The Calabar Sculpture Garden - Design Book

The Calabar Sculpture Garden

Design Thesis by Stephanie Idongesit Ete

Project Location: Calabar, Cross River State, Nigeria

Mentored by Jo Barnett

Committee Members:

Remco Rolvink & Joseph Litchfield Conteh

1.0 INTRODUCTION

1.1 Fascination

1.2 Context

2.0 LOCATION

2.1 The City

2.2 Old Calabar

2.3 Cultural Context

3.0 LOCATION

3.1 The History of the Botanical Gardens

3.2 The Botanical Gardens Today

3.3 Site Analysis and Opportunities

CHAPTERS

4.0 TOOLBOX

4.1 The Ukara Cloth

4.2 Vernacular Construction

4.3 Old Calabar Courtyard

4.4 Demas Nwoko

4.5 The Akwanshi

5.0 DESIGN BRIEF

5.1 Design Objectives

5.2 Programme and Users

6.0 CONCEPT

6.1 Layers and Hierarchy

6.2 Family of Buildings

7.0 DESIGN

7.1 The Gardens

7.2 Edges

7.3 The Festival Pavilion

7.4 Monument of The Lost Monoliths

7.5 The House of the Akwanshi

7.6 The Garden Compound

8.0 SUMMARY

8.1 Conclusion and Reflection

APPENDIX

i. Image Attributes and References

ii. Contributors and Special Thanks

INTRODUCTION

1.1 | Fascination

Fascination

At a time where museums across Europe and North

America are confronting the legacy of colonialism and its

taint on their collections, sparking a debate on the return

of looted goods, I find myself in a museum in South East

Nigeria, in the City of Calabar.

The space was uninviting and felt no different from and

old office building or elementary school. Not at all like

a museum and yet, I am vigorously eyed by the museum

guide to ensure my respectful behaviour. Approaching

the final exhibition room, I fixate on the blue prikboard,

mounted on wall, displaying photographs of indigenous

artefacts.

Photographs of indigenous artefacts.... rather than the

artefacts themselves. A sadness and frustration rushed

over my body as I found myself grieved by the museum’s

physical separation from its items of heritage and also

how lacking it was of the essence of the culture from

which the objects came.

The museum was hollow.

GREAT

BRITAIN

GREAT

BRITAIN

GREAT

BRITAIN

GREAT

BRITAIN

OVERLOOKING

FORMER BRITISH

TERRITORY

Old Residence,

Calabar National

Museum

OLD MILITARY

BARRACKS

Slave Trade Museum

Calabar

FORMER

SLAVE PORT

1.2 | Context

Context

In the city of Calabar as well as Cross River State as a whole, cultural

heritage is falling into disarray for a vast number of complexed reasons.

This has meant that the artefacts and objects, both natural and manmade

that exist and add to the identity of Calabar’s cultural space could

disappear or become ever more tenuous in the coming years.

Simultaneously, vast collections of Calabarian art and culture are in

Western museums, furthering the disconnection between Calabarians

and their art and cultural heritage in museum spaces. The museums

that are maintained in Calabar are relics of a colonial influence both in

function and form but more importantly, fail to capture the essence of

a locally distinctive cultural space.

What would it mean, therefore to imagine the culturally rich museum

space that Calabar deserves and that taps into the 3 branches of

Calabar’s identity: ethnic traditions, history & heritage and ecology,

flora & fauna.

LOCATION

Benin

Nigeria

Lagos Lekki

Benin

City

Asaba

Onitsha

Warri

Calabar

Cameroon

Port

Harcourt

Cross River

State

Cameroon

Rivers and Estuaries around Calabar

2.1 | The City

Calabar Municipal

Calabar South

1990

2000

2010

2016

0 1 2 3 4 5km

The City

The city of Calabar is located in the South East of Nigeria. Calabar is

the capital city of Cross River State which is in the Niger Delta Region

of Nigeria and boarders Western Cameroon. Cross River State is about

20,156 km2 whilst the city of Calabar only occupies 406 km2 which

makes it about 1/50th the size of the entire state. The estimated

population in the Calabar Metropolitan Area for 2020 is approximately

570,000 inhabitants.

