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EQ
1
FROM THE CHAIR’S DESK
Dear colleagues,
It is with great pride that I welcome you to the 2nd edition of our E-magazine-
Ekotecture Quarterly! It promises to be an exciting and informative edition with
special emphasis on the National Theatre and sustainability. Also, there are
projects in focus, new trends and many more.
As we are about to enter the 2nd quarter of the year, I would like to use this
opportunity to remind you all about the LAGOS ARCHITECTS FORUM- LAF 2017
holding at Eko Hotel Expo Centre between the 10th and 13th of May 2017. This
event promises to be a great one as we have scaled up the event in many ways.
We also have eminent guests and speakers from within and outside the country
who have confirmed their attendance. Some of which include: HRM Nnameka
Alfred Achebe (Obi of Onitsha), Bishop Matthew Hassan Kukah, Carlo Toson, Joe
Ado, Jennifer Mpysi, Kunle Adeyemi etc.
While I thank you for your continued support to the State Chapter events, I would
also like to encourage you to actively participate in other aspects such as
Publications, Education, Event Planning, Exhibitions etc.
Many thanks to all those who contributed to this publication as our Chapter
continues to be the best amongst others. Happy reading!
Arc Fitzgerald Umah, MNIA, RIBA NIA LSC Chairman
TABLE OF CONTENTS
From the Chair’s Desk ……………………………....... 1 Editorial ………………………………………………………... 2 Guest Commentary: Role Of Architects In Nature Conservation …… 3 Sustainable Design Quiz………………………………………….4 Archi-Lecture Series: Thinking About Energy Efficiency .……… 4 Feature Article: The National Theatre: The Sleeping Monument …… 7 Vox Pop: Have We As Architects Ceded Some Traditional Roles/Services To Specialists?
................................................................................... 15
Eko Sights & Feel ……………………………………………....... 17
Photo Gallery of Dinner with Mr. President………………..19
Cover photo and insert courtesy of ACCL & GoUNESCO
EQ
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EDITORIAL
Happy New Year and welcome to the sophomore edition of Ekotecture Quarterly
(EQ)! It comes rather timely as Lagos State clocks 50 years and prepares to
celebrate this milestone.
Serendipitously, we selected the National Theatre, Iganmu, as our iconic building
for EQ#2 and later gathered that it is also meant to be the fulcrum of activities
for Lagos@50. As such, there are plans by government to resuscitate the national
monument. We applaud this while hoping that all efforts will go beyond these
celebrations like it went beyond FESTAC ‘77. Incidentally, the annual Lagos
Theatre Festival just ended about a week ago and the National Theatre was not
at its epicentre. We cannot deny, however, the sad realities of its present status
which hinder it from assuming a more pivotal role.
As with our first feature article in December last year- Independence House: The
Invisible Tower, EQ sought to unravel the situation and hope that our article will
provoke germane discussions on another long-neglected edifice. Special thanks
to the team at The National Theatre for their support and co-operation and to
Arc. Plamen Todorov, CEO Secura Investments Ltd., Abuja, for his priceless
information on the Theatre, having been in partnership with the original
Bulgarian builders before they folded up. We believe that the key word to any
National Theatre discourse and Architecture as a whole is Sustainability: a
familiar word that resonates from our first ArchiLecture series in EQ#1 . This one
focuses on Energy Efficiency.
In line with the general theme, we decided to invite Mr. Desmond Majekodunmi,
one of Nigeria’s foremost environmentalists and a council member of the
Nigerian Conservation Foundation (NCF) to intimate us on the architect’s
expected role in nature conservation and resource management- both critical to
sustainability. Human development and urbanization have significantly depleted
natural resources and pushed other life-forms to extinction. Architects and
engineers have long been fingered as accomplices to this degradation. Take for
example the controversy over the proposed Cross River State superhighway
project which is meant to pass through fragile forest reserves and forest-
dependent communities. It has sparked off strong protests from WWF and other
international environmental groups. So how do we help strike a balance between
urbanization and conservation? As Lagos sprawls at either end towards Epe and
Badagry, large portions of vegetation are being cleared daily for ‘site and services’
or to build estates with literally no trees or soft landscaping. Borrowing the
alliterative phrase of folk singer Joni Mitchell: we have “paved paradise and put
up a parking lot”.
Which begs the question: whatever happened to Organic Architecture and Frank
Lloyd Wright’s philosophy of harmonizing buildings with nature? Did it die with
the Masters? What have we done with our basic training in landscape design?
Have we ceded that knowledge to specialists? Is such ceding now inevitable
considering industrial growth and technical demands of our profession or have
we all just become lazy? Shouldn’t we try to encourage specialization in
Architecture as is done in Medicine and Law rather than ceding such roles to
outsiders? Are our days as Jack of all trades over? This edition’s Vox Pop samples
various opinions on the matter.
We have a new feature column called Eko Sights and Feel where we showcase
relatively recent building developments in Lagos and interesting materials that
are getting attention in the mega-city. This is to keep members abreast with new
trends and developments.
Finally, we sincerely appreciate all the comments & feedback received from readers following the launch of EQ and hope you enjoy EQ#2. Happy reading!
