By Tajudeen Sowole
Courtesy of new generation of
indigenous architects comes a shift from the intimidating textures of foreign
designs such as the Gothic, Victorian and Portuguese, that have infested the
Lagos architectural landscape over the centuries.
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| A section of works on display during the photography exhibition of AAND |
The architects: Tosin Oshinowo, Seun Oduwole
and Papa Omotayo who just had a group photography exhibition of some designs,
are projecting local contents via a professional gathering called African
Alliance for New Design (AAND). On display inside WhiteSpace, Ikoyi, Lagos and
presented in pictures of both finished and process imageries, the exhibition,
which was organised as part of activities slated for Open House Lagos,
basically, attempted to redefine African architecture along the local
challenges of functionality.
As far as African or native contents design
becomes issue, Demas Nwoko, whose works are widely known to celebrate indigenous
design remains an icon on the Nigerian architectural environment. But these new
generation architects are taking the African architecture identity further into
the future.
The Nigerian architectural space has always
been rich of creativity, but the issue of African originality would keep
resurfacing. In fact, members of AAND have expanded the debate. Omotayo noted
that being an African architect, "is to be knowledgeable enough to inspire
your work." He argued that though indigenous architecture in Nigeria has
been active in the past 20 years, "but it's just in recent times that we
have been getting contents that connect with the people." He disclosed
that the aim of AAND is to change perception that foreign architects are
superior to local professionals." And looking into the future, the
ultimate goal of the group "is to create new generation of
architects."
Really, is there any identity such as African
architecture? Yes, there existed an identity, at least, in the pre-modern era,
Oduwole, a Principal Architect at SI.SA stated during a phone chat about the
mission of AAND. Historically, he explained how the various textures of
architecture designs in Nigeria have been influenced, for example, in northern
Nigeria by Sudanese culture and western part of the country by British colonial
and Brazilian factors, of post-slave trade. He therefore argued that
"African architecture only existed in pre-colonial period."
In redefining African contents, within the
context of AAND context, materials, Oduwole disclosed that using materials comes
as a vital outlet, particularly in the age of advancing technology. "We
try to look at a lot of local and native materials like rock stones, and woods."
He stressed that old materials can be used in modern ways. "You can have
African contents using old materials."
Between functionality and aesthetics,
architecture appears to be struggling in striking a balance. But Oshinowo, a
Principal Architect at cmDesign Atelier (cmD+A) said "architecture must
have a purpose."
On African content, she warned that it does
not necessarily has to be visual like creating native motifs or signs. She also
noted that the environmental factors are crucial in defining African contents,
"particularly ventilation in a tropical setting."
Between the Nigerian architectural space and
creative contents in public buildings, designers seem to have blurred the
importance of art in visual context. Quite a lot of public buildings are
desolate of art contents. For Oshinowo who has been involved in designing
spaces for LagosPhoto Festival, her involvement in a current project at
the ongoing Maryland Shopping Mall promises to make a lot of difference.
"As architect, we are sculptors as well," she noted while displaying
soft images of artist, Dudu Emmanuel's sculpture Give n' Take, a 10 x 8
meter piece as part of embellishments for the mall.
"Everybody in the project wanted to
celebrate Nigerian contents," Oshinowo disclosed." Also involved in
the Maryland Mall "is designer, Jade Folawiyo who brings ankara design for
the lighting installation."
For Omotayo, art has not been far from his
design principles. In fact, he is the designer of two of the new generation art
galleries in Ikoyi: Rele, at Onikan and Mode, Parkview Estate. "The
architect forgets that he is first of all an artist," Omotayo argued and
explained that "a building is though functional, but spiritual and art in
content."
Via workshops and exhibitions, AAND members
hope to engage young architects and other professionals in promoting the group's
definition of African design contents.
From the architects' bios: Oshinowo is a
registered architect in Nigeria and since 2012 has been Principal Architect at
cmDesign Atelier (cmD+A), an architecture design practice based in Lagos.
She completed her architecture education at
the prestigious Architecture Association London and also holds a Master's
Degree in Urban Design from the Bartlett School of Architecture, University
College London.
Oduwwole, a graduate of the
University of Nottingham, his career was shaped by experience in leading UK
firms such as Sir Michael Hopkins & Partners, Benoy and Sheppard Robson
where he designed and executed award winning projects. He returned to Nigeria
as founding partner at Brown inQ, before leaving to start SI.SA.
