Architecture as a Tool for Cultural Renaissance: A Case for a World-Class Museum in Ibadan.

This design proposes a world-class museum of Nigerian arts and culture in Ibadan,
aimed at celebrating Nigeria’s rich heritage while boosting tourism and economic growth.

1. Architecture as a Tool for Cultural Renaissance:
A Case for a World-Class Museum in Ibadan.
ARC 701: ADVANCED ARCHITECTURAL DESIGN STUDIO I
Name: HENRY OMONKHEGBE OSAYANDE
Matric No: 254215
Instructors: Dr. Olufunmilola A. Obakin and Arc. Jibola Oladiran

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UNIVERSITY OF IBADAN,

FACULTY OF ENVIRONMENTAL DESIGN AND MANAGEMENT

DEPARTMENT OF ARCHITECTURE

IBADAN, OYO STATE.





HENRY OMONKHEGBE OSAYANDE
254215


DESIGN RESEARCH THESIS





Dr. Olufunmilola A. Obakin and Arc. Jibola Oladiran

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1. Introduction
Architecture has always served as a medium of cultural expression, acting as a
mirror of a society’s heritage, values, and aspirations. In the Nigerian context, the role of
architecture extends beyond shelter and aesthetics to become a tool for identity projection
and cultural preservation. Museums, in particular, embody this function by providing a
space where history, art, and memory converge to inspire future generations. This paper
explores the design and development of a proposed world-class Museum of Nigerian Arts
and Culture in Ibadan, envisioned as a catalyst for cultural renaissance, tourism
development, and socioeconomic transformation.
This design proposes a world-class museum of Nigerian arts and culture in Ibadan,
aimed at celebrating Nigeria’s rich heritage while boosting tourism and economic growth.
The museum will go beyond just displaying artifacts, it will tell stories, engage
visitors through interactive and digital experiences, and serve as a cultural landmark.The
design blends modern architecture with Nigerian identity, using sustainable strategies and
functional spaces like galleries, workshops, event halls, and a cultural café.It will be a
space that preserves history, promotes creativity, and drives development for both the city
and the nation.This research paper examines the architectural design proposal for a world-
class Museum of Nigerian Arts and Culture in Ibadan. The project's core objective is to
move beyond the traditional role of a museum as a static repository of artifacts and create
a dynamic, modern cultural landmark. The museum's purpose is to celebrate Nigeria's rich
heritage, foster national identity, and serve as a catalyst for cultural tourism and
socioeconomic development. By integrating modern architectural principles with Nigerian
identity and sustainable strategies, the design aims to become a space that both preserves
history and drives future development for Ibadan and the nation.

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2. Background & Context of Nigerian Cultural Tourism

Nigeria is home to one of the richest cultural heritages in Africa, with over 250
ethnic groups, each with distinct traditions, artifacts, and artistic expressions. Despite this
wealth, the nation’s cultural tourism potential remains underdeveloped, hindered by
infrastructural deficits, lack of international-standard facilities, and inadequate storytelling
spaces. Globally, museums serve as both educational centers and revenue-generating
tourist attractions. The Louvre in Paris, the British Museum in London, and the
Smithsonian in Washington D.C. demonstrate how cultural spaces can transform into
economic powerhouses. For Nigeria, the opportunity lies in strategically positioning
cultural architecture to both preserve heritage and unlock tourism-driven revenue. Ibadan,
historically the intellectual and cultural capital of Yoruba land, presents itself as an ideal
site for this initiative.
The tourism sector is a crucial component of economic development globally, and
its potential in Nigeria is immense. However, despite abundant natural and cultural
attractions, Nigeria's tourism industry is largely underdeveloped. In a 2017 World
Economic Forum study, Nigeria ranked 129th out of 136 nations in travel and tourism
competitiveness, lagging behind countries like Ghana and South Africa. The primary
challenges include low government priority, insufficient infrastructure, and security
concerns, which have resulted in a lack of enthusiasm for tourism and a significant loss of
revenue to outbound travel.
Despite these issues, cultural heritage tourism remains a viable strategy for
sustainable development and can be a significant source of revenue for a nation. Museums,
in particular, play a vital role in preserving cultural heritage and attracting visitors who
contribute to socioeconomic growth. They can provide a tangible way for both locals and
international tourists to engage with and appreciate a country's cultural resources. The
proposed museum in Ibadan aims to be a landmark project that addresses these issues and
helps unlock the economic potential of Nigeria's cultural heritage.

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3. Problem Statement and Objectives

Nigerian cultural heritage has suffered from neglect and degradation over the past
century, with a trend of heritage resources being replaced by new structures. The existing
cultural institutions, such as the National Museum of Unity in Ibadan, face challenges like
poor funding, underdeveloped infrastructure, and a lack of awareness of their potential.
This project addresses the need for a modern, well-funded, and engaging institution that
can effectively preserve and showcase Nigeria's diverse cultural patrimony.
Nigeria’s museums, while culturally significant, often lack world-class infrastructure,
immersive storytelling elements, and integration with modern technology. This gap leads
to limited visitor engagement and underperformance in revenue generation. The objectives
of the Cocoa Museum project are thus defined as follows:
 To create an architectural landmark that projects Nigerian and African cultural
identity.
 To integrate storytelling and immersive experiences into the museum journey.
 To leverage architecture for cultural tourism and Internally Generated Revenue
(IGR).
 To adopt sustainable design approaches that reduce operational costs and
environmental impact.
 To reflect traditional architectural language through the reinterpretation of Yoruba
design elements like courtyard planning, carved motifs, façade screens, and clay
textures within a modern framework.
 To draw inspiration from successful case studies such as the National Museum
Lagos, the National Museum of Unity Ibadan, the Sunner Museum China, and the
Oman Across Ages Museum, adapting relevant strategies to the Nigerian context.
 To create an inclusive and accessible public institution that is welcoming to people
of all ages, abilities, and backgrounds, with universal design features incorporated
into circulation and spatial planning.