Calabar is a coastal, port city that sits between the Calabar River and

The Great Kwa Rivers and the creeks of the Cross River (from its

inland delta). Today, the city is split into two Local Government Areas.

Calabar Municipal and Calabar South. The urban core of Calabar is

quite compact but you can tell that the city is expanding to the north

as the city is bordered in the East, west and south by water bodies and

low-lying grounds. In a period of 24 years it is clear to identify that

the lower urban region of Calabar is the oldest part of the city and the

northern expansion and growth of Calabar municipal is fairly recent.

OLD CALABAR

Creek Town

(Ikot Itunko)

Old Town

(Obutong)

Duke Town

(Iboku Atapka)

Henshaw Town

(Nsidung)

2.2 | Old Calabar

CREEK TOWN

OLD TOWN

HENSHAW TOWN

CALABAR

CROSSING

OLD CALABAR

REACH

CALABAR

CROSSING

DUKE TOWN

Duke Town shown

on both sides of

the river

Old Calabar

Much of Calabar’s urban character is influenced by the colonial towns

of Old Calabar; Creek Town and Duke Town. To understand the growth

pattern of the city it helps to identify the old colonial city. Old Calabar,

consisted of Old Town, Duke Town and Creek Town. However, Creek

Town is no longer considered a part of the modern city, but in those

times would have been only a short journey away by boat.

The colonist defined the city territories on both sides of the Old

Calabar River. Looking at this map from 1869-1890 we can see that

the cartographer is naming both sides of the river with the town

names as the colonist used ships and boats to occupy the territories

of Old Calabar and were forbidden from coming too far inland by the

local Efik tribes that played a convoy role to the European traders.

This meant that all settlements by the Europeans were mainly by the

waterfront before gradually spreading inland as the Europeans gained

more political power over the region.

0 1 2 3 4 5km

Tinapa Business Park

Calabar International Convention Center

Drill Ranch

Calabar Monorail

Monolith Roundabout

Cross River Roundabout

Efik Sculpture

State Library

Efik Cultural Landmark

Old Residence, Calabar National Museum

Bricksfield Prison

Calabar Roundabout

Slave Trade Museum

Henshaw Monument

Hope Waddel Institute

Okpa House

Millennium Park

The Africa Club

Anasa Shrine

Calabar Cultural Centre

Mary Slessor Monument

University of Calabar Monument

Ekikak printing works

Calabar Bell at Eleven

Eleven Roundabout

Egbo Bassey House

Calabar Botanical Gardens

Obong of Calabar Palace

Great Duke Ephriam IV’s

complete brass chair

Efe Ekpe Iboku Utan The Ekpe Shrine

The European Cementry

Old Red Brick Church

Thomas Eyamba Bell

First Photographer of Eastern Nigeria

2.3 | Cultural Context

Chieftaincies

Shrines

Sculptures

Monoliths

Attire

Cults, Clubs

& Societies

Carnivals &

Festival

Ethnic Tradition

& Culture

Slave Trade

Museum

Wildlife Reserves

Old Residency/

National Museum

History &

Heritage

Ecology, Flora

& Fauna

Botanical

Garden

National

Park

National &

Local Monuments

Ruins

Historic

Neighbourhoods

Protected Species

Waterfalls

Obudu Plateau

3 Branches of Cross River State Tourism

Carnival and Festival

ute Carnival and Festival Route

Carnival and Festival Ro

Heritage walks

Carnival and Festival Route

Calabar’s Tourism Constellation

Cultural Context

And throughout the city of Calabar, many relics of this Colonial history

can be found today as well as monuments and places of significant

ethnic and traditional heritage. In fact, the entire city of Calabar

explodes with landmarks, hidden artefacts as well as physical and

temporal expressions of its hybrid cultural character. This can be

understood in three branches:

Ethnic Traditions and Ethnic Culture

History and Heritage

Ecology, Flora & Fauna

Expression of Tourism in Calabar

These branches of the cultural character define the whole tourism

sector in Cross River State. In Calabar city, the most explicit

representation of Ethnic Traditions and Ethnic Culture in tourism is the

Carnival and festivals that typically take place in December. History

and Heritage finds its expression in the museums as well as heritage

tours that meander through the old part of the city in Calabar South.

