The Zaria Rebels: Demas Nwoko
Published 06 August 2024 in The Legacy
Uche Okeke Legacy Editorial
Demas Nwoko, a celebrated artist, architect, and member of the Zaria Art Society, has made a significant impact on both the art and architectural landscapes of Nigeria. Born in 1935 in Idumuje-Ugboko, a small town in Delta State, Nwoko's early life was deeply rooted in the traditions of his Igbo heritage, and his upbringing in a royal family exposed him to traditional African art forms, rituals, and community structures, which would later influence his creative vision.
Nwoko’s formal education began at the College of Arts, Science, and Technology in Zaria, where he became one of the founding members of the Zaria Art Society, a group of young Nigerian artists who sought to create a new art form that reflected their cultural identity which later became known for its philosophy of Natural Synthesis, a philosophy that aimed to blend indigenous African art forms with Western techniques. While Nwoko initially trained as a painter, his interests soon expanded to include architecture, a field in which he saw the potential to express his ideas about cultural synthesis on a larger scale. His architectural projects, particularly the Dominican Institute in Ibadan and the Oba Akenzua Cultural Centre in Benin City, are prime examples of his ability to merge traditional African elements with modernist principles, creating spaces that are not only functional but also deeply resonant with Nigerian cultural heritage.
Demas Nwoko recieves the Golden Lion for Lifetime Achievement by the Biennale Architettura, 2023
Dominican Institute, Ibadan
Completed in 1976, the Dominican Institute in Ibadan serves as a theological seminary that utilises a harmonious blend of local building techniques, indigenous materials, practices and aesthetics, and contemporary architectural concepts, illustrating Demas Nwoko’s ability to fuse traditional architecture with modernist design principles. His approach to architecture is not only functional; it is an expression of cultural identity and values that are rooted in a deep respect for traditional African forms, which are reinterpreted through a modern lens and reflected in every aspect of the building’s design.
The Chapel of the Dominican Institute, Ibadan
One of the most compelling aspects of the Dominican Institute is Nwoko’s emphasis on the use of locally sourced materials. He chose materials such as laterite bricks and timber which have long been staples in African construction, a decision that was driven not only by a commitment to sustainability but by a desire to ensure the building harmonised with its environment. The laterite bricks, in particular, evoke traditional earth-building techniques prevalent in Nigeria, where the material’s natural thermal properties not only help maintain cool interior temperatures but significantly reduced construction costs and provided local artisans with the opportunity to contribute to the project. This cultivates a strong sense of ownership and pride within the community, which is a vital consideration in areas where the community has previously had their ownership and pride diminished.
Nwoko’s design for the Dominican Institute overall is a master-class in climate-responsive architecture and community driven thinking. Having a personal understanding of the challenges posed by Nigeria’s hot climate and unreliable infrastructure, he incorporated wide eaves, verandas, and large windows to facilitate natural ventilation and cooling. These elements again draw inspiration from traditional homes, which are often adapted to withstand high temperatures, and by prioritizing passive cooling strategies Nwoko ensured that the building remains comfortable throughout the year without relying on energy-intensive systems. This approach not only reduces the institute’s energy consumption and strain on the community using the space, but set a standard for sustainable building practices in Nigeria where coping with high temperatures and limited electricity supply are everyday challenges.
Community and functionality for the community are priorities that can be seen throughout the building architecture, and the functional layout of the Institute reflects Nwoko’s understanding of space as a social construct. The institute is designed to enable and encourage interaction and community among the seminarians, echoing the communal living central to many African societies. The spaces are thoughtfully arranged to encourage social interaction, with communal areas serving as focal points for discussion, study, and prayer, encouraging a sense of unity and collaboration among the students and reinforcing the institute’s role as a place of both spiritual and intellectual growth. This underscores Nwoko’s belief that architecture can either facilitate or hinder human interaction, and in this case, it clearly supports and enables a vibrant and cohesive community.
