DOMINICAN CHAPEL VISITOR’S GUIDE by Locus Metis
DOMINICAN CHAPEL, IBADAN
VISITOR’S GUIDE DOMINICAN CHAPEL PRIORY OF ST. THOMAS AQUINAS (1225-1276) SAMONDA IBADAN OYO STATE NIGERIA
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01) DOMINICANS Order of preachers St. Thomas Aquinas
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02) DEMAS NWOKO Introduction Art in Architecture Religious Architecture
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03) IBADAN Overview Chapel Location Chapel Grounds
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03) ARCHITECTURE Plan Elevations Section Axonometric
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04) FURNITURE Woodworking Crucifix & Pulpit Altar & Chairs
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05) MASONRY Stone Concrete
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06) LIGHT Natural Light Stain Glass
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07) TOWER & BELL Tower Bell
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08) TOURISM Tourism Pilgrimage
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DOMINICANS ORDER OF PREACHERS In 1216, St. Dominic de Guzman (1170 - 1221) founded the Order of Preachers (OP) in the Catholic Church, pioneering the licensing of preachers who were not bishops. Approved by Pope Honorius III, this ecclesial foundation holds the designated canonical status of a clerical institute of consecrated life with pontifical right. It is important to note that both the ordained and non-ordained enjoy membership (LCO fund. VI, 1983 CIC can. 207, LG no. 13). The Dominican establishment is based on the rule of St. Augustine of Hippo. Through the profession of religious vows, members intensify their baptismal commitment by embracing the evangelical counsels of poverty, chastity, and obedience. The religious habit symbolizes their consecration, while dwelling in cloisters fosters spiritual meditation and diligent study. Silence and penitential exercises also play a crucial role in Dominican spirituality. The Dominican charism invites regular observance, a life of prayer and study grounded in common life, which extends to apostolic work for the salvation of souls. The autonomy granted by the Church and preference for communion relationships optimally equip Dominicans to fulfill the universal mandate of evangelizing the world. Each preacher is commissioned to go with at least one companion (socius) from the beginning. Unlike monks or nuns committed to stability, active Dominicans subscribe to mobility and mendicancy. Being both religious and intellectual, worship and scholarship are highly treasured in the Order of Preachers, which also acts as a tertiary school that awards scholarly degrees. The pursuit of goodness and bonitas combined with truthfulness and veritas, freedom with wisdom, characterizes their values. After eight hundred years, Ibadan, home to the Dominican Studium
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of the Province of St Joseph the Worker and Dominican Institute, now hosts both Dominican University and Ecclesiastical Faculty. Today, the Dominican family comprises (non) ordained brothers, contemplative/ active sisters, members of the Priestly Dominican Fraternity, the Secular Dominican Institutes, the Lay Dominican Fraternity, LDF, and the Dominican Young Heart Movement, DYHM. They promote the Confraternities of the Most Holy Rosary and the Most Holy Name. The official languages of the order are Spanish, English, and French, and the Dominican colors of white and black are found in their heraldic shield. The promotion of orthodoxy and demotion of heresy are distinctive features of the theological agenda for any dogmatic preacher. The incumbent Master General resides in the generalate located in Rome, Santa Sabina, where every Pope receives ashes on Ash Wednesday. St. Dominic de Guzman, the founder, was canonized as a saint in 1234 and is commemorated annually on August 8.