Nsibidi, ancient language Ekpe Masquerader Parade dancer, Efik Maiden attire

Nnabo Masqueraders

Statue in Calabar of Efik Maiden

Dancers in the Calabar Carnival

Image Of Slave Capture And Deportation At The

Bight Of Biafra

Map From An Archive of Autograph

Letters Signed from Old Calabar: written

by King Eyo Honesty II of Creek Town,

and King Eyamba V of Duke Town,

1842-45

King Duke Ephraim

Eyamba IX / Orok Edem

Eyamba IX (1880–

1896)- Old Calabar

Mary Slessor’s House in Calabar

Mary Slessor, Famed Scottish

Missionary in Calabar

Obong Eyo Honesty IX

2.3 | Cultural Context

Cross River National Park

Obudu Plateau and Ranch

Agbokim Waterfalls

Drill Rehab and Conservation

Centre in Cross River State

Great Kwa River

What currently lacks in Calabar is the explicit expression of the

Ecology, Flora & Fauna of the state, which since the closure of the

both the Zoo and the Drill Ranch in the city and the perceived closed

nature of the Botanical Garden is not actively experienced in the city

but only when travelling further through out the state to the nature

and wildlife reserves, waterfalls and plateaus.

But the Botanical Gardens itself has a layered history of uses making it

a prime location in the city for tourist and natives alike, to experience

the three branches of culture character of Cross River State

SITE

492m

Coffee

Coffee

Coffee

Coffee

Mangoes

Rubber

Bananas

Pineapples

Cacao

Mangoes

Kola Nut

Cashew

Rose Apples

Avenue of Oranges

Teak

Rubber

Pineapples

Rubber

1:2000

0 20 50 100m

Extended

Boundary

calculated from

marked point

824m

40.5

ha

40.5

ha

Watt Market is thought to be

the boundary at one point of

the Botanical Garden

1: 10 000

0 0.2 0.4 0.6 0.8 1km

3.1 | The History of the Botanical Gardens

The History of the

Botanical Gardens

The Botanical Garden in the Calabar is a product of the Colonial

Legacy of British Rule in South Eastern Nigeria. At that time it was

used as an economic tool to house and contain the flora found across

the commonwealth whilst indigenous flora from the region was

shipped in Wardian Cases to Kew Gardens in London to be studied

and propagated.

The Botanical Gardens was a permaculture plantation growing Rubber,

Mangoes, Banana, Coffee, fine timbers and medicinal and ornamental

flowers.

In 1907, the Gardens was 40.5 hectare and is know to have extended

up to the Watt Market in Calabar but its precise location and

boundaries are unknown.

Broken Wall of Gardens on Mary

Slessor Ave

Entrance of Gardens

Features:

- The plan allows the user to come

through and see the whole garden

- The user would be directed to 3

key moments with a few smaller

features along the way.

- A meandering path is employed

to assisst main circulation through

the garden to encourage

wandering.

Cons:

- The sightlines propsed do not

necessarily lead the eye to lnotable

andmark

- CRSFC is completely sectioned

out of the park

Canal on East Edge

of Gardens

Target Road on Edge of Gardens

Asita Road on East Edge of

Gardens

0 20 50 100m

2004 Map of the Botanical Gardens and

Perimeter views

Schoenaich Rees Landscape

Architects Design 2005

After independence, parts of the botanical gardens were gradually

divided and sold off leaving the form that we see today of 4.8 hectares

of landscape.

At some point the gardens became a Zoo housing enclosures for

different animals but by the early 2000’s all wildlife that remained was

transported to the Cross River National Wildlife Reserves.

3.1 | The History of the Botanical Gardens

Hyena Enclosures

Cross River Forestry Commission Offices

Alligator Enclosures

Features:



Opening in trees







wandering.

Cons:



andmark

Large Tree Along Path


out of the park

Opening in trees

0 20 50 100m

2004 Map of the Botanical Gardens and

Internal views



In 2004 new design was proposed for the gardens but after a few

short months of initial landscaping and construction the project was

abandon. The only fully realised part of that proposal that still remains

is the walls of the garden.