ARC. CLAUDE OPARA mnia Chairman, Publications Committee NIALSC & Editor
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3
GUEST COMMENTARY
ROLE OF ARCHITECTS IN NATURE CONSERVATION Architects as part of the solution to humanities biggest problem
Over the years, the development of urban areas has had a very negative impact
on the environment. Places that were once pristine green spaces, offering
essential life supporting eco services like generating oxygen, transmitting rain,
maintenance of biodiversity, stabilization of the soil and atmosphere have been
transformed into concrete jungles. Not only has the development of these urban
spaces impacted negatively on the in situ ecosystems, but the actual process of
these developments has exacted a very high carbon footprint, especially with the
advent of the use of cement and steel, which require copious amounts of energy
to produce. Likewise the energy demands that these habitats require either for
heating or cooling also exact a continuous and increasing carbon footprint. The
bulk of this energy is still produced from burning fossil fuels, which is a high
emitter of greenhouse gases, particularly CO2, which has now increased in the
earth’s atmosphere from the post ice age ratio of 288 PPM to the current 400
PPM. This is what is now rapidly driving the earth’s average temperature beyond
1 degree centigrade towards 2 degrees, beyond which spontaneous release of
hundreds of millions of tons of methane trapped under the Arctic permafrost bed
would start to occur, spiraling the global warming, unleashing massive ocean rise
and unprecedented violent weather occurrences with catastrophic
consequences.
The reality of climate change might indeed be an "inconvenient truth" as former
US Vice President Al Gore has called it, but it is certainly not "fake news" as
espoused by Donald Trump. With 2017 being the hottest year ever recorded, the
truth is incontrovertible. Humanities carbon footprint has become too large and
if we allow it to continue this way, according to the International Panel for Climate
Change it will trigger off an irreversible and catastrophic climatic breakdown.
Former SG of the UN Ban Ki-moon stated that “tackling climate change is the
biggest problem humanity has ever faced.” Barrack Obama stated that “this is the
first generation to feel the effects of climate change but the last that can prevent
it from becoming unstoppable and catastrophic.” Notable intellectuals like
Howard Stern, Kofi Anan, and Bill Gates are all saying that we are fast approaching
a tipping point where the process of
the degradation of our planetary life
support systems would become
irreversible and we would in the
words of Britain’s Prince Charles be
“bequeathing unto our children a
poisoned chalice”. A legacy that no
one in their right mind would wish to
endow to their offspring.
The 11th hour has long passed and
the time has now come when we
must all take urgent and drastic measures to curtail this onslaught on our
planetary life support ecosystems. The good news is that it is not too late yet, but
it soon will be. Architects, being the visionaries that they are, occupy a unique
position to make a considerable contribution towards reducing our carbon
footprint, which is the main culprit driving global warming. By deploying the latest
“green” technology which would include using recycled material, high insulation
products, sustainably produced organic material, clean energy systems, low
energy consumption dwellings/work spaces and blending this with some of our
own African habitat concepts and ensuring that all building and landscape designs
incorporate a maximum amount of plants, green spaces and trees, taking
cognizance of our green recovery program, the architect can stop being part of
the problem and start being part of the solution. A word is enough for the wise.
Desmond Majekodunmi Environmentalist / Creation carer/Member, NCF Executive Council
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For further information on “green” designs and building, one of many useful sites is the Centre for Alternate Technology Wales, where Mr Majekodunmi was privileged to spend some time on a steep learning curve. http://www.cat.org.uk/index.html
Sustainable Design Quiz
1. Sustainable planning considers environmental, social, and _______ impacts of a
building.
2. This is a reusable building material from demolished buildings when constructing
new buildings.
3. What does H in HIA stand for?
4. What does the second E in LEED stand for?
5. A sustainable building is integrated into the natural and _______ settings of its
location.
6. ____________ is not considered a renewable energy source?
7. Building orientation is the __________ of a building on a site.
8. Ozone-depleting substances are commonly found in which products?
9. Salvaging of bricks and stones from an old building for use in a new building is an
example of what type of practice?
10. The most harmful ultra-violet radiation from the sun is ________________
wavelengths.
11. A _______________ building material can be made into new products again and
again.
12. _________________ is not an inert material?
13. A Post Occupancy Evaluation (POE) is a management tool tailor-made to
evaluate the building performance _____________________tenant occupancy.
14. Greenhouses are built of ___________________
15. The father of Sustainable Architecture is _______
Economic, Historic, Bricks, Paint, Heritage, Frank L. Wright, Environmental, Green trees, Cultural, Solar, Coal, Emissions, Positioning, Design, Refrigerants, Ecohousing, Reusage, Van der Rohe, After, UVA, UVB, Veritas, Bamboo, During, Recyclable, Political, Glass, Heat, R. Vale.
1 Executive summary of Nigeria’s Intended Nationally Determined Contribution
http://www4.unfccc.int/submissions/INDC/Published%20Documents/Nigeria/1/Executive%20Summary_Nigerian%20INDC_27
1115.pdf
ARCHILECTURE
Thinking about Energy Efficiency
It is time to join other nations in actively addressing energy efficiency in our built
environment to reduce the adverse effects of climate change. Nigeria recently
joined the Paris Agreement by signing the first-ever universal, legally binding
global climate deal. Nigeria committed to reducing “Greenhouse gas (GHG)
emission unconditionally by 20 per cent and conditionally by 45 per cent in line
with Nigeria’s intended nationally determined contributions”. With an
implementation period from 2015-2030, one of the key measures is a 2% per year
energy efficiency (30% by 2030)1. How can the building industry contribute
towards this goal?