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ST. THOMAS AQUINAS St. Thomas Aquinas, a renowned Dominican friar of the 13th century, remains an influential figure in the realms of church, theology, and philosophy. Born in 1225 in Roccasecca, Italy, he was the youngest child of Count Lundulf of Aquino and Theodora, Countess of Teano. Thomas’ early education took place at the University of Naples, where his passion for academic learning flourished. However, his secret affiliation with the Dominican Order of Preachers, founded by St. Dominic Guzman in 1216, encountered resistance from his family. Sent to the University of Paris for theological studies, Thomas thrived under the mentorship of Albert the Great, who recognized his extraordinary intellect and foresaw his significant impact on the world of theology. Aquinas embraced the challenge of reconciling faith and reason, viewing them not as opposing forces but as complementary sources of knowledge bestowed by God. His dedication to knowledge was remarkable, and he integrated insights from the Scriptures and writings of Church Fathers like Augustine, Lombard, and Boethius into his theological works. Throughout his life, he authored over 60 books, covering various subjects, including philosophy, apologetics, and theology. His masterpiece, the “Summa Theologica,” remains a timeless textbook on Christian doctrine, cherished for its wisdom and practical guidance for spiritual leaders. In Naples, Thomas had a profound vision during the feast of St. Nicholas, leading him to consider his writings as insignificant in light of divine revelation. Prompted to cease his writing, he humbly set down his pen, leaving the “Summa Theologica” unfinished upon his death. Recognized for his profound contributions, Thomas Aquinas was canonized as a saint in 1323 by Pope John XXII, and in the 16th
century, his “Summa Theologica” received distinguished recognition alongside the Bible at the Council of Trent. His works were commended by Pope Leo XIII in the 19th century and are still studied by theological scholars and believers of various denominations, including evangelicals. In Ibadan, the Dominican priory (a house for formation and studies) proudly bears the name of St. Thomas Aquinas, serving as a testament to his enduring impact on the Dominican Order and his ongoing influence on the pursuit of knowledge, devotion to Christ, and the study of Scripture. Aquinas’ legacy lives on, inspiring generations to seek wisdom, reconcile faith with reason, and deepen their understanding of the Christian faith. His life and teachings continue to resonate with seekers of truth, making him a timeless beacon of theological insight and spiritual guidance.
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DEMAS NWOKO INTRODUCTION Throughout his career, Nwoko has focused on promoting indigenous architectural styles and incorporating cultural elements into his designs. He has been instrumental in shaping the architectural landscape of Nigeria. Nwoko’s work showcases a deep appreciation for African art, culture, and history, creating spaces that harmoniously merge functionality and artistic expression. Nwoko’s architectural projects, such as the iconic Dominican Chapel in Ibadan, have garnered international recognition and acclaim. His commitment to preserving and celebrating African architectural heritage has made him a key figure in the architectural community.
Demas Nwoko is a highly respected Nigerian architect and artist who has made significant contributions to the field of architecture and the arts. Nwoko is known for his innovative approach to design, blending modernist principles with traditional African aesthetics.
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Demas Nwoko’s remarkable contributions to both architecture and the arts have not only left a lasting impact on the Nigerian creative scene but have also inspired future generations of architects and artists. His dedication to cultural preservation and his ability to bridge tradition with modernity have solidified his legacy as a visionary and influential figure in Nigerian and African architecture.
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Above: Image of the interior courtyard of the kings palace at Idumuje-Ugboko. Where Demas was born. Left: Plan and section of the palace showing the unique spatial and formal arrangement of the rooms, revealing a strong hierarchy.
Left Page top Left: Portrait of Demas Nwoko. Left Page bottom: A young Demas Nwoko completing a mural. Demas studied Fine Art at the University of Zaria. All images extracted from ‘The architecture of Demas Nwoko’ By Gillian Hopwood and John Godwin.
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DEMAS NWOKO ON - ART IN ARCHITECTURE The following is an abstract from Demas Nwoko’s Lectures captured in his book “Concrete thinking” The art content of architecture lies in the transformation of functional building components into objects of aesthetic experience. While the basic components of a shelter, such as roofs, pillars, walls, doors, and windows, serve functional purposes, the input of a creative designer can elevate them into architectural elements that please aesthetically. The role of an architect goes beyond providing functional structures; they add an artistic touch to each component, considering factors like the type of door used or the overall aesthetic message communicated. Every aspect of a building, from painting and mosaic patterns to sculptured relief floor designs and lighting, can receive this aesthetic transformation. The surrounding environment is also considered through landscaping. In some cases, the entire building is conceived as a unified artwork, resembling an abstract sculpture with functional space within it. Achieving such successful works represents the epitome of architecture, combining the principles of fine art with the profession’s ideals. Architectural styles are influenced by the contemporary art styles of their time and location. In Western civilization, architectural styles have evolved from the ancient Egyptian period, where grand architecture was intertwined with art. Art in ancient times focused on the fascination with living things and the mystery of life. Lavish burial activities were carried out, and artworks were buried with the dead to provide them with items for their afterlife. Tombs, which served as architectural edifices, were adorned with crafted utensils and personal effects, while pictorial compositions on the walls depicted their lifestyles.
