BORN in 1935 in Idumuje Ugboko, Nigeria, Nwoko grew up in a culturally rich environment, exposed to traditional building practices and art forms. He studied fine arts at the Nigerian College of Arts, Science, and Technology in Zaria, now Ahmadu Bello University, where he was part of the Zaria Art Society. This group promoted natural synthesis, combining African art traditions with Western innovations. Ahighly acclaimed Nigerian artist, architect, and designer, some of his notable works include the Dominican Institute, his first major architectural project showcasing African motifs and modern techniques, the Akenzua Cultural Center, a blend of Japanese and Greek designs in an African setting, and the New Culture Studios, a community arts institution in Ibadan featuring a unique blend of traditional and modern architecture. He has also created stage designs for various plays, including Wole Soyinka’s “A Dance of the Forests” and Amos Tutuola’s “Palmwine Drinkard.” His work is guided by the concept of “New Culture,” emphasising the importance of cultural heritage and sustainability in design. He believes in using local materials and techniques to create innovative and culturally relevant architecture. He received the Golden Lion for Lifetime Achievement at the 18th Venice Biennale of Architecture in 2023, recognising his contributions to Nigerian art and architecture. He’s also an Officer of the Order of the Niger (OON).

… A life of purpose. A vision that never bowed

Tribute to Prince Demas Nwoko at 90

AT ninety, Prince Demas Nwoko is not a celebration of age, but of impact. His life has been a quiet harvest of meaning, built with discipline, depth, and unwavering integrity. He listened first—to land, to history, to memory—before he ever created. That is why his work carries such weight.

From our early days of searching for a modern African voice, Demas chose the harder path: no shortcuts, no borrowed identities. He showed us that Africa was already enough—if only we learned to see clearly.

To Victoria, our children, and me, he is not only a master of form, but a master of character. He reminds us that talent may rise quickly, but character alone survives time. True authority, he taught us, grows quietly until history leans upon it.

At ninety, we celebrate not just a man, but a reference point. A life of purpose. A vision that never bowed.

Prince Demas Nwoko stands among the immortals—still teaching, still shaping the future.

Prof. Bruce Onobrakpeya,
His Wife Victoria, and Their Children

….The genius behind Nigeria’s modern art movement

For Demas Nwoko, architecture transcended the realm of structures; it became a medium for elevating and representing African culture. He founded the New Culture Magazine in the 1970s, a beacon for contemporary art and culture enthusiasts. Every building, every painting, and every sculpture he created served as a testament to his philosophy, intertwining art, design, and architecture in a neo-traditionalist narrative that placed Nigerian art at the forefront of global creativity

IN the vast expanse of Nigeria’s artistic and architectural narrative, few figures are as pivotal and influential as Demas Nwoko. Through his brushstrokes, designs, and buildings, Nwoko not only captured the essence of Nigeria’s rich cultural heritage but also projected a vision for its future. This multifaceted genius has been a beacon of innovation, seamlessly blending African tradition with contemporary aesthetics. Let’s embark on a journey through the life and works of this remarkable visionary.

Early Life and Inspirations:

Born in the picturesque town of Idumuje Ugboko, Nigeria, in the year 1935. Demas Nwoko’s birthplace holds a pivotal role in understanding the essence of his artistry. He was born into the royal lineage as the son of Obi (King) Nwoko II. This regal heritage cast a long shadow of influence on his life and work. The architectural marvels of his ancestral palace, adorned with intricate designs and rooted in the rich Benin traditions, provided the young Nwoko with a profound connection to his cultural heritage. The very walls of his village whispered stories of centuries-old craftsmanship, setting the stage for his artistic journey.

The Zaria Art Society Revolution

Demas Nwoko’s formal artistic education commenced at the Nigerian College of Arts, Science, and Technology in Zaria, where he spent four transformative years from 1957 to 1961. Zaria was not just an academic institution for Nwoko; it was the crucible where his artistic vision was forged. Here, he joined forces with other visionary artists to co-found the Zaria Art Society, a movement often referred to as the ‘Zaria Rebels.’ This pioneering group challenged the artistic status quo of the time, advocating for a ‘natural synthesis’ that seamlessly blended Western artistic approaches, imparted by colonial educators, with the rich tapestry of African themes and narratives. Through their art, they sought to ensure that African culture was not only preserved but also prominently represented in the emerging modern art landscape.

From Zaria to Paris and Back

Nwoko’s thirst for knowledge and artistic exploration led him to the city of lights, Paris, where he delved into the world of theater architecture and scenic design at the Centre Français du Théâtre in 1961. However, the call of Africa was resounding, and he returned to Nigeria with newfound skills and experiences. His passion for the arts and the cultural revivalism sweeping the nation converged, resulting in the establishment of the Mbari Writers and Artists Club. This unique artistic initiative served as a meeting point for African and Western modernist aesthetics, embodying the spirit of a newly independent nation.