A RIBA graduate of the Welsh School of
Architecture, Cardiff University, UK. Omotayo’s
focus and current portfolio can be defined as an architecture searching to
redefine a pragmatic African modernism through collaboration with contemporary
artists. Papa desires to work with a strong focus on context, culture and
nature, creating architecture that tries to give a little meaning to the
everyday, beyond the realms of form, function and even technology.
Organised by Interior Designers Association of Nigeria (IDAN), a recent show at Omenka Gallery, Ikoyi, Lagos, to mark World Interiors Day, art, craft and other areas of visual arts categorised as accessories in design exposed the economic paradox of Nigeria, where majority live in extreme poverty amidst vast riches of the country.
From paintings, miniature figural and abstract table pieces to ceramics and other works that either serve both decorative and functional purposes such as window blinds and mirrors, the show depict that even in the period of distress, luxury could be an elixir.
The show also offered an opportunity to appreciate the contribution of interior designers to the creative industry, especially in the areas of crafts and arts.
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One of the works from IDAN
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What exactly is World Interiors Day all about? As IDAN president, Anslem Tabansi explained, it’s a yearly global event initiated by the International Federation of Interior Architecture/Designers (IFI) to bring to the public the roles of practitioners in improving the environment.
Stressing the importance of artistic, clean and luxurious environment, courtesy of IDAN is not new. In 2008, when the group made its first public appearance, with a show tagged Focus On Interior Design at the Civic Centre, Victoria Island, Lagos, the aim was to bring practitioners together and regulate the practice of profession in the country. At that event, IDAN also showed that it was already recognised at the global level as the president of IFI, Mr. Shrikant Nivasarkar was present.
FOUR years after, IDAN, having consolidated on that feat, chose Finding The New In The Old as theme for its 2012 show.
Tabansi states, “the theme challenges practitioners to look at our past as we prepare for the future.”
Indeed, the theme is more relevant in Nigeria, particularly in the corporate sector and highbrow private residence, which have zero local or native content in the designs of office and residential interiors as well as tour destinations such as hotels.
SOME countries have certain aspects of their cultural heritage built into their interior designs. Is this not an indictment on IDAN members, most of whom have the chunk of their clients in the upper class and the corporate sector? Tabansi says, “designers would hardly force any style on anyone, as styles depend on one’s taste.” He explains, “we have people that prefer contemporary and those who go for neo-contemporary styles; it’s about one’s choice.”
He also notes that one of the challenges designers face is that most of the materials used in the country are imported. This, he says, hinders putting concept of cultural value into their designs.
As professionalising designing through public enlightenment remains a challenge, the secretary general of IDAN, Titi Ogunfere, believes that with seminars and relevant forums, such as Industry Night, which IDAN looks forward to organising regularly, the public will get to appreciate the importance of a descent environment. She argues that interior design is not just everybody’s business, adding that no tertiary institution in Nigeria offers it as a course.
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Secretary-General of IDAN, Titi Ogunfere
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SOME of the objectives if IDAN mentioned in the group’s priority list include maintaining the highest professional and ethical standards of the profession through the education and training of practitioners; establish a training institute to deliver high-value business tools and address issues that affect practitioners; promote excellence in interior design through continuing professional development of practitioners; increase public awareness and promote the relevance of professionals in building the economic and cultural wealth of the Nigerian society.
(First published 30/11/2012)
By Tajudeen Sowole
(First published Tuesday, December 09, 2008)
VISUAL artists, architects and others who have found love in interior decoration sub-section of art and design, may heave a sigh of relief as an umbrella for professionals of that breed makes its entry.
On Thursday, December 4, at the Civic Centre, Victoria Island, Lagos, some professionals in the field of interior decoration came together to launch what they called, Interior Designers Association of Nigeria (IDAN). The new group, they said, came as a result of the need to regulate the practice of interior decoration in the country.
Under the theme, Focus On Interior Design, 2008, the event also included what could be described as Nigeria's first interior design and decoration magazine, Essential Interiors.
The group must have been attracting attention and getting recognition at the international level, even before its take off here. This much was seen as the president of the International Federation of Interior Architects/Designers, IFI, Mr. Shrikant Nivasarkar was present at the event.