The Botanical

Gardens Today

3.2 | The Botanical Gardens Today

28 m

3.2 | The Botanical Gardens Today

Remnant

of removed

cage

Former entrance to

site now closed to

public

After the

2005 plan was

abandoned the

mayor in 2008

used the park

for parties and

festivals. Remnants

of this are still in

the garden

Palms reorganised

according to 2005 plan

Cross River

Forestry

Commission

Offices

Pergola that was built in

2005 now destroyed.

Paths still partial remain

Nurseries

managed by

CRSFC

Canal at West

edge of site

Current

Pedestrian

entrance

Features:

Openings

amongst

trees

Town Hall





features along Large the way. trees

Exit of

Canal

Openings

amongst trees




wandering.

29 m

Cons:

30 m


31 m


32 m

andmark

33 m

34 m


35 m

out of the park

36 m

37 m

38 m

39 m

0 20 50 100m

Target Road on

Edge of Gardens



The Botanical Gardens has had many lives and the remnants of some

of its more recent adaptions can be found scattered around the site.

Today, it is currently home to the Cross River Forestry Commission

who have offices and propagation nurseries on the east and north

parts of the site. The rest of the site is unused, save for a few

temporary structures near to the offices.

177.7m

28 m

June 21

Features:






Features:

March 21 - The plan allows the user to come

September Sb

21 through and see the whole garden







wandering.

December 21




wandering.

Cons:



andmark

28 m

29 m

30 m

Cons:



andmark

29 m

30 m


out of the park

31 m

32 m

33 m


out of the park

31 m

32 m

33 m

34 m

34 m

35 m

35 m

36 m

36 m

37 m

37 m

38 m

38 m

39 m

39 m

0 20 50 100m

0 20 50 100m



To best utilised the site the palm trees in

the garden have been cleared and will be

replanted in a new location. This leaves the

mature trees, bushes and the offices.



Sun path over the site helps us to see that the

central part of the gardens towards the west

will be most shaded parts of the garden due

to terrain height and trees. The eastern part

needing more shade (natural or built)

299.4m

165.1m

28m

Direction of site flooding

39m

201.2m

4.8 ha

4.8 ha

+2 ha

The area of the site is 4.8 hectare and

bordered on its west side by the canal that

runs through much of the city into the

estuaries. Effectively the gardens is boarded

on all sides.

The site happens to flood in the south-west

and this is also the direction of prevailing

rainfall. The idea is to incorporate the canal

into the gardens rather than sitting on the

edge of the site. This increases the gardens to

6.8 hectare.

3.3 | Analysis and Opportunities

Reserved

for

Parking

Reserved

for

Parking

The neighbouring town hall building is now

engulfed into the site and the canal partially

floods into water body inside the garden

following the contours of the site

The gardens can then be divided into a paid for

part access of the museum and a more public

side that allows of the overspill along the

carnival route, parking spaces and connection

to the heritage tours.

Analysis and

Opportunities

An analysis has been done of the Botanical Gardens to assess the

opportunites that can be taken advantage of on the site to reopen the

gardens to the city and create a dynamic space through which one can

explore.

The biggest adaption to the site would be to extend the gardens to

the West by 2 hectare to both deal with the current hard canal edge

and the flooding that occurs in the south west of the gardens.

Also an effort has been made to keep mature trees in the garden and

replant palms at a later design stage. As well as this, making a clear

division of the fully public part of the gardens versus the museum

gardens open to the museum visitors with the remit of the CRSFC

staff and gardeners as a mediator inbetween both zones.

Calabar’s Tourism Constellation

Carnival and Festival

ute Carnival and Festival Route

Carnival and Festival Ro

Heritage walks

Carnival and Festival Route

Carnival Route and Heritage walks

3.3 | Analysis and Opportunities

Carnival route

Heritage walks

Strategic reintroduction of the Botanical Gardens as a part of

the Carnival Route and Heritage walks

The Botanical Gardens is situated on Mary Slessor Road which as well

as being a primary road for traffic around the city, it also doubles as a

carnival procession route.