Return to Nigeria: A Creative Renaissance

Upon his return to Nigeria, Demas became a lecturer at the University of Ibadan’s School of Drama. It was during this period that he also founded spaces like the Mbari Writers and Artists Club. This establishment played a pivotal role in fostering a new art form that elegantly combined African and Western aesthetics.

Architectural Marvels

Demas Nwoko’s architecture is a testament to his brilliance. With projects such as the Dominican Institute in Ibadan and the Akenzua Cultural Centre in Benin City, he effortlessly blended modern techniques with African tradition. These projects, alongside others, highlighted his commitment to sustainability, especially his advocacy for using local materials in construction.

Notable Projects by Demas Nwoko:

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  Akenzua Cultural Centre, Benin City: A masterpiece of modern African architecture, this cultural center stands as a testament to Nwoko’s commitment to preserving and celebrating Nigerian culture. (Image credit: Andrew Esiebo)

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  The Benedictine Monastery, Edo State:Nwoko’s architectural prowess is on full display in this serene and spiritually significant structure, which seamlessly blends modern design elements with a deep reverence for tradition. (Image credit: Andrew Esiebo)

2. Nwoko’s first commission, in 1970, was a chapel for the Dominican Institute in the Nigerian city of Ibadan. Made of locally sourced materials, its landmark bell tower evokes both Christianity’s crown of thorns and the roof corner pinnacles of vernacular Hausa architecture (Image credit: Andrew Esiebo)
3. 

   New Culture Studios:Perhaps his most renowned work, this studio embodies his philosophy of merging modern design techniques with traditional African artistry, creating a space that fosters creativity and cultural expression. (Image credit: Andrew Esiebo)

5. 

   Nwoko’s home-cum-studio in Idumuje-Ugboko. Inspired by the Roman impluvium courtyard, its central lightwell is clad in fibreglass and brings sunlight and rainwater to the potted plant below. (Image credit: Andrew Esiebo)

   Various other private residences, cultural centers, and public buildings:Demas Nwoko’s influence extends beyond these notable projects, with his architectural imprint gracing numerous structures throughout Nigeria and beyond.

Beyond Brick and Mortar

For Demas Nwoko, architecture transcended the realm of structures; it became a medium for elevating and representing African culture. He founded the New Culture Magazine in the 1970s, a beacon for contemporary art and culture enthusiasts. Every building, every painting, and every sculpture he created served as a testament to his philosophy, intertwining art, design, and architecture in a neo-traditionalist narrative that placed Nigerian art at the forefront of global creativity.

A Legacy Recognised

In 2023, the world turned its gaze towards this Nigerian gem when Demas Nwoko was awarded the coveted Golden Lion for Lifetime Achievement at the Venice Biennale of Architecture. This accolade was a fitting tribute to a life dedicated to art, design, and architecture.

Final Thoughts

Demas Nwoko is not just an architect or artist; he is a legacy, a movement, and an inspiration. His works have shaped the discourse of Nigerian modern art and will continue to do so for generations to come. Let us celebrate this trailblazer whose artistry transcends borders and time.

• https://africanscolumn.com/celebrating-demas-nwoko-the-genius-behind-nigerias-modern-art-movement/

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The pioneering architecture of Nigerian artist-designer Demas Nwoko

The work of pioneering Nigerian artist-designer Demas Nwoko has stood the test of time; as he is awarded the Golden Lion for Lifetime Achievement at the Biennale Architettura 2023

By Ijeoma Ndukwe

ARCHITECTURE, painting, sculpture and design – Demas Nwoko has been celebrated in every area of his creative endeavours. He is a pioneer of Nigeria’s modern art movement, and his architecture is innovative while drawing on traditional African construction, belying his lack of formal architecture training (he prefers the title ‘artist-designer’). He is particularly known for developing mitigations for the tropical climate, promoting principles of sustainability decades before it came to dominate mainstream thinking, and influencing a younger generation of architects.