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 To design flexible spaces for exhibitions, performances, workshops, and lectures
that accommodate diverse programming and foster lifelong learning.
 To integrate digital and interactive technologies such as augmented reality (AR),
virtual tours, and smart guides for enhanced visitor engagement and educational
enrichment.
 To adopt sustainable architectural strategies using local building materials, passive
cooling, solar energy systems, rainwater harvesting, and green landscape design to
reduce environmental impact.
 To celebrate Nigeria’s diverse artistic heritage by creating an immersive, multi-
sensory environment that highlights historical and contemporary Nigerian artworks,
particularly from the Yoruba region.

The philosophy of the design proposal are as follows:
 Mission: To create a dynamic cultural institution that fosters understanding and
appreciation of Nigerian arts and culture.
 Vision: To become a leading global destination for cultural tourism and a hub of
innovation, education, and creativity.
 Values: The design is guided by a commitment to sustainability, community, and
cultural authenticity.
 Core Objectives: To design a building that celebrates Nigerian heritage, attracts
tourists, promotes economic growth, and serves as a significant cultural landmark.

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4. Site Justification & Regional Relevance

Location Overview
The choice of Ibadan as the site for this world-class museum is strategically
significant. Ibadan is one of the largest cities in Africa and a major hub of Yoruba
heritage. The city's history dates back to the 18th century when it was founded as a war
camp, eventually growing into a powerful city-state and a British colonial administrative
centre. Its strategic location on seven hills provided natural defences, and it has since
become a "living museum of Yoruba heritage".
Ibadan is already home to several historically significant landmarks and cultural
sites, including Mapo Hall, Bower's Tower, and the existing National Museum of Unity. It
hosts traditional festivals like the Egungun and Oke'Badan festivals, which attract visitors
and celebrate the city's rich traditions. Placing a new world-class museum in this
environment will not only enhance the city's cultural landscape but also leverage its
existing cultural infrastructure and rich heritage to attract a broader audience.
The proposed site, located within Ibadan Metropolis (coordinates: 7.435515,
3.906479), spans 5,000 sqm. It offers accessibility, visibility, and symbolic relevance
within Yoruba culture. Ibadan’s history as the hub of education, politics, and culture in
southwestern Nigeria strengthens the site’s regional importance. The site analysis revealed
the following:
 Vegetation: Scattered tropical trees and shrubs, adaptable to landscaping with
indigenous species.
 Climate: Tropical wet-and-dry climate with heavy rains (April–October) and dry
season (November–March).
 Trade Winds: Northeast Harmattan winds bring dust in dry season, while
Southwest Monsoon winds provide cooling breezes in rainy season.

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 Solar Path: East-facing sunrise, strong western sunset managed by overhangs, and
midday sun mitigated with skylights and solar panels.
 Accessibility: Universal design principles with ramps, tactile paving, and accessible
parking.
 Security: Controlled entry points, CCTV surveillance, and perimeter fencing
integrated with landscaping.

Climate and Environmental Conditions
Ibadan experiences a tropical wet and dry climate, with average annual temperatures
ranging between 23–33°C. Rainfall is most significant between April and October. The
site’s microclimate includes moderate southwest trade winds, high solar exposure from the
west, and seasonal humidity.
Architectural strategies must therefore focus on:
 West-facing shading systems
 Cross ventilation using prevailing winds
 Use of thermal mass and cavity walls
 Sloped or inclined roofs for rapid drainage
 Courtyards and buffer zones to reduce heat gain

Cultural and Urban Context
The proposed site lies within a Yoruba cultural heartland. The region is historically
known for its artistry, spiritual systems, festivals, and crafts. The museum’s programming
can leverage this heritage—hosting rotating exhibitions, live art shows, traditional music
and dance, and temporary markets.

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Nearby institutions, including universities, schools, and cultural centers, provide a steady
audience base. The museum can partner with these bodies for exhibitions, research, and
student engagement, ensuring long-term relevance and educational value.

Opportunities and Constraints
Opportunities
 High visibility from nearby roads and urban centers
 Proximity to academic and cultural institutions
 Potential for public-private partnership and tourism funding
 Culturally rich setting for thematic exhibitions
 Ample space for both indoor and outdoor programming
Constraints
 Risk of traffic congestion and noise pollution
 Seasonal flooding and high rainfall
 High solar exposure during dry season
 Possible land encroachment or informal activity near urban edge

Landscape and Topography
The site has slight elevation gradients with potential for terrace development.
Existing tree cover can be preserved for shaded courtyards and garden zones. Landscaping
will include native species like iroko, palm, and bamboo—used not only for aesthetics but
also for environmental buffering.