This community driven philosophy is further reflected in the aesthetic considerations of the design, and is a key concern that can be seen throughout Nwoko’s work. The Dominican Institute features decorative elements and motifs inspired by indigenous art and architecture, subtly integrating geometric patterns and sculptural forms characteristic of Yoruba art. These aesthetic choices play a vital role in the space and act as more than just decoration; they uplift the community by creating a space that celebrates cultural heritage, turning the building itself into a living museum and bringing the community back in direct contact with their traditions. Visitors often remark on how it embodies the cultural and spiritual values it is meant to serve, with the incorporation of these motifs providing a visual reminder of the region’s deep-rooted traditions, values and philosophies - generating a sense of place that not only resonates with the local community, but excites and encourages a desire to understand from visitors around the world.
The Oba Akenzua Cultural Centre, Benin City
The Oba Akenzua Cultural Centre in Benin City is another landmark project by Demas Nwoko that embodies his resonance with the Natural Synthesis philosophy. Completed in 1973, this cultural hub serves as a space for hosting events, performances, and exhibitions that celebrate Nigerian heritage, once again showcasing Nwoko’s dedication to meeting community needs and his ability to blend traditional with modern.
Oba Akenzua Cultural Centre, Benin City
Nwoko’s design for the Oba Akenzua Cultural Centre, is inspired by the rich history of the Benin Kingdom, which is intricately featured throughout the centre’s architecture. The Benin Kingdom, which reached its height between the 13th and 19th centuries, is notably famous for its art, in particular the Benin Bronzes, which are not only valued for their aesthetic beauty but also their detailed portrayal of the kingdom’s history, rituals, and hierarchy. Created using the lost-wax casting technique, these bronzes were primarily used to decorate the royal palace of the Oba (king), and depict a wide range of subjects such as historical events, portraits of the Oba and his court, and representations of deities and mythological creatures. As soon as visitors enter the centre, they are greeted by symbolic elements which are on and around its entrance - a commonplace practice in Benin architecture where entrances may feature stylised depictions of the Oba or representations of significant symbols such as the leopard, which in Benin iconography represents the power and authority of the Oba and is a metaphor for the king’s ability to rule with both ferocity and grace. While an aspect of the use of these symbols is to enhance the building’s aesthetic appeal, it also anchors the centre in the community and area that it caters to, serving as a visual narrative that connects the present to the past and reminds visitors of the powerful legacy of the area. The motifs create a sense of continuity, grounding the building in its cultural context and affirming the identity and pride of the people, transforming the centre into a living record of the history that has shaped the Benin Kingdom.
Nwoko’s adaptation of traditional architectural forms, which play a significant role throughout his work, can be seen in the design of the Oba Akenzua Cultural Centre. Again we see a modernist reinterpretation of traditional architecture - in this case, the courtyard layout - and the utilisation of open space to create a building that is both functional and reflective of the Nigerian architectural drive for community spaces. The courtyard serves as a gathering space, encouraging community interaction, engagement and sharing, which is central to the culture of the country and the centre’s role as a place of cultural exchange. This design made the Oba Akenzua Cultural Centre a lively space where the architecture itself encourages participation in the arts and community building, inviting people to come together in the way that traditional communal spaces in African societies would, where the flow of a space that naturally supports social and cultural activities is paramount.
Another forever-feature that Demas Nwoko practised throughout his work is environmental sustainability, which is central to the Oba Akenzua Cultural Centre’s architecture and mirrors the principles Nwoko applied in the Dominican Institute and other designs. Like the Dominican Institute, the centre is built with local materials and is designed for environmental harmony, utilising natural ventilation, shading, and other passive cooling techniques to maintain comfort in the tropical climate. Traditional architecture in Benin and Nigeria at large has historically relied on local materials such as mud, laterite, timber, and thatch, which are all abundant, renewable, and have low environmental impact. Mud and laterite, for example, are excellent at regulating indoor temperatures due to their thermal mass, which helps keep interiors cool during the day and warm at night. This method, known as earth-building, has been practised for thousands of years in various forms across West Africa and traditional architecture across the globe, and not only provides natural insulation but reduces the need for artificial heating, cooling or energy. This approach minimises the building’s environmental impact, and reflects Nwoko’s commitment to sustainability and harmony by reducing the environmental cost of construction while simultaneously creating a structure that is in sync with its surroundings. Like with Nwoko’s other designs, the centre serves as a model for eco-friendly architecture in the region, demonstrating how versatile and adaptable the traditional forms can be to environmental and infrastructural challenges.