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In temple buildings, a different approach to art was seen, as religious art styles celebrated life. The gods to whom these temples were dedicated were believed to live among humans as mortals. Artists created naturalistic images to represent life in their own literary way. This naturalistic style of art flourished in Western civilization, evolving from the Assyrians, Greeks, ancient Romans, Byzantines, medieval era, Gothic period, and reaching its pinnacle during the Renaissance in Italy. This art heritage spanned over a thousand years in Western architecture. In the early 20th century, African art had a significant impact on European art and architecture once again. European artists rediscovered the non-naturalistic style of some African arts, embracing the aesthetic purity of abstract art. European architects, in accordance with the relationship between art and architecture, incorporated this new art movement and began stripping architecture of naturalistic imagery. The clutter of naturalistic forms that filled available spaces was replaced with a more refined and poetic aesthetic influenced by African and Oriental art and architecture. This marked the birth of contemporary Western architecture, influenced by abstract art. Contemporary Western architecture may appear devoid of art to a casual observer due to the absence of naturalistic forms found in older buildings. However, it still incorporates art through the idiom of abstraction. When the prevalent art style in Europe was naturalism, architecture utilized a profusion of forms and motifs from nature. As the style shifted to abstraction, architects like Le Corbusier erected buildings reminiscent of the paintings by Piet Mondrian and other pioneers of abstraction and constructivism. For Africa and Africans in diaspora, the answer lies in creating architecture that reflects their art and culture. Considering
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that most Africans reside in tropical zones, architecture should speak the language of African arts. While discussing foreign architecture and art in a European language is necessary for communication purposes, it is essential to apply the same parameters used by European architects to create architecture that resonates with African arts and culture. Traditional African art and culture serve as a significant source of inspiration for home design creations. This inspiration has led to the development of appropriate technologies in the building industry, including the stabilized laterite block, in-situ floor finishes, ventilation systems that eliminate the need for fans and air conditioners, the revival of the impluvium style of architecture, carved and plain wooden pillars, and prominent high-pitched roofs designed to efficiently channel rainwater and withstand wind when constructed with wood. African art is well-suited for architectural application due to its geometric nature, which lends itself to construction. The African design philosophy embraces open space and does not overcrowd it with objects and forms. It allows users to engage in virtual creativity activities within the design. Functionality and aesthetics are both important in African design, with the user finding satisfaction in appreciating the artistry while maintaining functionality. African architecture has a rich heritage of integrating art, crafts, and architecture. In traditional African societies, building was a communal activity involving craftsmen, sculptors, painters, and architects, resulting in a seamless blend of arts and architecture. However, the influence of Western civilization disrupted this harmony, resulting in a lack of artistic integration in contemporary African architecture.
Above: Adam & Eve Sculpture in wood by Demas Nwoko
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DEMAS NWOKO ON - RELIGIOUS ARCHITECTURE The following is based on Demas Nwoko’s Lecture that was written and delivered to The Congress of Dominican Monastery Community, Ibadan 1968. Demas Nwoko emphasized the indispensable role of imagery and art in facilitating genuine and effective worship, serving as a medium to connect humans with the divine. Nwoko recognized the need to evolve imagery that resonates effectively with the African society, encouraging the Africanization of Christianity. The challenge in African Christian imagery lay in the attempt to strike a balance between retaining foreign elements and incorporating indigenous cultural expressions. Nwoko advocated for reclaiming images that were once burnt as idols, re-educating African Christians about their African roots. He emphasized that religious art should transcend mere narrative illustrations and focus on conveying universal spiritual doctrines applicable to all humanity. Nwoko rejected the simplistic approach of depicting Christ as either a Negroid African or a white person. Instead, he urged the emphasis on the godly qualities of Christ and Mary, portraying them as spirits rather than being confined to any specific race or ethnicity. He advocated for a more imaginative interpretation of Christian doctrine by African artists, incorporating universally accepted Christian symbols into their artwork. In African culture, deified personalities and spirits have been represented in varied forms, often incorporating symbols that resonate with diverse societies. Nwoko suggested that Christian subjects could be interpreted similarly, utilizing African artists’ native creative imagination to create meaningful and culturally relevant imagery.