The son of a traditional ruler, Nwoko was born in 1935 in Idumuje-Ugboko, a rural town in southern Nigeria, and he cultivated his talent in painting, drawing and carving at secondary school in Benin City, where he moved in 1951. Nwoko initially planned to study architecture at Nigeria’s College of Art, Science and Technology, based in Zaria, but on discovering that the course primarily focused on developing technical drawing skills rather than creative expression, he pivoted to fine arts. The curriculum did not include African art, even though traditional African art was already influencing fine arts in Europe, prompting Nwoko and fellow students, including Yusuf Grillo, Uche Okeke, Bruce Onobrakpeya and Simon Okeke, to create the Zaria Art Society. They promoted the idea of ‘natural synthesis’, combining their Western art education with African ideas. Later, the group became popularly known as the ‘Zaria Rebels’. ‘Some saw it as a rebellion against the way art was being taught, but I didn’t see it that way. We were only trying to complement. We weren’t at all rebellious,’ says Nwoko. ‘In fact, we were most friendly with our teachers.’

Demas Nwoko: work and life

Art school was followed by a year-long scholarship in Paris to study theatre, stage design and fresco painting. In 1962, he returned to Nigeria to lecture at the newly- formed School of Drama at the prestigious University of Ibadan. During this period, Nwoko and his colleagues from the Art Society, along with their peers across the arts, created a postcolonial modernist collective. They went on to establish spaces such as the Mbari Writers and Artists Club, developing a new art that blended African and Western modernist aesthetics, forms and processes to reflect the spirit of political independence. Nwoko remembers ‘there were a few of us saying that the new should grow out of the old, while the rest were swept [away] with modernisation.’

Nwoko laments Nigeria’s reliance on the West for imported materials and goods, and is committed to sourcing local materials and resources. Drawing on vernacular architecture across Africa, he applies ancient practices to solve contemporary problems. He says, ‘If we had kept faith with how our own ancestors did it, we would have reached a certain level with sensible management of natural resources for even the Western world to learn from. They’re using far too much energy for whatever they’re achieving.’

Nwoko’s first commission, in 1970, to build the complex for the Dominican Institute in Ibadan, was serendipitous. He was approached by members of the Ibadan chapter of the Dominican Order to design a plaque for their altar, after they had visited an exhibition of his terracotta sculptures. When Nwoko discovered that they were yet to build the chapel, he volunteered his services as an architect. ‘I was landed with a commission to build an African chapel without any formal architectural training. I had to train myself in architectural drawing,’ he says. He later went on to also design the living quarters and education spaces for the Institute.
Nwoko’s design for the chapel was based on a paper he had written about art in religion, synthesising all religions around the world into a single structure. He used the towers of the ancient adobe mosques of Timbuktu in Mali as a central motif, and added to the design as he would when painting or sculpting. ‘Painting, you build it up. Sculpture, you build it up. You keep adding things depending on what you want to express, the aesthetic message you want to send out. So everything grew,’ he says.

The most distinguished feature of the chapel at the Dominican Institute is the magical quality of the light, according to Joseph Conteh, a British-Sierra-Leonean architect who studied Nwoko’s work as part of his seven-year research project into African architecture. Conteh explains that the light enters the altar from above, making a direct reference to God in heaven. ‘The light comes in, it filters, it diffuses,’ he says, describing the beauty in the way Nwoko plays with the ever-changing natural resource.

The details within the building are impeccable, including 12 individually carved columns reflecting the 12 disciples in the Christian Bible, and the striking free-form design of the stained glass panels. Externally, the reinforced concrete tower is an intricate, sculptural element rising up to the highest point of the site, while elaborately worked metal is used as functional and decorative screens on the building’s exterior. Nwoko says he specifically sought to include ‘the aesthetic essence of African art’ in his architecture. That being, ‘the expressionistic tendency – the highly expressive nature of making forms and colour to come to life. Generally in life, every article of use was imbued with such creative expressions, both in form and colour, which every citizen, irrespective of class, enjoyed.’

In 1977, two years after the institute’s completion, critic Noel Moffett wrote in the journal of the Royal Institute of British Architects: ‘Here, under a tropical sun, architecture and sculpture combine in a way which only Gaudí perhaps, among architects, has been able to do so convincingly.’ It continues to be considered an architectural landmark today.

Nwoko started building his New Culture Studio and private residence in Ibadan in 1967. The project, which remains a work in progress, started as a private space for his own use, but was later extended and changed into a publicly accessible art hub. It also became a model for the Oba Akenzua Cultural Centre, a public building in the ancient city of Benin, the capital of Edo State in southern Nigeria. Nwoko started work on the Benin City project in 1972. However, according to John Godwin and Gillian Hopwood’s 2007 publication The Architecture of Demas Nwoko, the Cultural Centre suffered from ‘intermittent funding’ and therefore did not open officially until 1993.