And before anyone concluded that IDAN could be just another group of people seeking relevance, just for the sake of it, one of the conveners, Titi Ogunfere stated that the basic reason for the formation of the association was to help provide a platform for the "regulation" of design profession in the country.
She explained earlier before the event: "IDAN was established to promote the value of professional design by providing the appropriate platform for design professionals to lend a collective voice to government and industry initiative. The association also engendered the highest standards of practice through providing professional and educational training and networking for design practitioners."
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Representatives of IDAN, Titi Ogunfere (left) and Moni Shonibare during a briefing, in Lagos
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Sandwiched between visual arts and architecture, really, this new association could have crisis on its hand, for example, in recommending standards for non-IDAN members such as visual artists and architects who do interior decoration. Also, codes of practice of each of these other older professional bodies such as Society of Nigerian Artists (SNA) and others, which deal with areas of interior design, could bring about conflict of interests.
Responding to this possible fear of identity crisis, the Chairperson of IDAN, Mrs. Moni Shonibare argued that artists and architects, who feel that there is something to benefit being a member, would rather belong. The bottom line, she explained, "is to gain credibility, which is what every professional would not compromise."
Ogunfere who is also the Editor of Interior Essential, stressed that before the emergence of IDAN, there was no professionalism in the practice of design, noting that the situation was compounded by lack of regulation and legal frame works to enhance the profession. She also decried lack of interests by higher institutions of learning in the country towards interior design professions.
To make the profession more attractive, a national network, Ogunfere said, is part of the group's priorities. "IDAN therefore stands to network the designers and decorators in each state of the federation while advocating support for the design community. IDAN also acts as a corporate contact point between the design profession and government to facilitate industry-wide initiatives. It fulfils other functions such as providing an organisational structure for networking of designers, linking Nigerian design professionals with international design organisations. And supporting the mentoring of students and new designers to create a solid foundation for the future strength of the profession"
(First published 29/9/2012)
Design and metal sculptural skills from Africa and Europe melt into creative enterprise as Lagos-based Svengali Designs and Turkish-owned Poliform jointly offer visual decorative and functional aesthetics.
The joint venture christened Svengali+Poliform is aimed at giving the Nigerian creative sector, particularly the architecture and construction industry a boost, designer and CEO of Svengali, Anslem Tabansi stated when the Turks partners visited his gallery in Lagos.
As the president of Interior Designers Association of Nigeria (IDAN), Tabansi has led the group to the international stage when it had its first exhibition in Lagos and hosted the president of the International Federation of Interior Designers, (IFI), Mr. Shrikant Nivasarkar.
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Caglar Olcer of Poliform, Istanbul, Turkey (left), Anslem Tabansi of Svengali Designs, Lagos and founder of Poliform, Nejat Olcer in Lagos…recently
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Caglar Olcer of Poliform noted that though the relationship between his group and Svengali is short, but strong enough to believe that the partnership will work. Olcer, accompanied by his father and founder of the Turkish group, Nejat Olcer said “we have always known Nigeria as a big economy in Africa, but not really sure of how to do business here until we met Anselm.”
In a joint statement, it is stated that Svengali and Poliform join forces for a new age in metal sculptural balustrade industry. The group hoped that “with competitive prices, short periods of delivery and continuous technical support, this new joint venture company will serve the latest” in state of the art sculptural metals for the functional and decorative sections of Nigeria’s design industry.
Poliform, located in Istanbul, Turkey stated that for over 25 years, its signature has doted several developments in balustrade systems and sculptural metal door accessories.
Svengali is an interior design and wood/metal sculpture outfit with gallery in Victoria Island, Lagos.
Tabansi-led IDAN, few months ago, continued its efforts at promoting the design section of the creative industry when it organised a show at Omenka Gallery, Ikoyi, Lagos to mark World Interiors Day. The show featured design pieces, art, craft and other areas of visual arts categorised as accessories in design parlance.
From paintings, miniature figural and abstract table pieces to ceramics and other works that either serve both decorative and functional purposes such as window blinds and mirrors, the show reflected the strong message that even in the period of distress, luxury could be an elixir.
Themed Finding The New In The Old, Tabansi stated, “the theme of the 2012 show challenges practitioners to look at our past as we prepare for the future.”
Indeed, the theme is more relevant in Nigeria, particularly in the corporate sector and highbrow private residence, which have zero local or native content in the designs of office and residential interiors as well as tour destinations such as hotels.
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