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For African Christians, the image of Christ and the Virgin Mary should transcend their historical contexts and embody their divine essence. Nwoko proposed that the first use of art in Christian religion should be integrated into church architecture, providing an edifying effect. Isolated images, without other artistic elements around, could risk being perceived as idols or historical statues. Nwoko cautioned against depicting God in too human-like forms, suggesting that the artist’s model should be a deified personage to achieve a convincing effect. He advocated for a careful treatment of subjects like heaven and hell, moving away from medieval fantastical images and instead interpreting them in a serious and spiritually meaningful manner. Local legends and stories, rich in color and decorative motifs, offered fertile grounds for effective artistic subjects that would resonate with African worshippers. Nwoko believed that true religious art should evoke dignity, beauty, joy, and respect, inspiring pious devotion among believers. By adopting these principles, African religious architecture could find a harmonious blend of cultural identity and spiritual expression, enriching the worship experience for all. For Nwoko, religious architecture should go beyond mere functionality and aesthetics. He sees it as an opportunity to create spaces that foster a deep spiritual connection and engage worshippers on a profound level. Nwoko believes that the design of a religious building should evoke a sense of awe and reverence, while also providing a comfortable and inclusive environment for congregations to gather and worship.
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In his own works, such as the Dominican Chapel in Ibadan, Nwoko demonstrates his commitment to infusing religious architecture with cultural significance. He combines modernist principles with traditional African aesthetics, integrating symbolic elements and artistic details that resonate with the local community. Nwoko’s approach challenges the notion that religious architecture should conform to a singular, globalized style, advocating instead for a more inclusive and contextually relevant design language. Overall, Demas Nwoko’s view on religious architecture emphasizes the need for cultural authenticity, spiritual connection, and community engagement. His approach encourages architects and designers to embrace the rich cultural heritage of their respective regions when creating religious spaces, fostering a sense of belonging and promoting a deeper appreciation for local traditions.
Top Left: Original Concept Drawing by Demas Nwoko - Church of the Daughters of the Divine Love, Enugu. Above: Photograph extracted from “The Architecture of Demas Nwoko”: Mousgoum Homestead, Northern Camerooon - John Godwin & Gillian Hopwood Left: Original Concept Sketch by Demas Nwoko Cathedral at Issele-Uku
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IBADAN OVERVIEW
Ibadan, situated in southwestern Nigeria, is a vibrant and populous city with a rich historical heritage. As the country’s third most populous city and its largest in geographical area, Ibadan serves as a major center for commerce, education, and healthcare. Its strategic location as a transit point between the coastal region and the hinterland has contributed to its growth and development.
panoramic views of the city, and the Cocoa House, Nigeria’s first skyscraper.
The city’s history dates back to the early 19th century when it became a sanctuary for Yoruba rebels fleeing intertribal conflicts and Fulani expansion. Over time, it grew into an impressive urban center and a significant trading hub with the development of the railroad in the early 20th century. Prosperity in Ibadan was driven by the production of various commodities, such as cassava, cocoa, cotton, rubber, timber, and palm oil.
Despite governance challenges and the provision of basic services, Ibadan continues to evolve as a dynamic and thriving city. As it commemorates the 50th anniversary of the Dominican Chapel, Ibadan exemplifies the successful fusion of its cultural heritage with modernity, offering a unique and unforgettable experience for all who visit. With its historical significance, cultural diversity, and vibrant urban life, Ibadan stands as a testament to Nigeria’s growth and development.
Today, Ibadan boasts diverse architectural styles, showcasing a blend of traditional Yoruba architecture, colonial-era structures, and modern buildings. Notable landmarks include the Bower’s Tower, offering
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The city’s cultural heritage is deeply rooted in Yoruba traditions, and it is home to numerous landmarks highlighting its historical significance. Ibadan’s people are renowned for their warmth and hospitality, making it a welcoming place for visitors from across Nigeria and beyond.
Above: Image of Ibadan city scape. Highlighting the vast sea of rusty roofs that give the city it’s unique ambiance.
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Right Page: Location map of Ibadan by Locus Metis.
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DOMINICAN CHAPEL, IBADAN
THE CHAPEL AT IBADAN Ibadan Map: by Locus Metis
IBADAN BUILT AREA
Right Page: Aerial Photographs by Ade Shokumbi.
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CHAPEL GROUNDS The Dominican Chapel in Ibadan is surrounded by a harmonious ensemble of buildings that complement its architectural significance. The surrounding structures, designed by Demas Nwoko, blend traditional African aesthetics with modernist principles to create a cohesive and visually striking complex. These buildings, characterized by their geometric forms, use of local materials, and intricate artistic details, not only serve as functional spaces but also contribute to the overall cultural and spiritual experience of visitors. The careful integration of the surrounding buildings, material considerations, aesthetic sensibilities and spatial alignment showcases Nwoko’s commitment to creating a holistic architectural environment that reflects the unique identity of the community and its religious traditions.