The building industry in developed countries is evolving, education and policies
concerning sustainable development, energy efficiency and use of renewable
energy systems for buildings have progressed to an advanced stage. Experimental
Studies, Research, Energy and Building Codes provide direction to stakeholders to
reduce the impact of the built environment on our natural environment. In
addition, various sustainable rating systems for buildings such as BREEAM
(Building Research Establishment Environmental Assessment Method), the Living
Building Challenge (which is the world’s most rigorous performance standard),
PassivHaus, LEED (Leadership in Energy and Environmental Design), Green Globe
etc. are used to reduce the ecological footprint, resulting in low-energy buildings.
Nigeria needs to develop its own sustainable rating system, just as South Africa
developed Green Star SA; Japan, CASBEE; UAE, Pearl Rating System for Estidama;
Hong Kong, Beam etc. Similarly, it is time to improve standards for our building
envelope, as it concerns energy efficiency or recommend energy efficient
EQ
5
refrigeration or air conditioning systems which have higher COPs (coefficient of
performance) and therefore translate to lower operating costs. There is a need
to adopt the integrated design process (IDP), which is a holistic approach to high
performance building design and construction, to make an impact towards
energy efficiency. Figure 1 shows that the earlier in the process that IDP occurs,
the greater the impact on building performance and the lower the impact on
costs.
Energy efficiency commencing with the building envelope is the first step to
significantly reducing energy consumption or achieving net-zero energy in
buildings. The building envelope comprises of the roof, external walls and the
ground floor. For a building envelope to be assumed to perform well it has to
effectively separate the external climate from the internal climate
(unconditioned space from conditioned space). Some important factors to
consider are heat conduction and radiation through walls and roofs, solar
radiation through windows and uncontrolled air infiltration.
Benefits of early
integration (IDP)
Uncontrolled air
infiltration through
windows, curtain
walls, window
walls, doors, cracks
in block work or at
bad transition
areas i.e. roof to
wall or wall to floor, allows unconditioned outdoor air to come into conditioned
indoor spaces. This unconditioned air was not taken into account by mechanical
2 C.A. Ibe, E.E. Anyanwu, 2013 “Principles of Tropical Air Conditioning” 3 A.R. Katili, R. Boukhanouf, R. Wilson, “Space Cooling in Buildings in Hot and Humid Climates – a Review of the
Effect of Humidity on the Applicability of Existing Cooling Techniques.
engineers when sizing air conditioning units or cooling loads and therefore
undermines the cooling process of indoor spaces. There are other advantages of
controlled air infiltration such as improved indoor air quality (keeps dust, pollen
and car exhaust fumes out of buildings) and improved thermal comfort of building
occupants.
In buildings that do not use mechanical means of ventilation a certain amount of
air infiltration is necessary (values between 0.2-0.5 air changes per hour (ACH)
are recommended for residential buildings and 1.0 ACH for commercial
buildings)2. Uncontrolled air infiltration might lead to the installation of additional
air conditioning units by homeowners because previously installed air
conditioning units are not performing as designed causing thermal discomfort.
This increases the energy consumption in buildings unnecessarily, requiring the
installation of bigger generators or the need for higher energy supply from the
power grid.
Typical building
energy
consumption in
tropical
countries3
Heat transfer
due to solar
radiation on
opaque parts of
the building
envelope like walls and roofs is of considerable importance. Heat gain from roof
systems account for 70% of the total heat gain in buildings4. Though only 39% of
the sun’s heat energy is absorbed by aluminum roofing sheets5 (depending on
4 K.C.K. Vijaykumar, P.S.S. Srinivasan, S. Dhandapani, 2007 “A Performance of Hollow Tiles Clay laid on Reinforced
Concrete Roof for Tropical Summer Climates”. 5 Berdahl 2000. “Cool Roofing Materials Database”. LBNL
EQ
6
colour), it is necessary to ensure that roof spaces are adequately ventilated and
insulated to create ‘cool roofs‘.
If not adequately ventilated and insulated, ceilings made of Polyvinyl Chloride
(PVC) or Gypsum (POP) act like heat radiators as a result of a furnace-like
environment in roof spaces (during hot days temperatures could reach 66°C or
higher, in contrast to 28°C of a well-designed roof in the same conditions)6. Heat
is transmitted by roofing materials to air in roof spaces, which in turn heats ceiling
materials that then radiate heat into conditioned living spaces below. Heated air
also finds its way through cracks and openings in ceilings or ceiling grids to
conditioned spaces below, rendering air conditioning ineffective and thereby
increasing energy consumption.
A reasonable window to wall ratio (WWR), solar shading devices and building
orientation are some other passive means to improve the efficient use of energy
in our built environment. We need to design sustainable and energy efficient
structures, if we hope to join other nations in implementing the Paris agreement,
but it should all start with the Architect who is a leader in the design community
and building industry.
To help promote building envelope improvements certain measures should be
put in place:
1. A focus on providing information and education on the potential benefits
of energy-efficiency home improvements or initiatives, with both
academic and professional engagements.
2. Commencement of research and development (R&D), both government
and private participation which will support advancement in building
materials and practices.
3. Development of regulatory policies and enactment of building and
energy codes that ensure sustainable development.
4. Provision of financial incentives such as tax credits, rebates, low-interest
6 B. Urban, K. Roth, 2010. “Guidelines for Selecting Cool Roofs”. 7 Centre for climate and energy solutions, https://www.c2es.org/technology/factsheet/BuildingEnvelope
loans or innovative financing for developers and homeowners to address
the issue of initial cost.