The community-centered focus of the Oba Akenzua Cultural Centre is evident in every aspect of its design and function. Nwoko envisioned the centre as a focal point for the community, providing spaces for education, performance, and cultural exchange and, reflecting the traditional role of communal spaces in African societies where such places have long been central to social and cultural life. A main focus of Demas Nwoko’s practice was to create spaces that are accessible and welcoming, aiming to preserve and actively promote Nigerian cultural heritage. While the Oba Akenzua Cultural Centre has, unfortunately, been shut down and not maintained since the refurbishment for NAFEST (the National Festival of Arts and Culture) in 2019, the centre stands as a beloved institution in Benin City that is sorely missed.
Demas Nwoko’s Creative Impact
Like with all Zaria Rebels, Demas Nwoko’s practice is a physical embodiment of the Natural Synthesis Philosophy developed and established by the Zaria Art Society - a philosophy that is evident throughout his entire body of work and is still carried through the architecture and practices of the land today.
Beyond his architectural achievements, Demas Nwoko’s was deeply involved in shaping the next generation of architects during his lifetime, particularly through his role as a lecturer and advisor. He served as a professor at the Ahmadu Bello University in Zaria where he was a prominent figure in the Faculty of Environmental Design, and not only taught architectural methods and principles but inspired his students to embrace and integrate traditional aesthetics and techniques into their work under the Natural Synthesis Philosophy. His courses and lectures often emphasised the importance of understanding and respecting local cultural contexts, which became a hallmark of his teaching philosophy and significantly impacted the development of Nigerian architects and architecture. While the formal educational setting did hold vital importance for the dissemination of this philosophy, Nwoko’s mentorship extended beyond this. He actively participated in workshops and seminars that aimed to foster dialogue and collaboration among architects and creatives, in particular, among the Zaria Art Society, where his ideas on integrating indigenous elements into modern design were shared and discussed actively, and shaped the perspectives of many involved in the group. Nwoko’s impact can also be seen in the curriculum of institutions such as the University of Nigeria, Nsukka, where his principles have been adopted, and in The Nigerian Institute of Architects, an organisation he was closely associated with that continues to promote this philosophy.
Dominican Chapel, Ibadan - Exterior Detail
Demas Nwoko’s approach to architecture and his innovations with local materials and traditional building techniques provided practical solutions to the environmental and infrastructural challenges faced in Nigeria and on the African continent. The Oba Akenzua Cultural Centre, despite its current closure, remains a powerful symbol of this vision for engagement, upliftment and cultural celebration, and this community-centric approach is reflected in ongoing efforts by various institutions across Nigeria. Nwoko set a model for sustainable design that influences current generations to prioritise respect for both environmental and cultural contexts, a legacy that is seen in projects such the Eko Atlantic City project, which is currently under development in Lagos on the Atlantic Ocean front using land reclaimed from the ocean. Similarly to Nwoko’s focus on community-centric environmental architecture, Eko Atlantic City’s design prioritises sustainability by using advanced technologies for energy efficiency and environmental harmony, aiming to address the needs of Lagos's growing population by providing living, working and leisure spaces to 250 000 people, and enhancing the city's global profile. Globally, Nwoko’s work has garnered recognition for this unique and holistic fusion of elements. His projects have been featured in international exhibitions and architectural journals such as the exhibition Africa: Architecture, Culture and Identity at the Louisiana Museum of Modern Art, Denmark in 2015, and the French architectural magazine L'Architecture d'Aujourd'hui in 1977, and he was awarded the Golden Lion for Lifetime Achievement by the Biennale Architettura in 2023, highlighting his contributions and the potential of African architecture in the global context.
Nwoko’s methods of integrating these methods, forms and philosophies have inspired many worldwide, demonstrating the relevance of his approach to sustainable and culturally attuned design - something that’s becoming increasingly vital and discussed as we try to correct our negative affects of the environment and populace. His influence continues to shape architectural practice in Nigeria and beyond, offering a model for how to bridge the past and future through thoughtful, community-focused design.