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Green zones, reflective ponds, and sculpture gardens will serve as passive cooling
elements and interactive zones for visitors. These landscape features reinforce the Yoruba
belief in harmony with nature and the spiritual significance of the land.
Regionally, Ibadan also symbolizes Nigeria’s cocoa heritage, making it culturally
significant to use the cocoa pod as the museum’s narrative concept.

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5. Literature Review & Case Studies

Museums have evolved beyond static repositories of artifacts into dynamic cultural
hubs that embody a society’s identity and aspirations. Scholars such as Suzanne Macleod
(2005) emphasize that museum architecture is integral to shaping visitor experience,
mediating between past narratives and contemporary engagement. According to Newhouse
(1998), modern museums balance three critical roles:
1. Preservation of heritage
2. Public education
3. Cultural tourism attraction
Architecturally, museums today often reflect a tension between monumentality and
accessibility (Sudjic, 2006). Landmark projects—like Guggenheim Bilbao by Frank
Gehry—demonstrate how iconic forms can catalyze economic revitalization through
tourism, a phenomenon known as the Bilbao Effect.
In African contexts, Folarin Coker (2010) highlights that museum architecture can also
serve as a medium for cultural restitution, projecting indigenous aesthetics and
storytelling. The use of local materials, climatic responsiveness, and symbolic design
language are essential for relevance and sustainability (Nnamdi Elleh, 2016).
Emerging approaches increasingly leverage digital interactivity and immersive
environments (Parry, 2007), reimagining the museum as an experiential platform rather
than merely a container of objects. Consequently, contemporary museum design
prioritizes:
 Flexible galleries for diverse exhibitions
 Technological integration (AR, VR, projection mapping)
 Social spaces (cafés, event areas) to drive revenue

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 Sustainability principles, including passive design and renewable energy
Thus, the architecture of museums is not only about form and function but also about
creating participatory, economically viable, and culturally resonant spaces that can
strengthen both identity and local economies.

Museums and Cultural Identity
Museums are often considered as “memory institutions” that house the physical and
symbolic narratives of people. They are places where identities are formed, questioned,
and redefined. As Nora (1989) suggests in his theory of lieux de mémoire (sites of
memory), museums are powerful tools of nation-building, particularly in postcolonial
societies such as Nigeria.
In the Nigerian context, museums offer a medium for cultural reclamation.
Historically, they have been shaped by Western models introduced during the colonial era.
This has often led to a mismatch between museum form and local cultural expectations. In
contrast, contemporary museum design in Africa increasingly emphasizes community
involvement, cultural specificity, and economic functionality. Nigerian architecture,
therefore, has an opportunity to redefine the museum typology by aligning it with
indigenous traditions and socio-political realities.

Architecture as Cultural Expression
Architecture has long been regarded as a vessel for transmitting cultural values. The
spatial configuration of buildings, materials used, and the symbolism embedded in forms
are all reflective of a society’s history and worldview. In West Africa, vernacular
architecture is laden with meaning—whether it’s the symbolism of Yoruba courtyard
compounds or the craftsmanship of Nok terracotta.

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According to Elleh (2016), the failure to integrate African design language in
modern public buildings represents a missed opportunity to create places of cultural
continuity. Museums, in particular, must express both the heritage they represent and the
aspirations of the societies they serve. The architecture should therefore be didactic—
telling stories and provoking dialogue through space.

Visitor Experience and Spatial Narrative
The success of a museum is not measured by its artifact count alone but by the
depth and inclusivity of the visitor experience. Falk and Dierking’s Interactive Experience
Model (1992) outlines how personal, physical, and sociocultural contexts all shape how
visitors perceive and interact with museum spaces.
Incorporating interactive features, sensory design, digital technologies, and
inclusive layouts ensures that visitors of different ages and backgrounds are fully engaged.
Designing for comfort—through ventilation, lighting, acoustics, and wayfinding—is also
crucial. In African settings, these considerations must extend to large family visits, school
groups, and elderly guests—requiring shaded areas, tactile exhibits, and multiple levels of
access.

Sustainability and Local Materials
As climate change and environmental degradation become urgent global concerns,
sustainable design is no longer optional. In West Africa, traditional architecture is
inherently sustainable: thick walls, shaded courtyards, small openings, and local materials
such as mud, clay, bamboo, and stone provide thermal comfort with minimal mechanical
systems.

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Modern museum architecture can adapt these principles by using passive cooling
strategies, natural ventilation, daylight harvesting, solar power, and green roofs.
Additionally, materials like adobe bricks, laterite, compressed earth blocks, and recycled
timber reduce both costs and carbon footprint.
Beyond environmental sustainability, museums must also be socially sustainable—
providing employment, promoting local craftsmanship, and fostering community
participation in programming and maintenance.