Nwoko’s private residence was his opportunity to experiment with laterite, a type of soil commonly found in Nigeria. It was typically used in Nigerian vernacular architecture, but the government had banned its use in construction. ‘Most of the towns were all built in mud and most of those buildings are still standing to this day,’ Nwoko says. ‘They’re more than 100 years old. They’re durable and very conducive to our environment, so I don’t see why we’ve thrown them away.’ He managed to circumvent the law by adding ten per cent cement to the laterite in order to form what he calls ‘latcrete’ blocks. These blocks were also used in the outer cladding of the Akenzua Cultural Centre, mimicking the façade of the closely situated Oba’s palace.

An amphitheatre inspired by Greek theatre takes centre stage at the studio and residence in Ibadan, which is arranged over three floors and occupies 300m of hillside. Nwoko visited the ancient Greek amphitheatre in Epidaurus, drawing connections between the site and the small theatre within his father’s palace in Idumuje- Ugboko. With the studio’s amphitheatre, he was keen to enhance the audience’s experience of African theatre by recreating the acoustics of traditional Greek theatre, without the use of elaborate sound panelling and engineering. He transferred those learnings to the project in Benin City.

Above and below, opened in 1993, Nwoko’s Oba Akenzua Cultural Centre in Benin City features a grids of small windows for ventilation and a striking geometric façade in latcrete (a mix of cement, sand and local pebble-filled lateritic soil devised by Nwoko)

A striking example of Nwoko’s translation of indigenous aesthetic sensibilities into modern forms and materials is the home and studio in his hometown of Idumuje-Ugboko, where he has lived since 1977. The signature pitched overhanging roof, which ‘crowns’ the building is emblematic of his work and references traditional houses from the 1920s in south-eastern Nigeria, while the ridged external columns mimic the fluted walls found in the Oba’s palace in Benin City.

The construction of this rural home provided the perfect opportunity to apply ventilation principles originally explored at his residence in Ibadan. The central feature is an atrium with a fibreglass lined funnel, or impluvium, entering the space from above. This captures and carries a controlled stream of rainwater from the roof into the house, helping to cool its interior. As light translates to heat, Nwoko designs his houses with subdued natural illumination, creating a sense of serenity to the cool environment.

The laterite blocks created an insulating effect, helping to control internal temperatures. Nwoko explains in Godwin and Hopwood’s book that ‘comfortable room temperatures are achieved when air is let in and out of the house at a slow rate […] through carefully provided openings both at the ground level and above the head’. Conteh highlights exquisite details such as the carved doors, which differ in design on either side. He also points to what he calls the ‘variation in similarity’ of the brickwork. It appears uniform, but there’s subtle variation in the pigmentation of each brick. This reflects Nwoko’s aesthetic principle that one should always discover something new when observing the same object.

Adeyemo Shokunbi, architect and co-creative director at Patrickwaheed Design Consultancy, says the project’s materiality, spatial arrangement, and the way Nwoko » manipulates heat and light are a huge source of inspiration. ‘It doesn’t have any mechanical means of ventilation,’ he says, referring to the highly effective cooling principles applied. ‘Everything is natural.’

Once discovered, Nwoko’s buildings are cherished and embraced. However, many architects around the world remain unfamiliar with them. Olufemi Majekodunmi, the former president of the International Union of Architects, says the designer was never mentioned or taught during his many years in academia in Nigeria. ‘Maybe it’s because we have this penchant for academic qualifications,’ Majekodunmi says. ‘His work should be studied more. He was much more innovative than those of us who went to architecture school.’ British-trained Shokunbi says his entire design perspective shifted after discovering Nwoko’s work and philosophies. Apart from adding laterite to his palette of materials, he’s more intentional about how to create ‘within the context of where I’m practising my architecture’.

Nwoko’s legacy is undoubtedly his demonstration of how tradition and modernity, and African aesthetics alongside internationally developed practices, can create innovative and effective responses to design questions. He warns against building ‘a world without people’ through the large-scale industrialisation model of development that employs destructive and unsustainable building practices.

Nwoko continues to use his work as an artistic expression of what Nigeria could become if it harnessed its resources. He recently completed the design for a new chapel in Ewu, a town not far from Idumuje-Ugboko, and construction is expected to start in the coming months. He plans to complete the New Culture Studio in Ibadan, addinga long-awaited retractable roof to the amphitheatre, and furniture he has designed. Following this, he wants to launch a design school where architects and artisans can come together to learn and explore ideas. Books about his life and projects are also in the works. ‘My joy is people enjoying the work, and that’s the beginning and end of the work for me,’ Nwoko says. ‘I’m just a designer and I design solutions.’

Ijeoma Ndukwe is an award-winning writer and journalist based in London. Her work has been published and broadcast on international platforms including the BBC, Al Jazeera and The New York Times.

With contributions from

• Andrew Esiebo – Photography
• https://www.wallpaper.com/architecture/architecture-artist-designer-demas-nwoko-nigeria

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