5. Government agencies should lead-by-example by ensuring that they
build and manage more energy-efficient buildings and reduce their GHG
emissions7.
Effect of Roof Surface Properties Energy efficiency should be analysed
throughout the lifecycle of a building and
should be seen as an opportunity not an
imposition, because buildings constitute at
least 40% of energy use in most countries8
causing emissions that are a problem for
climate change.
Oscar-George U. Emuwa MRAIC, ANIA, MAATO
8 Energy efficiency in Buildings (EEB), Summary Report
https://www.c2es.org/docUploads/EEBSummaryReportFINAL.pdf
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THE NATIONAL THEATRE
THE SLEEPING MONUMENT
The Eiffel Tower, Big Ben, Sydney Opera House, Taj Mahal, Statue of Liberty…
Without mentioning their respective countries, these landmarks give their
locations away. The National Theatre is perhaps Nigeria’s closest response.
Located on the outer fringes of the old Lagos Mainland and beside Eko Bridge,
the National Theatre is a striking masterpiece of architecture and ingenuous
engineering which cannot be ignored.
While Part One of this article discusses the background, concept, structural
framework and detailed walk-through of the functionalities of the complex, Part
Two deals with practical and cost-effective ways of bringing the complex back to
life and maximizing its potentials even to date.
PART 1 BACKGROUND
In 1973, the Federal Government appointed a 29-Member Theatre Consultative
Committee to advise on the concept and organizational structure of a national
theatre. Two years earlier, a military
delegation under General Gowon had
come across the Palace of Culture and
Sports in Varna, Bulgaria and was
fascinated by it. Later, our National
Theatre was to become a replica. In
1975, the new edifice, three times
bigger, was completed in Iganmu by
Technoexportstroy, a Bulgarian
construction company, who also built
the Eko Hotel Complex in Victoria
Island.
The National Theatre was built as a home for the National Troupe and as a centre
to preserve and promote black culture and the arts. Besides FESTAC ’77, which it
hosted impressively, it soon became a melting pot for both foreign and local
artistes, hosting the likes of Hubert Ogunde, Stevie Wonder, Miriam Makeba,
Shalamar, Kool & the Gang, the Whispers and a host of Motown Hits as facilitated
by the emerging Silverbird Group at the time.
KEY FACTS
Location: Iganmu, Lagos
Iconic value: Nigeria’s foremost national monument and landmark
Project Team: Arch. Kolchev, Arch. M. Marinov, Engr. Petko Milev, Engr.
Hristo Kolev, Engr. Vute Katev, Engr. Lukan Savov (mech. engr) ; Theatre
Consultative Committee
Project Manager: Engr. Pancho Kadiiski (late)
Height: 31+m (7 storeys)
Coverage: 23,000sq.m
Complex size; 110 hectares
Years of construction: 1973- 75
Year commissioned: 1976
Contractor: Technoexportsroy
Ring road: Julius Berger
Palace of Culture and Sports, Varna, Bulgaria (built in 1968)
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The Concept
On plan, it is a series of concentric circles on various levels around a cylindrical
core while in elevation, its distinct feature is a synclastic or saddle-like shell.
Though its precursor in Bulgaria uses the shell as its entire structure, the National
Theatre adapts it only as a roof for the main auditorium. Its shell roof is encircled
by three rings on the roof terrace with a panoramic view of the grounds and city.
Projecting radially beneath the rings are four equal sectors housing the halls.
Many have commented that the Theatre resembles a military peak cap: its
characteristic shell roof either advertently or inadvertently gives credence to this
allusion, especially as it was built during the military era.
Structural Innovation
Built on 400 piles in marshy
soil, the Theatre is basically
a reinforced concrete
structure. The shell roof is
primarily made of
expanded metal sheets
supported by tensioned
steel cables while the
concrete walls across all
four sectors are given a
timber-like rendering for a
more natural feel. In
essence, the intricate use of concrete, glass and wood makes it stand out as a
cultural landmark.
LET’S TAKE A TOUR
The National Theatre is seven storeys high comprising a main auditorium, two
cinema halls, a banquet hall, and two exhibition halls. It also has expansive
lounges and circulation space around a central core which could double as
exhibition halls and galleries, as may be required from time to time. These spaces
can be accessed from four cardinal ramped entrances – A, B, C, and D.
Structural Framework Used During Its Construction
The Entrances
Entrance A (with the Coat of Arms above) is the VIP entrance. It has the longest
and most interesting vista as you approach from the Ijora gate whereas Entrance
C, approached from the Apapa Road gate, is the Administrative entrance which
leads to the
administrative offices
and general lobby. Both
Entrance D (which faces
the new urban rail
terminal) and Entrance B
(which faces Eko Bridge)
are meant for the
general public and lead
to the six halls and
lobbies. Above these
entrances are elaborate
friezes and murals by the renowned sculptor Erhabor Emokpe. These mural
sculptures capture many Afrocentric themes ranging from the Benin Ivory Mask
(which he replicated for FESTAC ’77) to the Akuaba Doll of Ghana and the sacking
Model of the National Theatre
Friezes and Mosaic
EQ
9
of the Benin Empire in 1897. These friezes, sculpture and mosaic decorations add
character to the overall architecture.
There is also a basement car park for 250 vehicles just below Entrance C. Having
no natural lighting, it needs to be well-illuminated to be functional.