The Future of Museums in Africa
Post-pandemic realities have transformed the global museum landscape. Institutions
now explore digital outreach, decentralized collections, pop-up exhibits, and co-creation
models. African museums, often constrained by funding, can benefit by adopting hybrid
models that incorporate technology without sacrificing authenticity.
In Nigeria, there is growing momentum in cultural revitalization through festivals,
art markets, and indigenous film and music. A well-designed museum can serve as an
anchor for this cultural economy, bringing together artists, scholars, tourists, and
communities. Architectural design must therefore support flexibility, digital integration,
and evolving use cases.
Museums globally have evolved from passive repositories of artifacts to active
cultural hubs. According to Lord & Lord (1998), the role of the modern museum is to
engage audiences through interactivity, education, and storytelling. Nigerian museums,
while historically important, have often lagged in modern engagement strategies.
The project's literature review establishes that museums have evolved from static
repositories to dynamic cultural and social spaces. It draws on the work of theorists like
Suzanne Macleod and Victoria Newhouse to support the idea of a museum as an active,
engaging space.

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The design proposal includes three case studies:
Case Studies:

1. National Museum, Lagos, Onikan, Lagos Island, Lagos, Nigeria.
Established: 1957
Founder: Kenneth Murray
Collections: Nigerian art, including pieces of statuary and carvings and archaeological and
ethnorgraphic exhibits
Area: 5,000sqm
No of Floors: 2
Spaces: Exhibition, Galleries, Outdoor Sculpture garden,
Auditorium, Library, Conservation Laboratory and
Administrative Offices.

The Nigerian National Museum is a beacon of Nigeria's rich cultural heritage. Of note is
a terracotta human head known as the Jemaa Head (c. 900 to 200 BC), part of the Nok
culture. For a more immersive experience, visitors can hire a tour guide, who can expertly
navigate them through the museum's wealth of exhibits, ensuring that guests depart with a

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profound understanding of Nigeria's history and culture. The cost of
this cultural exploration is a modest 200 nairas for locals and 300 nairas for international
visitors, roughly equivalent to 1 US dollar, a small price to pay for the wealth of
knowledge and experience on offer.
The National Museum Onikan is home to a vast collection of artifacts that date
back to the pre-colonial era of Nigeria. The Federal Government of Nigeria currently
operates the museum. In addition to its collection of artifacts, the National Museum
Onikan also serves as a research center for scholars and students interested in Nigerian
history and culture. It offers educational programs and workshops for schools and the
general public, and its library is home to a wealth of resources on Nigerian art, history, and
culture. The main museum building is partly on two floors, while the rear part of the
museum is on only one floor. Other support functions of the museum are housed in
bungalows connected to the museum or even totally separated in the case of the museum
kitchen and the toilets.
Notable for its sculpture garden, cultural artifacts, and use of natural ventilation strategies
such as window blinds.
Lessons: Outdoor sculpture integration and passive design strategies can be adapted.

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2. National Museum of Unity, Ibadan, Alesinloye Area, P.M.B. 5524, Ibadan,
Oyo State

Established: 1973
Architect: Michael Adeyemi
Collections: Masquerade gallery, musical instruments such as
drums, royalties and effigies, pottery called Kula cultural
artifacts like Epa mask, Gallery of Unity, Ikoko
Area: 60,354sqm
No of Floors: 1
Spaces: Exhibition, Halls, Amphitheatre, Shop, Library, and Administrative
Offices.
The Ibadan National Museum of Unity is an ethnographic museum. The museum was
created to store cultural artifacts from Nigeria. The museum was inaugurated in 2002
under the supervision of the National Commission for Museums and Monuments. the
museum opened a new exhibition center to promote tourism in Oyo State, this exhibition
featured artifacts such as a Yoruba Shigidi figurine, Mumuye head mask, Ekoi Head
Dress, Benin Rooster Bronze and Edo Metal Bells. The museum contains traditional
textiles as well as exhibits explaining the history of Aso-Oke. The museum contains the
car of the Premier of the Western Region, Ladoke Akintola. museum contains a gallery
called "Gallery of Unity", in which various musical instruments are exhibited, including
the cylindrical drum called "Joko-tofofo", used to cure impotence. In addition, in the
pottery gallery, there are pots with perforations used for frying called "Ikoko".

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National Museum of Unity, Ibadan: Known for extensive Yoruba art collections,
adequate parking, and multiple galleries.
Lessons: A diverse range of exhibition spaces and adequate public amenities
enhance visitor experience.

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OBSERVATION
• High level windows give sufficient lighting
• Spacious Galleries with sufficient setbacks between artifacts and visitors
• Large doors to allow for the passage of large artifacts into the museum
• Use of primary security design elements - concrete walls & ceiling
• The high head room gives the gallery a magnificent feel
• Hidden compartments for service elements like air condition boxes & wires
• Poor maintenance of space - e.g. the terrazzo floors were not well polished and the
elements were covered in dust.
• All galleries have storage spaces and Lecture/seminar or temporary exhibition
spaces. Head room: about 4M
• All the galleries are fitted with high level windows, and the windows were had non-
reflection glass or art glass (which controls reflection from surrounding light sources and
gives visitors a great view of displayed works).
• LED lights were used because light is a diminishing factor for artefacts.
• Terrazzo floors because it doesn’t absorb moisture and reduces humidity
• Security and safety are chief design considerations for museums. So, no sandcrete
blocks were used for the Museum, all the walls and ceilings are with reinforced concrete.
• All the windows have burglary bars.
• All doors are steel security doors
• There is an Additional wall of protection outside the building to protect it from invaders.

