalignment of outer and inner doors, visual continuity is broken eghodo: edo people obi: igbo people
courtyard. it is both an idea and a physical structure of an internalised outdoor area
Living patterns and customs
1) heart of the building serves as Protection 2) the physical expression of an esoteric link between departed ancestors and yet-to-beborn generations.
1) personal space of the family head , 2) rallyingpoint for representativ es of the whole clan 2) copulation
•multi functional
• natural lighting and space at the core openness of the building • serves at beacon at serving as social night hub • visible from adjoining •openings were rooms , distributed • surrounded by sparingly[sparingly] veranda
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CRITERIA: customs, living patterns and physical Traces]
TRADITIONAL NAME
CONTEMPORARY EQUIVALENT
ATE e.g The Tiv of the Middle Belt zaure of the traditional Hausa homestead
CULTURAL ELEMENT (EXPLICIT) Multi purpose rooms: living patterns, 3 in 1 traditional customs expressions of built form: a receptionhut (ate), a sleeping hut and a grainstorage facility.
Screens and panelling
brise-soleil, sun breakers
physical artefacts
SYMBOLIC MEANING
FUNCTIONAL MEANING
STRATEGY
TACTICS
1) ability to portray the genealogical set-up within a compound the 2)disposition of multiple ate’s signifies the presence of an enduring polygamous set-up. 3) defining level of social acceptance, not everyone can go beyond the zaure
1) distinct roles as daytime lounge, reception, workspace and overnight guest quarters, among others).
• multi use interior spaces
• 3 in 1 conference/ exhibition/ banquet hall
perforations in such decorative screens believed to represent the benevolent, allseeing eyes of revered ancestors
1) several shrines within the obi, as well as ornamentation, consisting of open-work wood panelling 2) guaranteeing utmost privacy of the inhabitants within the compound. 3) conceived to ensure privacy for women.
•much of their
• access and orientation can be cut off depending on visitors status. (staying in or day visitor)
natural interior light was gotten indirectly from openings in light wells/towers •Their materiality is
too delicate and filigreed to
• can be temporarily divided to form multiple “ate’s”
• functions as both sun breaker and allows hot air out of the building (ventilation) • can be made with more rigid materials softened by decorative patterns
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Chapter 9
Design
90
Design Statement The design echoes the essence of spatial traditions by decoding implicit symbolic meanings of key Nigerian traditional built form into explicit functional qualities in contemporary design.
By channeling the immaterial, I will be attempting to catch passing moments of intangible built heritage through the deployment of symbolism.
Draft Sketches and Initial ideas
During this process hidden and even new meanings were revealed, endowing the building with significance beyond the value of material culture. . The key aspects in my design are therefore : • Layout: Firstly, this intervention translates the symbolic aspects of indigenous interior layouts to contemporary functional qualities. (see symbolic strategies table). • Experience: Terrace views create conditions for communication and spatial experience, a void, a cantilever and frameless glass counterfoil, shadow gaps between walls and floors or walls and ceilings to frame change in levels. These are just some examples of the architectural ingredients which are put to use to emphasise the transition between the interior and the exterior, old and new or the different spaces or functions. They are applied strategically, subtly and in clever ways to contribute to the experience of space and content that creates an experience that does not only comfort, but can actually create the desired emotional connection between users and the space. • Spatial quality: A good design is unaffected by any condition.even decay. Spatial quality is therefore one of the emphasis in this design. The existing architecture has a specific style, the design has a contemporary spirit due to the effort put into the arrangements of volumes, the material choices and detailing. Underlying all this is a traditional soul which gives meaning to the context.
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Chapter 10
SCHEME
Intangible heritage must be made incarnate in tangible manifestations, in visible signs, if it is to be conserved. Therefore, a conceptual scheme was utilised to drive the design from the immaterial into the physical based on the symbolic strategies and tactics I had formulated.
Scheme: The goal is to exploit the both the local and building context in order to inform an architectural approach where changes to the existing are made through creative demolition tactics as follows: • Modifications: will be in many small changes, alterations, additions and subtractions which interact intrusively with new elements. • New parts : will be imposed directly upon the existing structure to bind together the separate structures and fill in the gaps without destroying the wounds of time and are related to the entire building because they are inspired by the original grid and rhythm of the structure.
COLOUR
MOTIFS
• Language: The language used will be similar to that of the host although the character may be at odds to create a distinct emphasis between the new and existing. • Form: I have followed some key intervention guidelines in relation to the existing building context. So it was important that the use of natural light is determined first of all by the relation to the symbolic strategies but also, they should be informed by the form of the building and their position within it.