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1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
Main Entrance Reception Chapel Novitate Quarters Classrooms Refectory Hall of Martyrs Monks Quarters Guest Quarters Institute
Above: Map Layout of the Dominican Complex at Ibadan. by Locus Metis Right page Top: Image of hall of martyrs. Right Page Bottom: Image of monks Quarters. All images by Locus Metis
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DOMINICAN CHAPEL, IBADAN Exterior view of the Dominican Chapel. by Locus Metis Right Page Top: Plan of the main Chapel. by Locus Metis Right Page Bottom: Aerial shot of the main Chapel by Ade Shokumbi.
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DOMINICAN CHAPEL, IBADAN 1. 2. 3. 4. 5.
Service Sacristy Choir Congregation Sacristy Pool
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DOMINICAN CHAPEL, IBADAN Below: Front Elevation by Locus Metis Bottom: Exterior view of the Dominican Chapel. by Locus Metis
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DOMINICAN CHAPEL, IBADAN Below: Rear Elevation by Locus Metis Bottom: Rear view of the Dominican Chapel. by Locus Metis
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DOMINICAN CHAPEL, IBADAN Below: Side Elevation by Locus Metis Bottom: Cross Section by Locus Metis Right Page: Interior view by Locus Metis
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DOMINICAN CHAPEL, IBADAN Below: Axonometric cutaway sketch by Locus Metis Right Page: Individual column details and interior view of the chapel by Locus Metis
STRUCTURE The structural principles of the Dominican Chapel in Ibadan showcase a seamless integration of design elements that contribute to its remarkable presence. One notable feature is the connection between the fanned roof structure and the exquisitely crafted concrete tower. The roof, which is supported by 12 hand sculpted columns, elegantly extends towards the tower, creating a visual and structural connection between the two elements. This unique design not only adds architectural interest but also serves a practical purpose by allowing natural light to envelop the interior space.
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The beautifully crafted concrete tower stands as a focal point of the chapel, with its intricate detailing and strategic placement. Its purpose extends beyond aesthetics, as it acts as a light well, inviting streams of natural light into the interior. This deliberate integration of light enhances the spiritual ambiance of the space, creating an atmosphere of serenity and transcendence. The twelve columns, meticulously crafted and adorned, hold great symbolic significance. Each column represents one of the twelve apostles, conveying the spiritual and religious narrative of the Christian faith.
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These columns stand as powerful visual markers, reinforcing the chapel’s sacredness and acting as a connection between the earthly realm and the divine. Their intricate carvings and decorations exemplify the artistic prowess of Nwoko, bringing a touch of cultural richness and symbolism to the architectural space. Together, the concrete tower, fanned roof structure and the twelve carved columns contribute to the overall architectural splendor of the Dominican Chapel. They reflect the fusion of modernist design principles with indigenous artistic traditions, creating a space that not only fulfills its functional purpose but also resonates with deeper spiritual and cultural meanings. The structural elements of the chapel serve as a testament to Nwoko’s innovative approach to religious architecture, where form and function harmoniously blend to create a space that inspires awe and reverence.
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FURNITURE WOODWORKING Nwoko’s first commission, in 1970, to build the complex for the Dominican Institute in Ibadan, was serendipitous. He was approached by members of the Ibadan chapter of the Dominican Order to design a plaque for their altar, after they had visited an exhibition of his terra-cotta sculptures. When Nwoko discovered that they were yet to build the chapel, he volunteered his services as an architect. Woodworking plays a pivotal role in the aesthetic and functional aspects of the Dominican Chapel in Ibadan. Every element of the chapel has been meticulously adorned with handcrafted wooden details, showcasing the skill and artistry of the craftsmen involved. From the moment one approaches the chapel, the large decorative wooden doors with their intricate handcrafted metallurgy captivate attention and serve as an inviting entrance into the sacred space. Inside the chapel, the use of woodworking continues to impress. The ergonomic wooden seating benches, thoughtfully crafted to accommodate individuals of all shapes and sizes, provide comfort for worshippers. These benches not only serve their practical purpose but also contribute to the overall visual harmony and warmth of the space. Beyond the decorative and seating elements, woodworking is intricately intertwined with the chapel’s structural elements. The wooden roof trusses and beams offer both stability and visual interest, adding a natural warmth to the interior environment. The space between each structural element allows for Natural ventilation creating a stacking effect that helps to cool the space. The craftsmanship and attention to detail in these wooden structural components demonstrate the integration of functionality and beauty within the chapel’s design.