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SPACES PROVIDED
• Exterior Car parks
• Entrance Foyer
• Reception desk
• Private offices
• 4 Galleries
• 4 seminar halls
• Workshop
• Labs
• 1 Quadrangle
• Recreational & relaxation area outside the Museum building

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3. Sunner Museum, Guangze County, Nanping City, Fujian Province, China
Established: 2024
Architects: Atelier Alter Architects
Area: 6800sqm
No of Floors: 2
Spaces: Exhibition, Galleries, Outdoor Sculpture Garden, Auditorium, Library,
Conservation Laboratory and Administrative Offices.

The group plans to build an industry museum, which will not only showcase its
outstanding achievements in agricultural science and technology and other fields over the
past four decades but also serve as a high-end platform for industry exchanges, making it a
dynamic knowledge hub that drives the development of modern agriculture.

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CONCEPT:
Adopting the concept of "recreating the mountain landscape", the architects aim to
seamlessly integrate the building with the landscape. Three curved roof surfaces that
gently rise from the ground and slightly tilt upward recreate the undulating appearance of
the Wuyi Mountains, forming suspended landscape courtyards. The interlocking design
between the roof surfaces ensures that the internal spaces are independent while
maintaining smooth traffic flow. When pedestrians climb onto the roof, they can enjoy a
panoramic view of the mountains, waters, and the factory area.


STRUCTURE:
The facade design draws inspiration from the folded steel plates of retaining walls,
using concrete folded plates to create a unique texture. The folded surfaces in different
areas vary in shape and function: in the lower areas, they resemble stable retaining walls;
in public spaces such as the entrance, they combine with glass curtain walls to form
transparent interiors. The gaps in the folded surfaces introduce light and scenery, and the
diagonal texture not only facilitates drainage but also cleverly hides the ventilation
louvers.

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INTERIOR:
The main exhibition hall is supported by four giant silo-shaped shear walls,
integrating facilities such as exhibition halls inside. The 25-meter-high vertical atrium
between the silos makes the exhibition hall column-free and spacious, facilitating the
display of large-scale installations. The north-facing skylight brings in soft light to the
exhibition area. In response to the hot and humid climate in Fujian, the building features
an inclined roof for rapid drainage and a roof with thick soil covering for heat insulation.
The lighting and functional layout are reasonably planned, and the equipment is hidden in
the technical layer of the roof, making the building resemble a green hill.

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Sunner Museum, China: Storytelling through architectural form, inspired by Wuyi
Kingdom’s agricultural heritage, with silo storage and atrium skylights.
Lessons: Narrative-driven design and integration of skylights/atriums improve cultural
storytelling and spatial quality.

4. Oman Across Ages Museum, Nizwa,Oman
Established: 2023
Architects: Cox Architecture
Area: 120,000sqm
No of Floors: 2
Spaces: Exhibition, Galleries, Auditorium, Library, Conservation Laboratory
and Administrative Offices.
Located in Nizwa, one of the oldest cities in Oman, the Museum is inspired by the
extraordinary landscape and geometric profiles of the Al Hajar Mountains and its canyons.
The Oman Across Ages Museum is a celebration of the country’s rich history, culture, and
economic growth over time while offering a compelling insight into Oman’s tomorrow.
The museum is a cultural and educational landmark for Omanis and visitors alike. The
sheer scale of the building as it rises from the desert floor and stretches to the horizon is
something to behold.

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CONCEPT:
As a cultural landmark, the museum transports visitors across the nation's 800-
million-year history through a series of immersive, high-tech experiences. The building
emerges from the landscape as a series of angular, geometric forms that sit in dialogue
with the backdrop of the peaks and ridges of the Al Hajar Mountain range. In harmony
with the architecture, the exhibition design celebrates Oman's rich heritage, dating from
prehistory to the modern day through the latest immersive technologies. The museum’s
design uses the full panoply of architecture’s potential for expression and communication.

STRUCTURE:
The design of the museum leverages scale, geometry, form, light, and vistas as both
expressive devices and opportunities for enhancing the visitor experience. The structural
system not only responds to the desired external form but also complements the internal
functional requirements, allowing for expansive, column-free gallery spaces within the
museum. This is achieved through extraordinary structural solutions, including a truss
system and rhomboid diagrid, enabling gallery spans of over 70-100 meters column free
and from 16m-30mhigh. This solution is very much aligned COX’s ethos of ‘doing more
with less’ and in our ongoing search for lightness and strength.

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The utilization of long span complex structures provides unobstructed areas,
allowing for architectural flexibility These long spans facilitate various arrangements and
internal uses, catering to the dynamic and changing requirements of the Oman Museum
Galleries, providing a stimulating, highly adaptable, and creative visitor experience.

INTERIOR:
The sheer scale of the building is something to behold. It includes galleries, a library
knowledge center, an auditorium, a workplace, artist-in-residence accommodation and
studios, conservation workshops, cafés, and social and research spaces. The permanent
exhibition space alone is 9,000 square metres and some galleries stretch more than 20
metres high. This gave us the freedom and space, literally and metaphorically, to create a
truly dramatic and utterly jaw-dropping visitor experience through installations and
displays on a scale that does justice to Oman's rich history.