TEXTURE
• Aesthetics: The aesthetic of decay has developed over time, through the process of weathering and neglect. Therefore, rather than cover the true nature of the decay, the concept is to heighten and expose the latent potentials in it. • Colour Scheme: Washed grey tones represent the concrete situation on site, while burnt orange and copper tones represent the degrading rust of the metals on site and red clay soil, dark greens and blue greens echoing the new life(moss and weeds) springing up over time.
The Process: The concept was used to create a mood board which helped to direct material and decorative choices to create a distinct but equally cohesive character and mood for both cultural and hospitality requirements.
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Mood board
Inspiration Board
3D VIEW SHOWING ENTRANCE (DRAFT STAGE)
Conclusion The h93 museum hotel project is an unapologetic agent of what adaptation of built heritage in Nigeria could be. By setting an example of how old and new can work together, it has captured the defunct attitude and values of Nigerians towards the old; and yet attempts to demystify the tangled complexity of defining “Nigerian” Architecture, culture and identity in the 21st century. The architectural strategy combines the past oriented sensitivity of conservation principles with the grit, flavor, and resilience of adaptive reuse with an significant dose of critical regionalism.
The turning point however was cross referencing symbolic meanings of traditional building forms with their functional meanings. It served as both a new direction to take the design and offered freedom to explore beyond the confines of form and stylistic to the empirical.
Word Count: 3,094
The project has gone through a prolonged period of incubation, including primary research, a report on socio cultural aspects of conservation, value of cultural heritage in the local context , the evolution of traditional architecture in Nigeria; exploring tourism participation in the locale to formulate strategies for fine tuning traditional models of a museum, as well as spatial considerations specific to both hotel and museum. Indeed, the Museum in this case has been reinterpreted – as it has been historically as both a physical and psychological entity formed by culture within a social landscape. Notwithstanding, it would have been unsuccessfully bland if I had not hurdled past standard spatial requirements and moved into the more mysterious and fantastic realm of the intangible. One thing is sure, flipping this abandoned piece of the cities historic fabric will create a new way to experience history; creating an opportunity for the collection, storing, and safe guarding generations of tradition yet to be discovered. On one hand, adaptive reuse might have been the most suitable framework to iterate this continuity, if not for the lack of prior context of use. Nonetheless, examining case studies in this field was instrumental in revealing motivations and approaches for contemporary mutations adapted to keep up with ,or sometimes challenge our fast changing world.
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Bibliography BOOKS Bloszies, C. (2013). Old Buildings New Designs: Architectural Transformations. Princeton Architectural Press. Brooker, G., & Stone, S. (2004). Rereadings: interior architecture and the design principles of remodelling existing buildings. RIBA Enterprises. De Chiara, J. (1980) Time-saver Standards for Building Types Hardcover McGraw Hill Higher Education; 2nd edition Gilmour, T. (2007). Sustaining heritage: giving the past a future. Sydney University Press. Seemann, K. (2015). Culture in Design, Technology, and Environment. In Environment, Ethics and Cultures (pp. 53-63). Sense Publishers.
Lawal, A. F (2013) Climate Responsive Approach to Building Design for Comfort in Warm-Humid Climate International Journal of Engineering and Technology Volume 3 No. 1, January, 50-58 Ogunsote, O. O, Ogunsote, P.B (2002) Defining Climatic Zones for Architectural Design in Nigeria:A Systematic Delineation. Journal of Environmental Technology 1(2) 1 - 14 Osasona, C. O. (2007). From traditional residential architecture to the vernacular: the Nigerian experience. Online http: www. mudonline. org/aat/2007_documents/AAT_Osasona, 17-19. CONFERENCE, SYMPOSIUMS AND LECTURES Adeyemi, E. A. (2008). Meaning and Relevance in Nigerian Traditional Architecture: the Dialectics of Growth and Change. Public Lecture Series, 1(21), 1-33. Alsayvad, A, Bourdier, J (1 9 9 4) "Value in Tradition: The Utility of Research on Identity and Sustainability in Dwellings and Settlements. T D S R 6(1) F ALL 94 Proceedings