The Carnival route has several puncture point including several

roundabouts and the UJ Eseune Stadium. The Gardens was formerly

one of these points and is very close to the Mary Slessor Roundabout

point where stalls and seating are erected around.

The gardens is also a short walk to the European Cemetery which

is an important tourist and the key marker of most heritage tours in

the older part of the city. It is quite feasible to see that the botanical

gardens could be re-introduced in to the carnival and festival

procession. Acting as an overspill pavilion close to the Mary Slessor

Roundabout and a location for smaller performances to take place.

On the south east part of the site the gardens is leading towards the

European Cemetery and becomes apart of the heritage walks.

TOOLBOX

Regalia of Chief Francais Ede - Photograph by Jordan A Fenton

Procession in streets of Calabar of the Ekpe Society’s Masquerade

4.1 | Ukara Cloth

Ukara Cloth

The Botanical Gardens in contemporary Calabar culture is shrouded

in folklore and mystery. Due to its perceived closure to the public and

its state of abandon, many believe it to be the place where nefarious

traditions take place. But it is known to have unofficially hosted rituals

for the Ekpe society.

The Ekpe (Leopard) Society and their traditions are one of the most

distinguishable traditions to the Efik and Ejagham peoples of Cross

River State as well as other regional tribes. Their most prominent

signifier being the Ukara cloth.

The Ukara cloth is a blueish indigo cloth with white lines, figures and

symbols and it is used as a tool of communication. Some symbols are

easier to decipher whilst others are written in the regional script of the

Nsibidi. Nsibidi is a pre-colonial writing system or alphabet used by

many people groups in the South East of Nigeria meaning that its is a

universal script for peoples using different oral languages.

Sekere/ Barbwire

Talking Drum

Likeness to Insel

Hombroich, Labyrinth

Cowbells

Likeness to Efik Bell

Sculptures seen in the city

Water + The Egbo Fighting

Club

Likeness to Roofs of Demas Nwoko’s

Church in Idumje Ugboko

A Tortoise

Moon and Stars in

the Sky

A Sickle

Moon and Stars in

the Sky

A Rod or manilla

refer to wealth or a U

shaped form meaning

under or below

A Leopard

4.1 | Ukara Cloth

Interior Courtyard Wall at the Ekpe Asibong Ekondo Lodge with Nsbidi Animal

Motifs- Photograph by Jordan A Fenton

Decoration of Wall, Egbo Wall, Ekuri Owal -from In the shadow of the Bush

by Percy Talbot

Whilst individual symbols and motifs have individual meanings,

collectively the cloths tell stories and narratives that only initiated

members of the Ekpe understand. Often these meanings are figurative

or performative but we can also gauge from the cloths that some have

architectural meaning.

The most recognisable aspect of the Ukara Cloth is its grid structure

and the repetition of the concentric rectangles or squares that we

know to be representative of the Ekpe house.

This study seeks to understand and read the Ukara cloths to derive

architectural and value and form that can be applied to the organising

of the Botanical Gardens. First by analysing the types of grids use and

then the representation and the arrangement of figures.

fold lines

breaks in

grid

push/ pull

undulating grid

concentric

rectangle in

every other

box

warping

grid

4.1 | Ukara Cloth

key figures

of cloth

unbouded by

grid

borders around

figures do not

follow grid

Cloth A :

This cloth has a bold white grid

which almost disguises its four

key figures, the leopard snake,

gecko and man.

When found the it can be seen

that the figures are unbounded

by the grid.

Bleeding

indigo

edges

4.1 | Ukara Cloth

Grid bends

itself

around the

masquerader

figure

Cloth B :

This cloth is the most regular in

organisation, the grid is more orderly

with only one breakout figure, a

masquerader holding a sword or sickle.

The rest of the figures stay within the

grid structure but the indigo dye bleeds

more freely inside those rectangles. The

fold line is centred in the cloth and the

indigo dye bleeds from the edges of the

cloth to the fold line and breaks into a

few boxes, unbounded by the grid. One

might view this as somewhat porous.

Signia of the Aro

confederacy (Cross

River Igbos)

Cloth C :

This cloth has a much more uniform appearance

but what is most intriguing about it is how the

figures interrupt the grid and how around these

figures the indigo dye bleeds more loosely. From

this grid one might remark the ability of the

natural figures to defy the uniformity of the grid

but blend and hide within the structure. This is

the only cloth without any visible fold lines.