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SUSTAINABILITY:
For the Oman Across Ages Museum, sustainability was considered in two stages:
sustainability during construction and sustainability in operation. During construction, the
choice of structural framing options played a pivotal role in determining the materials,
time, and processes required for constructing the superstructure. The aim was to reduce the
building’s operational energy requirements, which we achieved through the exploitation of
thermal mass to minimize cooling needs. The use of lighter framing solutions not only
reduces the overall quantity of materials embodied in the building frame but also in the
foundations and other supporting elements.
The museum’s design incorporates sustainable cooling through an underground
mechanical system that draws air through a labyrinth during both day and night time,
ensuring efficient temperature control. Additionally, the stone-clad large span roofing
serves as a key architectural element, necessitating meticulous attention to detail during
construction to address thermal movement, insulation, weatherproofing, in addition to
aesthetic attributes.


Oman Across Ages Museum: Conceptualized from the geometry of Oman’s mountains,
with steep angular forms and high-tech visitor experiences.

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Lessons: Geometry-inspired form-making and digital interactivity enhance global
relevance.

The Cocoa Museum project synthesizes these lessons into a uniquely Nigerian narrative,
rooted in cultural storytelling while embracing world-class museum design standards.

Case Study Insights & Design Integration:
1. National Museum, Lagos (Nigeria)
Key Features Adopted:
• Outdoor sculpture garden to blend art with landscape and invite public
engagement.
• Louvered window blinds for enhanced natural ventilation.
• Rich integration of cultural artifacts and stone cladding, offering both texture and
heritage.

2. National Museum of Unity, Ibadan
Key Features Adopted:
• Provision of ample parking space to support visitor accessibility.
• Emphasis on ancient Yoruba artifacts and collections, reinforcing cultural
identity.
• Inclusion of multiple gallery spaces and halls for exhibitions, public learning, and
community engagement.

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3. Sunner Museum, Wuyi Kingdom (China)
Key Features Adopted:
• Narrative-driven concept that celebrates regional identity inspired me to explore
cocoa heritage in Southwest Nigeria.
• Introduction of a storage facility for cocoa products, honoring Western Nigeria's
agricultural roots.
• Use of large atrium and skylight for daylighting and spatial drama.
• Inclined roof form for efficient rainwater drainage and contextual aesthetic.

4. Oman Across Ages Museum (Oman)
Key Features Adopted:
• Concept derived from mountain geometry, showcasing bold angular forms
and symbolic abstraction.
• Emphasis on lightweight construction and high-tech expression tools (AR,
immersive displays) to elevate visitor experience.
• Use of geometry and light interplay to shape a futuristic yet grounded
cultural space.

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6. Methodology (Design-Based Research)

The research adopts a Design-Based Research (DBR) methodology, which bridges
the gap between theoretical inquiry and practical application. This method allows
architectural exploration to be grounded in real-world challenges while simultaneously
generating innovative design solutions. The approach involves iterative design
development, site analysis, cultural context research, precedent studies, and feedback
integration from supervisors and peers.
This methodology allows for the development and testing of new knowledge and creative
solutions through the act of design itself. The process involves several key steps:
 Pre-design: This phase includes the initial research, problem identification
(the need for a modern cultural landmark), and a literature review.
 Design: The core of the methodology is the creative process of developing
the architectural proposal. The design addresses the identified problem by
blending modern architecture with Nigerian identity.
 Post-design: This involves the evaluation and presentation of the proposed
solution, using architectural drawings and perspectives to communicate the
design's effectiveness and potential impact.
Key steps of the DBR process include:

i. Identifying the problem: Nigeria’s lack of world-class museums and the need for
cultural storytelling.
ii. Developing conceptual framework: Cocoa pod as narrative concept reflecting
Ibadan’s heritage.
iii. Iterative prototyping: Sketches, 3D models, site analysis diagrams, and design
reviews.

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iv. Testing solutions: Peer and supervisor critique of drawings, spatial flow, and
sustainability features.
v. Refinement: Incorporation of feedback into technical drawings, exploded details,
and final presentation outputs.

This methodology ensures that the Cocoa Museum design is not just visionary but also
contextually appropriate, technically feasible, and educationally impactful.

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7. Design Proposal Summary (Narrative, Materials, Functions)

The design for the museum is inspired by the cocoa pod, a historically and
economically significant symbol of Ibadan, the former capital of the Western Region. The
architectural form reflects the pod's organic shape and textured surface.

NARRATIVE
The Cocoa Museum’s architectural narrative is derived from the “form of a cocoa
pod”, a crop historically central to Ibadan and Oyo State’s economy. Seen from above, the
building resembles a massive cocoa pod resting on the landscape, symbolizing fertility,
heritage, and cultural wealth. The pod’s ridges (inducted lines) are interpreted
architecturally as circulation spines, guiding visitors through thematic zones.
The design tells a story through its form and function, with spaces that guide visitors
through a curated experience.
Key Design Elements:
Atrium Spine: A central atrium runs across the building, acting as a linear core for
daylighting and spatial orientation.
Spiritual Tunnel: A dark immersive cave-like tunnel with sculpted motifs narrates
Nigeria’s historical struggles, enhanced by neon lighting.
Sculpture Garden: Outdoor integration of African art and indigenous trees (Neem, Iroko,
Frangipani) provides a cultural landscape.
Flexible Galleries: Modular walls and partitions allow dynamic exhibition setups.
Revenue Spaces: Café, gift shop, seminar halls, and cinema incorporated for IGR.