The Cinemas
To access the cinema halls, you have to walk down a broad, winding lobby with
concession stands and conveniences on one side and the cinema halls on the
other. Each cinema hall has about 700 raked seats covered in fabric with sufficient
elbow and leg rooms to make it far more comfortable than many new cinemas
around the metropolis.
The floor is carpeted and walls panelled with wood for good acoustics. Package
air-conditioning units have been installed to replace the defunct central system
while the projector room is located in the gallery space and can be accessed from
either side of the hall through a
concealed flight of steps. All four
sectors of the Theatre have gallery
spaces at the top rear which form the
curved protrusions you see externally.
It must be said that the projector
room has facilities for both celluloid
and digital viewing. The cinema hall
can also be used for plays so there is a
proscenium stage with special effects
equipment and a dressing room.
Ceiling lights radiate from the stage.
The Conference/Banquet Hall
Ornately furnished with chandeliers and special lighting, this hall can
accommodate up to 1,500 people and is 1,830sqm. It occupies the same space as
the two cinemas put together with an identical level of finishing. It also has special
audio equipment to interpret 8 different languages simultaneously when hosting
international conferences. The brilliantly crafted proscenium/thrust stage has a
staircase hidden behind the curtains that leads to a storeyed backstage with
make-up rooms for actors and media rooms. These rooms have a connecting
corridor that leads to the gallery at the back.
Exhibition Halls 1 & 2
Both halls can equally
host up to 1,500 people
like the Conference
Hall. Donning the
entrance to Hall 1 are
two tall wooden
sculptures by Emokpe
and Odion. It also has a
wooden stage (no
dressing room) and a
control room in the gallery to regulate the public address system. A broad
corridor, similar to the one linking the cinemas, takes you from Exhibition Hall 1
to Exhibition Hall 2 passing underneath Entrance D.
Other Major Spaces
The VIP Lounge is located at Entrance A with a reception and main lounge that
can cater for 500 people. Its metal-shingled ceiling and other unique
ornamentation attest to its status. Other facilities in the building include the Press
hall and bar for 400 people, restaurants, lounges, the National Gallery of Modern
Art, health clinic, workshops etc. Then there are the administrative offices for the
Theatre and National Troupe. These are a level above the entrances. At the sub-
basement (dubbed “minus 250” after the 250 parking lots above it) is the service
floor where some stores, the power sub-station and defunct HVAC system are
located.
Entrances B and D lead you to lobby spaces with four elevators each which
terminate on a level below the main auditorium facing the concessioned areas
for food and drinks then a flight of steps take you to the auditorium.
Gallery space
Conference Hall
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10
The Main Auditorium
The main hall, despite being illuminated
by only two green spotlights now, is still
impressive even in the darkness. For a
minute there, you could be forgiven for
feeling you were in Vienna and Mozart
was about to play a symphony. There is
such a surreal feeling. To think that this
feat was achieved in the country some
forty years ago! The auditorium has a collapsible proscenium stage which when
collapsed, can accommodate 5,000 people. In that state, it can host sporting
events such as boxing and table tennis. However, when the stage is set it can host
3,500 people for concerts, movies, shows, plays etc. The proscenium has three
rows of curtains, a backdrop and double cyclorama to create silhouette and
lighting effects. The ceiling is a combination of fibre glass, acoustic ceiling boards
and aluminium panels. There is no other multi-purpose theatre in West Africa
that can accommodate this capacity. Sadly, the failure of the central cooling and
lighting has kept it redundant for over two decades.
Main Auditorium (view from gallery)
Roof Terrace
If you stroll out to the roof terrace or garden that encircles the main bowl, the
inner circle is tiled for a promenade around the shell. The shell itself is an intricate
mesh of reinforced concrete with two rings of faceted beams. The first two tiers
are curtain wall while the third is panelled to conceal the roof.
Exploring the Grounds & Overall Ambience
The Theatre complex is expansive and green with sculptures decorating the
vicinity. In front of Entrance D is the ‘Mother Africa’ statue by Felix Idubor (bas-
relief sculptor for Independence House) while the popular, naturalistic statue of
a sword-wielding, horse-riding Queen Amina used to be in front of Entrance C
erected by the renowned Ben Ekanem in 1977. It was removed in 2005 due to its
weathered state and a less remarkable bronze replacement was erected in 2014.
Further away and closer to the Apapa Road gates, we find a life-sized chessboard
in a small garden. Introducing life-sized, locally sculpted chess pieces with a stop-
clock for a proper game of blitz would definitely add to the attraction!
The surrounding wetlands have a delicate ecosystem with a rich variety of bird
species. A bird-watcher’s haven, the Nigerian Conservation Foundation (NCF)
identified 31 different species in a recent visit.
It would be a shame if consideration
wasn’t given to the conservation of this
natural environment in the proposed
‘Nigeria Entertainment City’ i.e. the
Master Plan for future development
around the National Theatre Complex.
Non-functional solar panels and
vandalized CCTV poles litter the
surrounding green while at a remote
corner of the complex, at the end of a long
walkway across the lagoon, there is a
sewage treatment plant moonlighting as
Elevator lobby
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a mini National Theatre. The walkway is actually the cover of a long sewer line
which carried black water from the
Theatre to the plant. The treated
effluent is then discharged into the
lagoon and the slurry sediments to the
bottom. However the sludge is visible
these days at certain times when the
water thins out. Other facilities on the
premises include a generator house
with a 1,500KVA and two 400KVA
generators. There also is a waterworks
in the complex.