4.1 | Ukara Cloth

Secondary

grid

Cloth D :

This cloth has the boldest white grid of the four.

The indigo grid is not allowed to bleed through

the grid freely as seen in others. In fact, whilst

studying this cloth we can see that it has a

double structure. A secondary diamond grid

4.2 | Vernacular Construction

Vernacular

Construction

The Soil Type in Calabar is NTu- FRp1 (Humic Nitisols - Plinthic

Ferralsols). Nitisols are a deep, red, well-drained soil with a clay

content of more than 30% and a blocky structure. Ferralsols are red

and yellow weathered soils whose colours result from an accumulation

of metal oxides, particularly iron and aluminum. The Earth Sample

taken clearly shows a predominance of the yellow coloured soil. It

appears to be a more sand clay.

The typical construction method of the traditional Efik Compound is a

wattle and daub method in which, bamboo or timber is used to create

a skeleton structure for the building which is then filled in with an

adobe mud mixture. A typical Wattle and Daub construction spaces

the bamboo at 300m intervals, however, the Efik typology uses a

much tighter grid structure with spacing between 150 -200mm

Typical Single Courtyard Building, Old Calabar

Typical Multi Courtyard, Building, Old Calabar

The Effect of Modern Technology on Traditional Architectural Expression:

Case of Old Calabar Architecture

Mbina, A; Edem, E & Otto, N

Single Unit Dwelling

Scales and Proportional Arrangement of Courtyard

4.3 | Old Calabar Courtyard

Old Calabar

Courtyard

Traditional compound Axo - Jospeh Godleweski

During the British occupation of Old Calabar, it was noted that the

traditional building typology amongst the Efik peoples as well as other

local ethnic groups was the courtyard compound typology. The most

regarded was the multi courtyard typology. The arrangement of these

courtyards were formed by a single units that might houses the wives

and children of the patriarch and servants all situated around the unit

occupied by the family/ community patriarch himself.

The external view of these compound was unassuming and to the

onlookers was just a simple walled typology without windows or

openings. This was because, culturally the view was that private

activities should not be seen by the public. The wall of the compound,

therefore concealing the most private and sacred activities. Often the

courtyard acted as the kitchen or the altars of the family or community

that occupied the compound.

The construction of these compounds follows the vernacular style

explored previously. Furthermore, the roofs were always straw or

raffia palms over a timber structure with bamboo rafters.

Benin

Nigeria

Lagos Lekki

Benin

City

Asaba

Onitsha

Warri

Port

Harcourt

Calabar

Cameroon

Idumuje Ugboko near Asaba,

Delta State

The Villa of Demas Nwoko

Single Wall Ventilation

Impluvium

Latcrete Block

4.4 | Demas Nwoko

Demas Nwoko

Demas Nwoko is Nigeria’s most prominent Architect whose life’s work

has centred on prescribing the identity of Modern Nigeria based on an

infusion of the cultural arts and knowledge from different regions of

the country and Modernist design principles.

In the Villa of Demas Nwoko, in Idumje Ugboko, Delta State he

employs many architecture techniques to improve circulation through

the dwelling. In some rooms he uses single sided ventilation, drawing

cool air from the bottom of the building and pushing warm air through

louvres higher up in the building. This provides a cool environment for

dwellers in the space.

In the villa, Nwoko, uses the impluvium inside the building as a focal

point in the space and also a method of cooling and ventilation. The

impluvium allows for the exchange of cool and warm air and it allows

rainfall and light to enter the space creating a spiritual meditative

moment in the building.

Nwoko is also known for his use of Latcrete Blocks which he views

as the Modern Adobe Brick. The Block is a mixture of Laterite ground

(the earth from the location) gravel and a small amount of cement

which essentially stabilises the blockwork.