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MATERIALS
The building utilizes sustainable materials like rammed earth, bamboo cladding,
and terracotta to interpret the cocoa pod's texture. The design also incorporates Building-
Integrated Photovoltaics (BIPV) on the roof to generate energy and reduce the building's
environmental impact.
Roof: Curved reinforced concrete shell with aluminium cladding and integrated solar
panels.
Structure: Steel space frame roof system, reinforced concrete foundations and walls.
Walls: Gypsum partitions with metal studs for interiors, terracotta cladding externally.
Flooring: Combination of polished concrete, glass floors, and terracotta pavers.
Sustainability: Rainwater harvesting, solar energy integration, passive cooling, and natural
ventilation.

FUNCTIONS
The museum program includes permanent and temporary galleries, workshop
studios, auditorium/cinema, spiritual tunnel, sculpture garden, café/restaurant,
administrative offices, and storage spaces for cultural artifacts (including cocoa heritage
storage in the basement). The total plot area is 5,183.88 sqm, with a total building
footprint of 1,554 sqm and a total floor area of 2,359.93 sqm.
Design Considerations for Cocoa Museum, Ibadan.
1. Cultural Representation
The design takes inspiration from the cocoa pod, a historic and cultural symbol of
Ibadan and Oyo State. This narrative form ensures that the building is not just a container
of artifacts but an artifact itself — telling Nigeria’s story of heritage, agriculture, and

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resilience. Materials like terracotta, stone, and African motifs enhance the cultural
identity of the architecture.
2. Climate Responsiveness
Given Ibadan’s tropical wet-and-dry climate, the design emphasizes passive cooling
strategies:
 North–south orientation to reduce solar heat gain.
 Deep roof overhangs and terracotta cladding to buffer heat.
 Natural ventilation through atrium spine and operable louvers.
 Rainwater harvesting integrated into roof design.
3. Visitor Experience
The museum prioritizes immersive storytelling. Visitors journey from the spiritual
tunnel (dark history) into light-filled galleries and sculpture gardens (celebration of
heritage). Flexible interior partitions allow changing exhibitions, while outdoor spaces
like the sculpture garden create contemplative, interactive experiences.

4. Security & Artifact Conservation
Security is critical for artifact protection and visitor safety:
 Perimeter fencing with controlled access points.
 CCTV monitoring and discreet security posts.
 Climate-controlled storage and galleries for sensitive artifacts.
 Fire suppression and humidity control to meet conservation standards.

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5. Accessibility & Inclusivity
The design adopts universal design principles to ensure inclusivity for all visitors:
 Ramps and elevators alongside stairs.
 Tactile paving for visually impaired.
 Wide circulation corridors for wheelchair users.
 Accessible restrooms and designated parking bays.
6. Revenue Generation Potential
To ensure financial sustainability and support Internally Generated Revenue (IGR), the
design integrates:
 Multipurpose hall and seminar spaces for rentals.
 Rooftop café/restaurant with panoramic views.
 Gift shop featuring local crafts.
 Paid workshops and digital immersive exhibits.
7. Sustainability
Sustainable strategies reduce operational costs and environmental impact:
 Solar panels integrated on the curved roof.
 Rainwater harvesting system for landscape irrigation.
 Low-energy LED lighting and smart control systems.
 Use of local building materials to reduce embodied energy.

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8. Technological Integration
Technology enhances both functionality and visitor engagement:
 Augmented Reality (AR) and Virtual Reality (VR) stations in galleries.
 Smart building management systems (lighting, cooling, security).
 Interactive digital walls for storytelling.
 Mobile app integration for tours, ticketing, and guided navigation.

Spatial Requirements for Cocoa Museum, Ibadan.
These are the core and support spaces your museum design needs to function
effectively. They’re grouped based on user flow, function, and importance.
Public & Exhibition Spaces
1. Entrance Foyer / Reception Area
o Security screening
o Info desk & ticketing booth
2. Permanent Gallery Spaces
o Yoruba heritage
o Pre-colonial & post-colonial art and heritage
o Sculpture garden transition zone
3. Temporary Exhibition Gallery
o Flexible wall panels and lighting
o Space for rotating exhibits or guest curation

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4. Interactive / Digital Experience Zone
o AR/VR stations
o Multimedia storytelling wall
5. Atrium / Central Courtyard
o Natural lighting, gathering point
o Cultural sculpture or water feature

Educational & Program Spaces
6. Learning Studio / Workshop Room
o For art classes, talks, community programs
7. Lecture/Multipurpose Hall
o 150–200 seats for seminars, performances

Support & Administration
8. Offices (Admin & Curatorial)
o Museum director, curators, IT/tech support
9. Library & Archives
o Reading lounge, reference section, archive vault
10. Artifact Storage
 Climate-controlled

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 Cocoa heritage preservation unit

Revenue-Generating Areas
11. Museum Café / Rooftop Lounge
 Light refreshments, views, chill-out space
12. Gift Shop / Bookstore
 Locally made crafts, books, merch
13. Outdoor Sculpture Garden & Event Area
 Rentals for weddings, shows, etc.