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Through the skillful use of woodworking, the Dominican Chapel exemplifies the marriage of artistry and practicality. Each handcrafted wooden detail, from the decorative doors to the ergonomic benches and structural elements, contributes to the overall ambiance, creating a space that is not only visually stunning but also functional and inviting. Above: Detailed wooden stool by Demas Nwoko. Right Page Top Left: The main entrance doors, decorated with strong geometric forms. All images by Locus Metis
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Right Page Top Right: Secondary columns that are positioned to allow natural light into the chapel. Right Page Bottom: Handmade metallurgy of the main doors.
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CRUCIFIX The crucifix serves as a powerful symbol of Demas Nwoko’s artistic vision and his commitment to connecting religion with the local community. Departing from the conventional depiction of Christ, the crucifix takes on an abstracted form resembling someone from Ibadan. This intentional reinterpretation gives the religious icon a sense of familiarity and relatability, bridging the gap between traditional religious imagery and the local culture. Through this artistic choice, Nwoko seeks to represent the ideals of inclusivity and cultural relevance. By presenting a crucifix that reflects the people it serves, the artist emphasizes the importance of embracing one’s own identity and cultural heritage within the context of religious worship. This unique representation of Christ not only challenges established norms but also celebrates the diversity and individuality of the community, fostering a deeper sense of connection and belonging.
PULPIT Carved from a single piece of wood, the pulpit showcases the intricate skill and attention to detail that went into its creation. The interior of the pulpit is expertly hollowed out, revealing a lattice work that beautifully balances solidity and ethereality. This exquisite piece of art serves as a focal point within the chapel, capturing the essence of Nwoko’s design principles. The pulpit’s craftsmanship not only showcases the mastery of woodworking techniques but also embodies the harmonious blend of form and function. Its sturdy structure represents the grounded nature of religious worship, while the delicate lattice work adds a touch of ephemeral beauty, symbolizing the spiritual essence of the space. By crafting the pulpit with such meticulous care and employing intricate details, the craftsman elevates it beyond its utilitarian purpose, turning it into a work of art that resonates with the overall design philosophy of the chapel.
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ALTAR In the heart of the Chapel, bathed in natural light, stands the Altar. Comprising four intricately carved wooden panels seamlessly interlocked with a solid wooden top and minimalistic frame. Each panel is a canvas, meticulously etched with symbolic motifs that echo the essence of African spirituality. Notably, the Altar’s connections, ingeniously devised, remain free of nails, emphasizing Nwoko’s commitment to simplicity and cultural sensitivity. This absence of visible fasteners enhances the Altar’s aesthetic purity, allowing worshippers to engage with an architectural masterpiece that seamlessly blends tradition, identity, and spirituality. Embraced by a deep, dark patina, the Altar carries the weight of time, resonating with a sense of ancient wisdom and reverence. The Altar, through its design, becomes a conduit for worship, inviting the congregation to engage with the sacred in a manner both intricate and profound.
CHAIRS Each piece is meticulously handcrafted, showcasing the dedication and skill that went into their creation. What sets these chairs apart is their ergonomic design, carefully crafted to accommodate individuals of all shapes and sizes. The seats are thoughtfully shaped to provide optimum comfort, allowing worshippers to fully immerse themselves in their spiritual experience without any discomfort or distraction. They are a manifestation of Nwoko’s commitment to creating a space that fosters an uninterrupted spiritual connection. Designed to be durable and last a lifetime. With their exquisite craftsmanship and ergonomic design, these chairs epitomize the harmonious blend of functionality and artistic expression. Left Page Top: Crucifix by Olateju Oladepo
Above: Altar by Father Francis Chiadi
Left Page Bottom: Pulpit by Olateju Oladepo
Left: Interior shot by Olateju Oladepo
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MASONRY STONE
The meticulous attention to detail in working with the stone masons resulted in a flawless finish, with carefully selected stones arranged in lines of similar size, creating a harmonious and visually appealing wall buildup that seamlessly blends with the organic forms of the chapel. Nwoko’s deliberate choice of the lightest colored stone for creating African-infused religious symbols on large feature walls adds a unique and culturally significant touch to the chapel. These symbols not only serve as decorative elements but also carry deeper meaning, reflecting the fusion of Christian spirituality with African heritage and traditions. The use of stonework in this manner highlights Nwoko’s dedication to
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infusing local identity and artistic expression into the fabric of his architecture. By utilizing the granite stone that Ibadan is renowned for, Nwoko establishes a strong connection between the chapel and its surrounding environment. The use of locally sourced materials not only contributes to the sustainability and authenticity of the structure but also celebrates the rich cultural heritage of the region. The combination of craftsmanship, indigenous materials, and African-inspired symbolism in the stonework of the Dominican Chapel exemplifies Nwoko’s vision of creating architecture that is deeply rooted in its context and resonates with the cultural essence of the place.
