Odaro Eguavoen - Selected Works (2019-23)

ODARO EGUAVOEN ARCHITECTURAL ASSISTANT

MArch Architecture Student (Year 2)

Selected Works

2019-2023

LAGOS HOUSING 2050 SUSTAINABLE, FLOOD-RESILIENT HOUSING, LAGOS

PROJECT BACKGROUND

Lagos, Nigeria is a megacity with ineffective urban planning which has led to a series of issues such as flooding, unwalkable streets and individualistic communities, among others. This is the backdrop for my MArch graduate project, ‘Lagos Housing 2050’, an exemplar project which showcases ways to design with the natural environment to prevent flooding and excessive use of concretebased drainage infrastructure and design for a communal way of living which improves security. The project is heavily inspired by various design philosophies such as ‘Soft City’ by David Sim, ‘15-minute city’ by Carlos Moreno and ‘Sponge CIty’ by a group of Chinese researchers.

AIMS & OBJECTIVES DISRUPTING THE STATUS QUO

Propose an examplar project that responds to Lagos’ issues

MArch Architecture Project (Phase 1 & 2) (Work in Progress)

MArch PROJECT 1/2

PHASE 1

OUTCOME (Phase 1)

Phase 1 of the project explores a low-density terraced house section which explores elements of the aforementioned design philosophies through the close relationship between natural bodies of water and housing, water reuse and passive cooling.

Change the relationship to nature and water

Design against individualism and towards communal

PHASE 1 PERSPECTIVE SECTION & SUSTAINABLE STRATEGY

CLEAR THRESHOLD BETWEEN ROAD & SIDEWALK

SHARED OUTDOOR & GREENSPACE MINIMISES INDIVIDUALISM

This sectional diagram shows the sustainable strategy against the intentional design of the landscape that surrounds the housing scheme. It shows how both the built and natural environment were designed to be integrated and compliment one-another to create a sustainable community for the tropical megacity of Lagos, Nigeria.

GROUNDWATER WATER STORED & CLEANED FOR PUMPING AND RE-USE

HABITAT FOR FLOARA & FAUNA PROMOTES BIODIVERSITY

SOLAR PANELS ON ROOF ANGLED FOR MOST EFFICIENT CAPTURE

HUMANCENTRIC PAVING & ROADS

COURTYARDS ALLOWING FOR COMMUNICATION, CROSSVENTILATION & PRIVATE OUTDORR SPACE

PHASE 2

OUTCOME (Phase 2)

Phase 2 builds upon the research and elements of Phase 1 but explores a medium-density scheme along with a cultural centre that celebrates the revival of traditional Nigerian culture. This multi-use scheme explores the relationship between public and private through a 5-minute neighbourhood that is walkable, sustainable and future-facing, while also having strong ties to traditional Nigerian architecture. Since this project aims to be a part of a cultural renaissance in Nigeria, Phase 2 also includes a cultural centre which celebrates this ongoing cultural revival.

Although the project is still a work in progress, the initial plan and scope from the first review remained consistent and the design development process this time around has been the most informative due to the larger scale and scope as well as having to resolve more parts of the project than usual.

1 - WALL

• Clay Tiles nailed to 38x20mm horizontal timber battens

• 300x300x400mm Porotherm Blocks

• Fibreglass insulation to prevent hot/cold bridging

• 200mm cavity for services and power supply

• 100mm Plasterboard with off-white finish

• Air Block with trunking through to underfloor space

3 - ROOF & CEILING

• Clay Roof Tiles fixed to horizontal 38x20mm timber battens, on counter battens

• Rafters filled with 120mm insulation between

• Breathable sarking membrane

• 300mm Insulation under rafters

• Vapour Control Layer

• 340mm Suspended Ceiling with Air-Conditioning and Ventilation vents, Steel Ceiling Grid, Steel Support Wires and Gypsum Barrier Ceiling

• Acoustic Ceiling Tiles

• 12.5mm Plasterboard with off-white finish

2 - FLOOR & FOUNDATION

• 1220x178x5.5mm Wood Vinyl Floors

• 20mm Plywood Subfloor

• 125x50mm Timber Joists with insulation between joists

• Suspended Access Floor system with Brick Sleeper wall, 100x75mm wall plates with DPC separating them from sleeper wall

• Access to Power Supply and Services through suspended floor

• Concrete Strip Foundation using recycled aggregate

• 200mm Packed Sand

• 300mm Hardcore

HEALING HARMONIES

A JOURNEY TOWARDS WELLNESS THROUGH MUSIC AND SOUND THERAPY

RIBA Part 1 Graduate Project

My RIBA Part 1 Graduate Project asked the questions “What is religion? And what role does religious architecture play in its community?”. This led to the development of a sound and music therapy retreat aimed at people suffering from mental health issues linked with depression and anxiety. Healing Harmonies addresses this modern issue through the implementation of a community centre, which uses music and sound therapy as a medium towards wellness, which represent the escapism of religious architecture. The project revolves around creating various atmospheres and healing experiences for the visitors. To encapsulate the scheme in sound, similar to cathedrals at the beginning of Sunday service, the project consists of water organs that change sound depending on the tide levels and movement of water between pools, further grounding the project in its context and linking it to the history of religious architecture..