Other Functional Spaces
14. Restrooms (Male, Female, Accessible)
15. Service Yard & Delivery Area
16. Ample Car Parking
 Staff, VIP, and general visitors

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8. Socioeconomic Impact & IGR Forecast

A new museum of this scale in Ibadan has the potential to generate significant
socioeconomic benefits. It would not only preserve cultural heritage but also become a
source of revenue and job creation. The revenue generated from tourism can be channeled
back into the maintenance of the museum and the preservation of other heritage sites.
The Cocoa Museum is envisioned as a catalyst for both cultural revival and socioeconomic
development in Ibadan and Nigeria at large.

Socioeconomic Impacts:
Tourism Boost: Positioned as a cultural landmark, the museum attracts both local and
international tourists.
Job Creation: Construction phase generates skilled and unskilled jobs; operation phase
provides employment for curators, guides, security, and facility managers.
Education & Research: Serves as a hub for cultural education, with workshops, seminars,
and school programs.
Community Engagement: Public spaces such as sculpture gardens, event halls, and cafés
foster community interaction.

While museums in Nigeria currently face challenges like low visitation due to
economic struggles, a world-class facility with a strategic business model can improve its
Internally Generated Revenue (IGR). Future IGR forecasts for the museum should
consider a diversified revenue model beyond just ticket sales. This includes:

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IGR Forecast:
Ticket Sales: Entry fees for permanent and special exhibitions.

Retail & Dining: Revenue from cultural gift shop and rooftop café/restaurant.

Events & Rentals: Income from multipurpose halls, cinema, and workshop spaces.

Workshops & Digital Exhibits: Paid immersive digital experiences and artisan
workshops.

Partnerships: Collaborations with private sector establishments, similar to what has been
suggested for tertiary institutions in Nigeria.
To improve its financial viability and IGR, the museum should adopt modern,
transparent, and technology-driven approaches, such as leveraging digital platforms for tax
administration and ticket sales, and increasing public awareness.
Financially, the museum could attract state and private sector support while
reducing long-term costs through sustainable energy and water systems. This positions the
project not only as a cultural landmark but also as a self-sustaining economic entity.

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9. Conclusion and Recommendations

The Cocoa Museum of Nigerian Arts and Culture represent an ambitious yet
contextually grounded vision: to use architecture as a tool for cultural renaissance. By
rooting its concept in Ibadan’s cocoa heritage, the design achieves both symbolic depth
and narrative richness. Through integration of sustainable practices, innovative
storytelling, and revenue-generating spaces, the museum is positioned as a cultural,
educational, and economic landmark.
The proposed Museum of Nigerian Arts and Culture is more than just a building; it
is a strategic architectural intervention aimed at cultural renaissance in Nigeria. By
combining a modern, sustainable design with a rich cultural narrative, the project seeks to
establish a new paradigm for cultural institutions in the country. The design's focus on
interactivity and multi-functionality directly addresses the need for museums to be
dynamic and engaging spaces that can compete with other entertainment options.
Recommendations:
 Phased Development: To manage initial costs and risks, the project could be
developed in phases, with core exhibition spaces and revenue-generating functions
being prioritized.
 Strategic Partnerships: The museum should actively seek public-private
partnerships to secure funding, enhance operational efficiency, and expand its reach.
Encourage government and private partnerships for long-term sustainability.
 Digital Integration: The implementation of digital technologies for everything
from ticketing to interactive exhibits will be crucial for a modern and profitable
operation. Adopt digital technology (AR/VR, interactive media) to enhance
storytelling and global reach.

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 Community Engagement: The museum should establish strong ties with the local
community in Ibadan to ensure it remains a relevant and beloved institution.
Strengthen cultural tourism networks across Nigeria by linking the museum to other
regional attractions.

Ultimately, the Cocoa Museum demonstrates that architecture, when carefully
designed, can transcend aesthetics to become a catalyst for cultural pride, socioeconomic
growth, and international recognition. It is a step toward redefining Nigeria’s identity
through built form while contributing meaningfully to the broader African heritage
discourse.

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10. References

Lord, G. D., & Lord, B. (1998). The manual of museum planning. Rowman & Littlefield.
Falk, J. H., & Dierking, L. D. (2016). The museum experience revisited. Routledge.
Dean, D. (1996). Museum exhibition: Theory and practice. Routledge.
Okpoko, P. U. (2011). Issues in tourism planning and development. Nsukka: Afro-Orbis Publishing Co.
Adeyemi, E. A. (2008). Architecture and tourism development in Nigeria. Journal of Environmental
Design and Management, 1(1), 45–56.
National Commission for Museums and Monuments (NCMM). (2020). Nigerian museums and cultural
heritage. Abuja: NCMM Publications.
Udo, R. K. (1970). Geographical regions of Nigeria. University of California Press.
Yusuf, B. (2019). The future of Nigerian cultural tourism. African Journal of Tourism Studies, 5(2), 112–
128.
Smithsonian Institution. (2022). Annual report on global museum attendance. Washington, D.C.:
Smithsonian Institution.
UNESCO. (2015). Museums and cultural landscapes. International Council of Museums (ICOM) Report.