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CONCRETE
Inspired by the Modernist architecture at the University of Ibadan, Nwoko reinterprets concrete technologies, infusing them with his unique vision. The off-shutter timber concrete technique employed by Nwoko adds a distinctive texture to the chapel, accentuating the window indentations and patterning the tower structure. The use of concrete as a primary material contributes to the overall strength and durability of the building, ensuring its longevity. Nwoko’s incorporation of Nsibidi-inspired motifs on the concrete block floors of the entrance stairway and side ramps adds another layer of cultural significance to the chapel. These motifs, cast with varying pigments, not only create an
aesthetically pleasing pattern but also serve as a representation of local culture and heritage. By integrating Nsibidi motifs into the concrete elements, Nwoko reinforces a sense of place and creates a connection between the architecture and the cultural identity of the region. Overall, the use of concrete in the Dominican Chapel showcases Nwoko’s ability to push the boundaries of contemporary materials and techniques, while still remaining rooted in the local context and culture. Left Page Left: Ramp way by Olateju Oladepo
Top Left: Tower finish by Locus Metis
Left Page Right: Crucifix by Locus Metis
Top Right: Concrete floor by Olateju Oladepo
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LIGHT NATURAL LIGHT & STAIN GLASS
The use of natural light in the Dominican Chapel is a defining aspect of its architectural design. The central light feature above the altar creates a heavenly ambiance, symbolically connecting the space to God in heaven. The carefully placed stained glass windows on either side, with 12 flowers in different colors representing the 12 apostles, infuse the interior with vibrant hues and add a sense of sacredness. As one enters the chapel, the sandcast screen, not designed by Demas but implemented later, delicately allows natural light to permeate the space, creating a warm and inviting atmosphere. This screen acts as a transitional element, subtly guiding visitors into the sacred space while maintaining a
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connection with the external environment. The intentional use of diffused natural light throughout the chapel serves to enhance the spiritual experience and create a serene ambiance that inspires contemplation and reflection. Demas Nwoko has orchestrated a captivating interplay between light and space. The celestial light that bathes the altar, the vibrant hues of the stained glass windows, and the soft, diffused light filtering through the screen all contribute to the transcendental experience of worship. Top Left: Central light well by Olateju Oladepo Top Right: External screen by Locus Metis
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Right Page: 12 stain glass flowers behind the statue of Mary by Olateju Oladepo
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TOWER & BELL
the Tower ingeniously channels natural light into the chapel, creating a sacred ambiance that transcends the physical structure. Furthermore, its design facilitates ventilation, ushering out the congregation’s accumulated warmth, a harmonious blend of form meeting function. Each level of the Tower reveals the thoughtful integration of minimalist and beautifully formed water spouts, a nod to the traditional gargoyle concept found in Western religious architecture. These spouts not only redirect rainwater but also add a distinctly African touch to the architectural narrative, embodying a new expression of the sacred. The Tower’s windows, gracefully inset into the structure, feature a radial pattern of off-shutter concrete. This meticulous design creates a captivating almost Africanpatterned facade, infusing the architectural canvas with a touch of cultural elegance.
In the heart of the Dominican Chapel, the Tower and Bell stand as eloquent expressions of Demas Nwoko’s profound understanding of African religious architecture, seamlessly weaving symbolism, form, and function. The Tower, a soaring testament to spiritual aspiration, rises with purpose, echoing the symbolism of a crown of thorns—a poignant religious iconography. Its upward reach is more than architectural; it embodies a spiritual gesture, reaching towards the divine in a prayerful ascent. Crafted with off-shutter concrete, the Tower not only showcases Nwoko’s mastery of materials but also serves a dual purpose. Beyond its symbolic resonance,
The Bell, an unassuming yet powerful presence, calls the faithful to prayer with a gentle resonance that reverberates throughout the chapel compound. Nwoko, with deliberate subtlety, positions the Bell to be felt rather than dominate—a choice that mirrors his nuanced approach to blending cultural influences with spiritual significance. In Demas Nwoko’s hands, the Tower and Bell transcend their utilitarian roles, becoming conduits of spiritual symbolism and cultural dialogue. Through meticulous design choices and a keen understanding of both form and tradition, Nwoko’s architectural masterpiece stands not only as a place of worship but as a living testament to the harmonious integration of art, spirituality, and the African cultural narrative. Left: Exterior view of the Dominican Chapel Tower. by Locus Metis
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Above: Tower Bell by Olateju Oladepo
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TOURISM TOURISM with themes of worship, climate change, and pilgrimage, with tourism playing a central role. Tourism, as a concept, involves spending time away from home for recreation, relaxation, and pleasure, availing of commercial services. It can be domestic or international, impacting a country’s balance of payments. Tourism’s roots can be traced back to 17th-century Western Europe, with substantial development since then in various areas such as energy, agriculture, transport, and the hospitality industry.