Entrance level
Section
Offices Level Main Auditorium
PART 2
SO WHAT WENT WRONG?
Issues that have plagued the National Theatre in its official forty-year history and
numerous attempts to address them can fill a volume so we shall not belabour
you: a cursory look would suffice. The Theatre is one of many casualties of the
transfer of the seat of power from Lagos to Abuja. Independence House,
showcased in the pilot edition of EQ, was another example. Coupled with our
country’s appalling maintenance culture, it is no surprise that the air conditioning
and lighting in the main auditorium failed and could not be restored; but that was
only the beginning.
Through successive government’s post -1990, less and less attention was given to
the arts and by extension to the Theatre and this led to further dilapidation of
facilities and continued a lack of patronage. The grounds became overgrown and
dangerous, facilities became run down and vandalized while the Theatre was like
a post-apocalyptic scene. During these decades of inactivity, society moved on;
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new technologies and methods were developed and some things just became
obsolete. When the economy eventually picked up in the early 2000s with the
emergence of a vibrant middle-class, there was urban migration and the high-
income society moved more to the Lagos Island and Lekki corridors. As nature
abhors vacuum, smaller event centres and cinemas sprang up around these new
developments and a whole new generation with no knowledge of the National
Theatre arrived and now require compelling reasons to go back it for
entertainment.
Even at that, calls for the Theatre’s renaissance kept growing and later gave rise
to the BPE’s proposals around concessions, consortiums and PPP arrangements.
After two or more stalled bid processes, there hasn’t been much headway in this
direction with passionate voices for and against privatization resounding down
the halls. Regardless of which position you may take, there is definitely some
consensus on the fact that the Theatre cannot remain in indefinite swamp
stagnation. Hence, Ekotecture Quarterly decided to spotlight this sleeping
monument.
HOW TO AWAKEN A SLEEPING MONUMENT
In view of the current recession, a systematic and phased approach to renovating
the National Theatre should deliver substantial value, paying particular attention
to the following:-
1. Increased Natural Lighting: Currently a lot of spaces are not properly
illuminated thus relying heavily on artificial lighting to function. Besides
increasing energy consumption, these spaces also come across as dark, cold
and socio-fugal. We therefore recommend the following:
Replace dry wall partitioning in the offices with glazed ones to allow
natural light into the internal corridors and change the overall look and
feel of the complex, making it more attractive to prospective
clients/users
Such seemingly passive solutions shall drastically minimize its
dependency on electricity to function, reduce running and maintenance
costs and consequently reducing booking charges.
2. Upgrade to a Contemporary Look: Granted, wood panels are great for
acoustics; they are natural and Afrocentric. On the other hand, they can
give off an outdated feel especially when used gratuitously. Just as dark
wood panelling can add to poor illumination and create a cold outlook,
old wooden furniture/fixtures can do same. The concession stands and
press bars, for example, look worn and antique. We suggest these are
replaced with modern pieces. Wood panels along the lobbies and
lounges should also be replaced with contemporary finishes e.g. silicate
or satin paints whose brighter colours would liven up the interiors and
reduce maintenance costs being cleanable.
Contemporization would attract more youth, who make up the
predominant demographic for arts and entertainment. A more
contemporary interior would appeal to them and dispense with any
‘museum’ perception.
3. Repair & Upgrade: We recommend the following:-
An urgent reactivation of services like HVAC for the main
auditorium. Also, sewage treatment, sanitary services, CCTVs,
security systems as well as fire and safety installations should be
addressed in line with current HSE standards.
Upgrading of the lawns and foregrounds into family-friendly theme
parks that could attract corporate branding and be used for picnics,
children’s parties and other special events.
4. Resuscitate External Lighting -In our current highly competitive world,
few businesses can stand out without proper advertisement. Nothing
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attracts or says ‘we are back in business’ better than seeing the National
Theatre back in its full illuminated glory at night! The present external
lighting pales in comparison and is almost non-existent.
External lighting suggests life and significant human activity. Like moth
to a flame, it always attracts.
5. Optimize Alternative Power Sources: To actualize the aforementioned
suggestions, it is clear that the current epileptic power supply from PHCN
and the planned tariff increase would make this a herculean task.
Currently, diesel consumed by the 1500KVA generator has forced the
National Theatre to come alive only on specific days and this is without
the main auditorium in use! On other days, only the 400KVA generator
is used for skeletal supply.
In an attempt to mitigate this, solar panels were installed on the grounds
to power peripheral services like CCTV but these were vandalized.
We recommend a more secure placement for these solar panels at a
higher level e.g. the outer ring of the roof garden or on top of the
concrete halls. Not only would they be more secure and less accessible
up there but they would also be invisible and not blemish the lawns.
6. Explore a Bio-Gas Energy Solution: One major source of renewable
energy yet overlooked is the possibility of harnessing biogas both from
the lagoon and from a functional sewage treatment plant. At certain
times of the day, when the water thins out, large quantities of sludge
and organic sediments are visible- these can be used in anaerobic
conditions to produce considerable biogas to run the sewage treatment
plant itself and other services earlier mentioned.
Considering that the maximum number of visitors the Theatre can
accommodate when fully in use (with a functional main bowl) is 11,000
people, we can project the amount of biomass that can be generated
and converted to methane for power. With an operational plant,
untreated effluent undergoes primary, secondary and sometimes
tertiary treatment before discharge. It is during primary treatment that
sludge collected from sedimentation can be transferred to a digester
and converted to methane. This biogas is then converted to electricity
using a generator.