Community presentation preservation of the Monoliths in Akumabal

Speculative sketches on how to arrange the Akwanshi

Scale of the Akwanshi

4.5 | The Akwanshi

The Akwanshi

The Akwanshi Stone Monoliths are sacred sculpture to the native

ethinic groups of Cross River State and another recogonisable part

of the regions culture. The Ekoi-speaking Ejagham people call them

Akwanshi, which means “dead person in the ground”, suggesting they

are memorials for ancestors.

Akwasnshi are distributed among over “thirty communities across

Cross River State. In each community, the stones are found in circles,

sometimes perfect circles, facing each other standing erect, except

where they have been tampered with by weather or man.” (Factum

Foundation 2018)

There are currently 295 monoliths that are recorded in the diferent

communities. The Trust for African Rock Art (TARA) works in tandem

with these 30 communities in an effort to preserve the culture that

has been the victim of looting, vandalism and disregard.

What could it mean therefore to design a space to celebrate, honour

and preserve these artefacts and encourge engagement with the

communites and museum space by finding a home for a small

selection of the monoliths?

DESIGN BRIEF

The M

shou

the c

5.1 | Design Objectives

e City of Calabar is like one

The City of Calabar is like one

ge Museum of Artefacts

Large Museum of Artefacts

of Calabar is like one

useum of Artefacts

The Museum therefore

should reflect the nature of

the city


Chieftaincies

Shrines

Sculptures

Monoliths

Attire

Cults, Clubs

& Societies

Carnivals &

Festival

Ethnic Tradition

& Culture

Slave Trade

Museum

Wildlife Reserves

Old Residency/

National Museum

History &

Heritage

Ecology, Flora

& Fauna

Botanical

Garden

National

Park

National &

Local Monuments

Ruins

Historic

Neighbourhoods

Protected Species

Waterfalls

Obudu Plateau

Design

Objectives

The Botanical Gardens will once again be open to the people of the

city but now as The Calabar Sculptural Gardens. A natural home for

the indigenous flora of the state in the historic heart of the city, it will

now additionally house a collection of Cross River State’s sculptural

works and artefacts as well as pay homage to the works of Calabarian

art and heritage still in captivity.

The new garden makes the case for a culturally contextual and

specific museum typology in the city drawing on the 3 branches

of cultural character for its built form and experience through the

gardens. Its buildings transform and reinterpret the region’s vernacular

architecture and its gardens applying the hierarchical rules of the

Ukara cloth.

City of Calabar is like one

e Museum of Artefacts

Calabar’s Tourism

Constellation



the city

The Calabar Sculpture Gardens will

have be a constellation of buildings and

experiences arranged through the site



the city


Buildings punctuated over

the site

Spaces for gathering, sitting

and eating

Live art performance and installations

having spaces in the gardens

Nurseries propagated by the CRSFC

throughout the garden

Sculptures placed

throughout the gardens

In the same way that the city of Calabar explodes with landmarks

and forms cultural expression in the urban space, so too should

The Calabar Sculptural Garden be pixelated with many experiences,

buildings and spaces to entice visitors and enrich the experiences

of the main users of the gardens. This will create a truly dynamic

experience as one explores the garden.

Programme and

Users

The Programme of The Calabar Sculpture Gardens is divide in 3

parts, the indigenous flora, the ethnic and cultural artefacts and Art

installations and performances.

The Indigenous Flora is under the remit of the Cross River Forestry

Commission who will continue to maintain the gardens. Therefore

their offices will be redesigned on the site and spaces for plant

nurseries will be allocated in the gardens. Their offices will also be

connected to classroom space that can be used to educate visitors on

the ecology as well history and heritage of Cross River State. The users

of this programme being CRSFC research staff and gardeners

Two buildings will be provided for the collected, as well as lost cultural

artefacts like monoliths, sculptures and masks. These buildings will

5.2 | Programme and Users

be the main exhibition/museum spaces but the gardens will also

have sculpture and artefacts throughout the landscape therefore the

Museum visitors will be the predominant users of the whole gardens.

The third part of the programme is for live art and performances, this

includes the carnival and festival procession that will occur in front of

the gardens. Therefore a pavilion will be designed as an overspill space

for the carnival as well as space for temporary art installations and

performances that may happen through out the year. This pavilion will

also be a space for sitting and eating under the shade.