The Chapel stands out with its unique blend of African cultural and religious elements. Over the years, it has become a destination for worship, sightseeing, intellectual pursuits, and architectural admiration, drawing individuals and groups to the Dominican Community. Its significance has even led to its recognition as a UNESCO World Heritage site, adding to its appeal as a tourist attraction. To commemorate the Chapel’s 50th anniversary, the Dominican Community plans to celebrate it alongside the 700th canonization anniversary of St. Thomas Aquinas, the esteemed philosopher and angelic doctor of the Church, who serves as the patron saint of the Dominican Community. The celebration commenced on May 22, 2023, the International Biodiversity Day, with the planting of cherished trees, including a cocoa tree, by His Grace Gabriel Abegunrin, the local ordinary of the Catholic Diocese of Ibadan. The anniversary celebration will weave together the Dominican intellectual tradition
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Tourism, being a resource-intensive industry, must ensure sustainable practices to protect and develop natural heritage. It also plays a crucial role in national and regional development, contributing to employment, exchange earnings, and infrastructure improvements that benefit local communities. However, as an industrial activity, tourism has the potential to overconsume resources and create waste, making sustainability essential. Pilgrimage is another form of tourism, representing a journey to seek new or expanded meaning, often to unknown or foreign places. Pilgrims may undergo personal transformation during their experiences and return to their daily lives with a deeper understanding. In summary, the 50th celebration of the Chapel will explore its recognition as an international world heritage site, considering the challenges of climate change and humanity’s spiritual journey as people of God. The event will involve the Dominican University, Demas Nwoko, environmental network partners, and the Chapel’s role as both a tourist site and a place of worship and pilgrimage, showcasing its significance within the local economy and environment.
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PILGRIMAGE
Pilgrimage, derived from the Latin word peregrinus, meaning to travel abroad or dwell in a foreign land, encompasses the act of journeying to sacred destinations for religious purposes. These motives may include thanksgiving, sacrifice, discernment, covenant, or seeking divine favor. The Bible’s earliest mention of pilgrimage occurs when God instructed Abraham to leave his home and family and embark on a journey to a land He would reveal. Other classic pilgrimage accounts in the Old Testament involve God instructing Abraham to offer his son Isaac as a sacrifice on Mount Moriah and commanding Jacob to return to Bethel to express gratitude through sacrifice. In Exodus 23:14-17, every male Jew was enjoined to make three yearly pilgrimages to Jerusalem. The Holy family, including Jesus, Mary, and Joseph, faithfully observed these obligations. Early Christians carried on the tradition of pilgrimages, particularly to sites associated with Jesus and his Apostles. Emperors Constantine and Helena played pivotal roles in promoting Christian pilgrimages, fostering a deep connection
between the faithful and significant locations in Jerusalem and Rome. Renowned Church fathers, like Origen and Jerome, also encouraged pilgrimages to these sacred places of Christianity. As the Psalmist beautifully expressed in Psalm 122, the hearts of the faithful are filled with joy at the prospect of visiting God’s house. Crossing the threshold of consecrated places allows believers to make a profound connection with the divine and experience God’s presence. These moments in the sanctuary hold immeasurable value and spiritual significance, surpassing any other earthly experience. Nourishing our spiritual life through visits to consecrated places is essential, as it provides an opportunity for personal prayers and intercession for the needs and intentions of others. In the sanctuaries, we find solace, inspiration, and a deeper connection with our faith, making pilgrimages an integral part of our spiritual journey. Top Left: Exterior view by Olateju Oladepo
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Above: Hall of Martyrs by Olateju Oladepo
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Chapel grounds: by Locus Metis.
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