Thus instead of just discharging effluent into the lagoon, part of it can
still be harnessed. There should be enough biomass accumulated in the
swamp over the last forty years! This would also clean up parts of the
lagoon and make it safer for the proposed Recreation Parks indicated in
the Master Plan.
Abandoned Sewage treatment plant End of sewer line with bar
screen
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7. Embrace Current Trends In Technology-driven Services: The National
Theatre must be in sync with technology to have any fighting chance at
attracting today’s consumers, across all demographics. -
Technology-savvy interfaces for ticket sales, enquiries & ads
State of the art auditoriums and cinema technology
Introduction of step-lights, motorized stage curtains etc. in cinemas
and main auditorium
The introduction of a mobile dome digital planetarium in the main
auditorium would be a significant game-changer for interactive
learning across schools, colleges, science museums and institutions
nationwide. With only 6 planetariums in Africa and only one in West
Africa (i.e. in Accra, Ghana), it shall also be a guaranteed revenue
stream if implemented.
A planetarium will introduce a new form of education and
enlightenment to the Nigerian society. With special viewing
programs even for kindergarten, it will utilize the main auditorium’s
vast ceiling space and organize its well-positioned floor seating (ex-
proscenium) for perfect viewing.
An inflatable, custom-sized version to suit the main auditorium
should be achievable by experts like Digisky and Digidome.
Ultimately for these recommendations to be achieved, the Federal Government
needs to take decisive action towards revamping and optimizing this unique
building and complex, particularly in the form of a mutually-rewarding
concessionaire arrangement or public-private partnership. We all have a patriotic
responsibility to resurrect this national treasure. Let’s wake up Rip Van Winkle:
he has slept for twenty years already. Government cannot handle alone.
Arc. Claude Opara & Arc.William Uko
References Arc. Plamen Todorov, www.technoexportstroy.bg, National Theatre-Bureau
of Public Enterprise
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VOX POP
HAVE WE AS ARCHITECTS CEDED SOME TRADITIONAL
ROLES/SERVICES TO SPECIALISTS?
I truly don’t subscribe to this. An architect’s unique position as the chief innovator
and motivator of the design process in a project remains sacrosanct and this
position was midwifed by many years of arduous and very tasking training.
Basically an architect is knowledgeable enough to approve or disapprove of
whatever specialist work is proposed for his projects and can even suggest better
ways of getting specialist work done for him... More than this, architects are at
liberty to use their special training to create furniture and fittings for their designs
and sometimes they excel so much at it that even the specialists have no option
than to applaud and approve of such creative efforts by the architects.
ARC. INNOCENT OGHENEOVO, Opti-Plan Concepts
Major advances in all spheres of life have spawned specialization. As products
and services have become better, they have also become more complex, and
specialization has emerged as an inherent attribute. The complexity of modern
products demands that their components are designed and produced by diverse
specialized sub-fields of endeavour. Specialization is also evident in a lot of
professions and services including medicine, law, media, engineering, military,
culinary arts, and of course architecture. As buildings have become complex
'living', breathing, responsive, budget and time sensitive structures, project
management, interior design, landscape design, and other sub-fields are evolving
and being handled by others. Even core architecture is splitting into concept
architecture and construction architecture! Are architects ceding their traditional
services to new specialists? I think of it more as the march of civilization.
ARC. EMEKA NJERE, O-Spaces
Architects usually engage or employ the services of specialist in order to achieve
perfection either at the construction or completion stage. Hence, the ceding of
traditional services to new specialists due to modernisation or new evolution in
technology. As said, there are certain aspects of work or finishings which can only
be carried out by these specialists especially when it involves the use of certain
materials or methodology. The Architect has not been trained from outset for
such services. Thus, the need to cede such services to the specialist.
ARC. ABOLORE ONIKOYI, Lagos State Govt
The word architecture, simply put, means the 'master concept conceiver/builder'
and thus the profession operates as defined in the ancient time. However as
further technological advancement came into being the architect gradually
ceded some responsibilities: leading to the evolvement of allied professions such
as the structural and costing responsibility, further technological advancement
again depleted the architect’s responsibilities in the project management,
aesthetics, specification annotations and interiors spheres to mention but few.
Although Architects have ceded a good quantum of their traditional
services/responsibilities to specialists, their mastery is nonetheless still very
important to projects because the architect remains the originator and custodian
of concepts. Generally the specialist is mostly used to enhance project delivery
quality; as derived from the ideological belief in "the less the challenge, the more
the competence".
ARC. ADEFEMI LAWAL, HOD, Dept of Architecture, Yabatech
The traditional roles of architects as master builders was total and sacrosanct;
and the development where other industry and/or non-industry colleagues are
gradually taking up some secondary roles naturally means we are delegating or
outright abandoning them. However, we must not fail to identify one of the major
reasons for this development being the unavailability of avenues for formal
education in these areas. Apart from project management, in other areas of
specialization e.g. interior decoration, landscaping, furniture/carpentry etc.,
hardly can you find institutions within Nigeria that offer formal
education/certifications/regulations in these fields. As a result, a lot of room is
given for other people to come up in these areas either as a follow up on a hobby
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or artisanship. But basically, these roles were traditionally the architects’ and are
gradually being delegated.
ARC. IKENNA ANYANWU, Property Development, Diamond Bank Plc.
In the past, the architect was referred to as ‘jack of all trades and master of all’.
