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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

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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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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

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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

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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

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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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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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16

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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