Smith, L., & Akagawa, N. (Eds.). (2008). Intangible heritage. Routledge Wolfgang, L. (2015) Building Materials in the Tropics. Prestel Publishing 113-127
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JOURNALS Ahianba, J.E. (2009) Cultural Issues in Architecture - Case Study of Esan in Edo State – Nigeria. Journal of Social Sciences. 18(1): 29-43 Aikawa, Noriko. (2004) "An historical overview of the preparation of the UNESCO International Convention for the Safeguarding of the Intangible Cultural Heritage." Museum International 56.12 137-149. Al-Obaidin, K. M. , Mazran Ismail, Abdul M.A. (2014) Passive cooling techniques through reflective and radiative roofs in tropical houses in Southeast Asia: A literature review Frontiers of Architectural Research (2014) 3, 283–297 Hjørland, Birger (2010). The foundation of the concept of relevance. Journal of the American Society for Information Science and Technology, 61(2), 217-237. Ibem, E.O, Opoko, A.P, Adeboye, A.B , Amole, D. Performance evaluation of residential buildings in public housing estates in Ogun State, Nigeria: Users' satisfaction perspective.Frontiers of Architectural Research 2 (2), 178-190
IE INTERNATIONAL CONFERENCE (2012) Reinventing Architecture and Interiors: the past, the present and the future Ravensbourne 28-29 Maclachlan, P., & Traphagan, J. (2004). Looking to the Past, Looking to the Future: The Localization of Japanese Historic Preservation, 1950–1975. Rohloff, I. K., Psarra, S., & Wineman, J. (2009). Experiencing Museum Gallery Layouts through Local and Global Visibility Properties in Morphology. In Proceedings of the 7th International Space Syntax Symposium, Royal Institute of Technology Campus, Stockholm. Scotia, N., (2014). 2014 ACSA Fall Conference Paper Proceedings.. 2014 Fall Conference | WORKING OUT: thinking while building October 16-18, 2014 | Halifax, NS. ACSA Press Yuan, Wang (2008) The conservation of intangible cultural heritage in historic areas. In: 16th ICOMOS General Assembly and International Symposium: ‘Finding the spirit of place – between the tangible and the intangible’, 29 sept – 4 oct 2008, Quebec, Canada. [Conference Item]
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WORKING PAPERS Plevoets, B., & Van Cleempoel, K. (2012). Adaptive Reuse as a Strategy towards Conservation of Cultural Heritage: a Survey of 19th and 20th Century Theories.
Museumplanner.org (2015) Museum Strategic Planning, Part II – Museum Feasibility Study http://museumplanner.org/museum-feasibility- Accessed: 4 June 2015 African Urbanism (2012) Exploring traditional African architecture and urban design. http://africanurbanism.net/2012/03/31/traditional-igbo-design/. Accessed : 31,March , 2012
REPORTS INEC (2006) POPULATION AND HOUSING CENSUS, OF THE FEDERAL REPUBLIC OF NIGERIA http://www.population.gov.ng/images/Priority . Accessed: 25 June 2015 Morris Hargreaves McIntyre (2007) Audience knowledge digest: Why people visit museums and galleries, and what can be done to attract them. Morris Hargreaves McIntyre NSW Department of Planning, The Royal Australian Institute of Architects NSW Chapter (2008) New Uses for Heritage Places: Guidelines For The Adaptation of Historic Buildings and Sites.. Crown Publishing http://www.environment.nsw.gov.au/resources/heritagebra nch/heritage/NewUsesforHeritagePlaces.pdf. Accessed: 25 June 2015 Office of Environment and Heritage (OEH) (2012) Adaptive Reuse of Heritage Places Policy http://www.environment.nsw.gov.au/resources/cultureheritage/ Accessed : 25 June 2015 UNESCO, (2010). ‘ Community-Based Approach to Museum Development in Asia and the Pacific for Culture and Sustainable Development, UNESCO, Paris. W hospitality group (2013) The Nigerian Hotel Industry Report http://w-hospitalitygroup.com Accessed on: 25 June 2015 NEWSPAPER ARTICLES Daily independence newspaper (2012) Abeokuta: Changing the face of an ancient City http://dailyindependentnig.com/2012/10/abeokuta-changing-the-face-of-an-ancient-city Accessed: 6 June 2015 Daily Trust (2010) In Kano, puzzling demolition of 500-yr-old landmark By aafar Jaafar, Apr 16 2010. http://www.dailytrust.com.ng/weekly/index.php/features/10657-in-kano-puzzling-demolition-of-500-yr-ol d-landmark . Accessed: 25 June 2015 The Nation (2014) “June 12: Abiola’s unfinished ‘presidential’ lodge “ Newspaper Article. June 18, 2014. http://thenationonlineng.net/june-12-abiolas-unfinished-presidential-lodge/. Accessed: 6 June 2015 WEBSITES MAAS architecture (2015) Company Profile http://www.maasarchitecten.nl/profile?lang=en Accessed on: 10 June 2015
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