Overall, after months of research, reiteration and refinement, Healing Harmonies developed into a project I am proud of.

The site has a strong history that involves a demolished cattle farm, which left a series of architectural elements behind. I decided to use the most prominent of the elements; Brick Arches, Concrete retaining pillars and the Steel Beams (pictured above). A set of three architectural grids was derived from their dimensions which will determine the construction of the buildings within each respective grid.

Potential Site Access Concept of 3

Corridors:

- Along Retaining Wall

- Along Riverfront

- Down the Centre of Site

- Ritual Hall symbolically placed at centre of site

- Chimneys adjacent to Ritual Hall

- Building Mass along retaining wall

- Building masses along river are justified using Ritual Hall and wall mass

- Central Corridor remains

Water movement between river and pools

As the project revolves around sound and music, the idea of harnessing the water in the river and closed pools to generate healing sounds had come to mind. After a period of research, the water organs of ancient Greece was a precedent I studied. A more modern application of a water organ is the Sea Organ along in Croatia. This Sea Organ uses waves to push air into buried organ pipes. Since the river doesn’t have a strong current, a system of water movement between the river and the closed pools will push air into buried organs. The water will move 15 minutes before each meditation session to remind and call the nearby community. This is inspired by the traditional church culture of the organ playing to guide people to the church

- Closed pools to seperate programmes

- Integraion of Pools forms stronger link with site

FRONT ELEVATION

- Integration of bridges over river

- Retain wall corridor reintroduced

- Voids/Atriums added to seperate programme and bring in light

- Access ramp to introduced to create atmospheric journey Ritual Hall

- Underground access to Chimneys for Protaginists

SECTION B-B

LIBRARY OF SOUND

CELLS (DWELLINGS)

REFECTORY

CHIMNEY

CHIMNEY CHIMNEY

RITUAL HALL

Ritual Hall Detail Section (below)

1. - 120mm Clay Exterior Brick

- 400mm Reinforced Cast in-situ Concrete

- 150mm Interior Concave Bricks

2. - Solar Roofing Tiles

- Asbestos Cement Roofing Sheets on Purlins

- Light Steel Trusses

- 9.5mm Plasterboard with Concrete Render (suspended from upper truss)

3. - 35mm Hardwood Flooring

- 100mm Screed with Underfloor Heating

Piping

- Reinforced Cast in-situ Concrete Stepped

Environmental Strategy in Ritual Hall

1. Underfloor heating in concrete screed

2. Light Diffuser that efficiently spreads incoming natural light

3.

4. Sloped roof leads water to pools

5. Solar tiles for underfloor heating

Circular interior spaces, such as that of the Ritual Hall, tend to have negative effects on the spatial acoustics because the sound gets magnified to the centre, which creates an undesirable echo effect. One way to combat that is to reduce the smoothness of the surface. To increase the dispersion of the sound waves, the interior walls of the Ritual Hall are covered with a series of convex bricks.

Floors

- 300mm Hard core

- Earth

Environmental Strategy in Cells (Accomodation)

1. Solar Panels for heating space and water

2. Photovolaics for electricity

3. Underfloor heating

4. Rainwater harvested

5. Rainwater Filtered

6. Rainwater stored in Dwelling cluster water tank

7. Greywater from taps and shower recycled

8. Greywater tank with pump

9. Stored greywater used to flush toilets

10. Cool air in

11. Sun heats up central thermal mass (concrete)

12. Stale air rises in thermal mass and escapes

13. Thermal Mass stored excess heat and releases it regularly, regulating the interior temperature

Concave form magnifies sound towards centre

Convex form creates dispersion, increasing acoustic quality

Ritual Hall Detail Section

4. - Steel Louvers

- Single-glazed Stained Glass in Alluminium Frame

5. - Bearing plate along with steel clip

- Anchor embedded in Concrete Column

- 500mm (Dia.) Concrete Column

- Top and Bottom Column capped with Bronze convex Cyinders

6. - Suspended Direct light diffuser

7. - Outdoor Organ Pool

8. - Spiral Access Ramp

9. - Interior Ritual Pool

SOUND THERAPY ROOM - NATURE

The construction detail on the left is cut through the exterior wall of the Library. I used Reinforced MISAPOR Insulating Concrete because of the following benefits:

- No thermal bridges

- Pleasant interior climate because of diffusion permeability

- Recyclable characteristics

- Reduced Heating costs

- Good Sound Properties

- Valuable Contribution to - Environmental Protection

Double-glazed Window (filled with Argon gas)

Aluminum Window Frame (attached to sides of concrete)

Reinforced Concrete Floor and Screed (with Underfloor Heating) Waterproofing Layer

HALL

BUDOCK CHURCH COMMUNITY CENTER A COMMUNITY PROJECT FOR BUDOCK WATER

PROJECT BACKGROUND

There are plans underway to develop the vacant site beside Budock Church by constructing a community centre for the church, which served as the backdrop for our Year 1 - Semester 2 project. During our consultation with members of Budock Church and the adjacent community (Budock Water), it became evident that preserving the stunning view of the ocean, river, and vista from the gate was a top priority. Additionally, the surrounding area around the site was intended to be an extension of the cemetery.

OUTCOME

To maintain the spectacular view, I envisioned a simple cantilevered roof for my proposed building, which would serve to frame the view, thereby harmoniously integrating the project within its context. Drawing inspiration from church architecture, I opted to utilise stained glass, a key element of traditional church buildings, in a modern way. However, instead of using glass, I employed fabric, which would carry the mural printed on it. This modern interpretation of stained glass presented its challenges during the tectonics phase, but it was a learning experience that helped me to grow.

Concerning the cemetery, I propose a creative alternative. Instead of burying people traditionally, I suggest planting small trees and plants in the ground and burying people at the roots of these plants. This innovative approach would preserve the site as a walking park, which is frequently used by surrounding residents.

Sizes stated in this diagram refer to the sizes of the 1:2 model that will be built. For the actual sizes, the dimensions should be multiplied by 2.

FRONT ELEVATION

LEFT ELEVATION

RIGHT ELEVATION

BACK ELEVATION

A MOTHER’S SEAL

A Preschool for the Children of Xai-Xai, Mozambique

Archstorming Mozambique Preschool Competition

COMPETITION ENTRY

My concept for this project came from a scene in a Japanese anime that involved a man’s hidden power and sealing ability that came from his mother. When activated, the sand takes the form of his mother, with her hands out and using her hands as a barrier to protect her son.

So my inspiration for this project was that scene but visually translated to the Mozambique Mother.

6

1

The

Mother’s protection for the Child Widen perimeter mass Subtract from mass to create entrances Indirect creation of two courtyards with circulation

SECTION B-B

COURTYARD WITH FARM PLOTS

The facades of two sides of the Multipurpose Hall are covered using traditional Mozambique clay pots. These pots will be painted by the children, so they contribute to the finishing of their school.

The pots are held in place using screws and bolts that penetrate through one steel tube and two pots for each screw.

I used Francis Kere’s method of using a raised metal roof to shield the main roof from heat.

Using the pieces that the pods are assembled from, the street artists can customise their side of the pod to fit the functions they need. An opera singer can use tall, dramatic curtains, pottery artists can use shelving to display their work, a DJ can hang small speakers and a street musician can display their CDs/Records, posters and merchandise.

COMPETITION ENTRY

1. Starting with the maximum dimensions provided in the competition brief.

2. Rounding the four vertices and two short edges to maximise the observation angles

3. The brief requires that the pod should be shareable. So two circular platforms are integrated. The pod is also roofed to block excessive sun, two columns are used to hold the light roof.

Another requirement from the brief was for the street artist pod to be either collapsable or mobile. The structure is collapsable into dimensions of 780x2820mm and a height of 3375mm. This allows for easier movement between locations (such as the artist’s residence and the showcase location).

Musician Example

- CD/Record stand

- Speakers

- Screens/Posters

Opera Singer Example - Tall Curtains

4. To increase the quality of the spectators and draw more in, the platforms will slowly rotate. Wooden frames can be attached to the platform to hang paintings, posters and other things the street artist wants to display.

Watching street artists tends to be a very static experience that usually involves very little movement for both the viewer and the artist. Rather than making both parties move around one another, a design that presents a more dynamic approach for both parties will increase the quality of the viewing experience. For the Opera Truck design competition, I wanted to design a dynamic and modular pod for street artists and musicians. The design consists of a single pod that contains two revolving platforms meant for the occupiers. The platform allows for the attachment of timber framing that can be used for shelving or display. The artists can use these to display their work while the musicians can use them to shelve their CDs or records.

DJ Example

- Speakers

- Acoustic Panels

Pottery Artist Example

-Shelving