He was indeed the master builder who was responsible for the successful
realisation of his concepts and ideas in the interest and comfort of the owner. But
those days are gone! With the intricacies, specialisations and technologies
associated with today’s building industry, it is no longer possible for the architect
to remain ‘the master-of-all’ as was the case in the industrial age and before. In
the today’s knowledge economy, teamwork is at the heart of every human
endeavour and progress. The architect can no longer do it alone but requires
inputs from the various specialists (both within & without the building industry)
to ensure a project, no matter the scale or complexity, is brought to the desired
successful conclusion. Although he ideally remains the team leader, the inputs
from the engineers (e.g. lighting, acoustics, soil, etc, etc) and other professionals
(e.g. IT, economics, etc) have become indispensable especially with the advent of
green & intelligent buildings and the Internet of Things (IoT).
ARC. T.C. AWAGU, Pyramids Plc.
Dinner with Mr President 26.01.17
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EKO SIGHTS & FEEL
MATERIAL FOCUS: Titanium zinc DESCRIPTION: High quality material composed of alloy of zinc-copper and
titanium.
USE: Roofing, Facade cladding (self-supporting or supported on frames), Service
fittings (e.g. roof gutters)
FORM: plates, coils, strips.
FORM WIDTH (mm) LENGTH (mm) THICKNESS* (mm)
PLATES Min 500 Min 500 Min 0.3
Max 1000 Max 6000 Max 2.0
STRIPS Min 100 Min 500 Min 0.3
Max 500 Max 6000 Max 2.0
COILS Min 100 Min 6000 Min 0.3
Max 1000 Max 200m Max 2.0
*external cladding minimum thickness 0.7mm
PROPERTIES
High durability; High resistance to corrosion as it coats itself in a thick, non-water
soluble film (patina) in the presence of O2, CO2 and atmospheric humidity. Note:
Proper installation rules must be followed. High thermal coefficient
ADVANTAGES
Environmentally friendly; 100% Recyclable; Extremely Long-lasting. Joints can be
soldered unlike other metal cladding e.g. ACP
DISADVANTAGES
It has the tendency to break during bending due to considerable thermal
‘breathing’ (expansion and contraction) causing roof leakage due to gaps created.
Neoprene joint pads can be used to address. Compensation joints can also be
provided.
COST
Between N38,000-N70,000/sq.m currently, depending on design and thickness.
LOCALLY AVAILABLE BRAND NAME: Rheinzink
GT Bank, Ogba (Anetor & Associates)
GT Bank/UniLag Jubilee House (MOE)
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PROJECT FOCUS: NESTOIL Tower (Silver LEED Certification)
Location: Victoria Island, Lagos Construction Duration: March 2013 – December 2016 Architect: ACCL (Nigeria)
The mixed use Nestoil Tower rises out of the Lagos Metropolitan skyline with its
reflective glazed curtain wall and white aluminium cladding, reflecting the
sunrays, as it travels its path from the east to the west.
Descending the Falomo Bridge from Ikoyi, it is strategically located at the
intersection of Akin Adesola Street, an arterial road in the metropolis, and Saka
Tinubu Street. Its slim silhouette is seen head on as its gentle curves sweeps along
Akin Adesola. The striking form is further enhanced by the stainless steel silver
lines breaking the curtain wall façade. This building at 15 stories is a landmark on
the Victoria Island skyline.
With construction commencing in 2013 and completion
in 2016, Nestoil Tower was designed by ACCL and its
team of consultants and constructed by Julius Berger
Nigeria PLC.
The client’s brief had requested for a unique office
development to evoke their ever-strengthening brand,
Nestoil PLC. The development is made up of 7,500sqm
of office space: 350sqm residential space, a multi-
storey car park, fitness centre, restaurant as well as
recreational facilities. Also key to note are utility
facilities located in the 3m high basement. The
challenges experienced with ground water during
construction of the basement was resolved by freezing
the ground water for effective dewatering. On the 12th floor is an outdoor terrace
with magnificent views of the Eko Atlantic and Atlantic Ocean beyond. For
convenience of the building users, and as an added feature, a helipad was
provided on the roof level.
Power generation has two sources, the statutory authorities (PHCN) and diesel
generators. A unique feature of the development is the DALI (Digital Addressable
Lighting Interface) system which is used in controlling the lighting as part of the
internal building automation. This automated lighting control system eliminates
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the need for human interface in switching the lights on or off, keying into the
energy efficient strategy.
Nestoil Tower is one of the first buildings in Nigeria to attain a Silver LEED
(Leadership in Energy and Environmental Design) rating, which is a system
devised to evaluate the environmental performance of a building and encourage
market transformation towards sustainable design.
The Nestoil Tower will indeed be an elegant silhouette in the Victoria Island
skyline for years to come.
_________________________________________________________________
Publications Committee/Editorial Team Claude Opara (Chair/Editor),
William Uko (Asst. Editor), Chukwudi Osakwe, Alfred Agboola, Belinda Atiyio,
Chiamaka Osigwe, Sunday Kuti, Michael Fatoye, Femi Olaiya
If you missed the previous edition of EQ, you can still access it on NIA LSC website on
the following link: http://www.nia-lagos.org/wp-
content/uploads/2017/02/EKOTECTURE-QUARTERLY1-1.pdf
DINNER
WITH
MR.
PRESIDENT/
INDUCTION
CEREMONY
back in
January
Landmark Centre
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