CONCEPT

Undulating grid applied to

gardens breaking at natural

elements

Rills for site drainage

following like the fold lines of

the Ukara Cloth

6.1 | Layers and Hierarchy

Layers and

Hierarchy

Learning from the Ukara Cloth the landscape is now arranged

according to its hierarchy, principles and motifs so that, like the Ukara

cloth, the mystery of the gardens can be read as one proceeds through

the gardens.

Starting from the terrain of the gardens, two rills are added at the

cross-section of the site parallel to the contours of the landscape.

The rills emulate the fold lines of the Ukara cloth and allow for water

drainage from the top of the site to the water body at the lower edge.

The grid is then applied to the gardens, breaking where it meets the

natural elements of the gardens. Trees and bushes start to emulate

the figures and motifs from the Ukara cloth. The grid is approximately

21x18m per segment. This grid scale is chosen due to it proportion to

the Old Calabar courtyard and Efik Compound.

Palm trees replanted

Nsibidi motifs and figures

extrapolated to form paths

through site


Buildings proportional and

aligned to grid

The Nsibidi sign for ‘Union” is extrapolated and used to form the main

path through the site and unify the public and private use of the site.

Palm trees formerly on the site are replanted like an enlarged segment

of the grid. And the buildings also follow the compound motif

(concentric rectangles) aligned with the core grid structure.

The buildings in the garden are designed according to the concentric

rectangles that represent the Efik Compound and therefore are

proportional to the scale of the grid. The buildings are also designed as

a family of buildings to reflect uniformity

Undulating/

Push and pull

rammed earth wall

Light bamboo

fencing

landscaping on

both sides of

the gardens

peak-a-boo windows into

the garden

Bamboo planted

along west edge

of gardens

Bleeding/ porous edge as

applied to gardens


seating and rest stops under

the festival pavilion but also

elsewhere

live art performance

under the festival

pavilion but also

elsewhere

Nurseries propagated

by the CRSFC

throughout the garden

sculptures placed

throughout the

gardens

Currently the Botanical Gardens is fenced off and walled all around its

boarder, with only one open entrance on the side road (Target Road).

But having learnt from the Ukara cloth, the intention is now to create

a more porous edge around the gardens to invoke a curiosity and

mystery whilst also conveying that it is open to the public.

An undulating rammed earth wall that echoes the rhythms of the

Ukara cloth to induce the feeling that the gardens extends beyond its

enclosure, giving back parts of the garden to the city. And the ground

like the indigo dye of the cloth bleeds into the garden. This is the

natural yellowish earth of Calabar and where it seeps into the grid of

the sculpture gardens no landscape treatment should be planned

The grid applied to the Sculpture Gardens is not seen as final but

rather expansive or additive, giving a hierarchy and structure that

can therefore be added to with elements like nurseries, seating, more

sculptures and live art installations/performances can be placed into

the grid until the cloth is complete.

Family of Buildings arranged

over the grid of the site

Contemporary forms of Earth

Construction

Bamboo structure extracted from

the brick /blockwork construction

Guadua angustifolia bamboo

6.2 | Family of Buildings

Family of Buildings

The buildings in the Gardens will be designed as a family of buildings

based on a reinterpretation of the vernacular style of architecture.

Instead of building in the wattle and daub earth construction a more

contemporary form of earth construction will be used. Sometimes

this will be rammed earth constriction but predominately this will be

stabilised Compressed Earth Blockwork

Bamboo will still be used structurally however the bamboo species

local to Calabar and the whole of Nigeria (Bambusa vulgaris / common

bamboo) is not strong enough for contemporary building structures.

Therefore the building inside the gardens, utilise the Bamboo type

Guadua angustifolia local to Columbia but can be grown in tropical

climates like Nigeria. The Guadua Bamboo grows much taller (20

-30m). This can be used for spans of Bamboo columns or beams of

up to 8-10m. Where greater spans are required for the pitched roofs,

the buildings will instead use CLT Beams. Roofs will differ, some being

brick whilst others being a traditional thatched straw or raffia roof

covering.

DESIGN

20

0 50 100m

The Gardens

7.1 | The Gardens

North Elevation

Main Entrance Mary Slessor Road

0 10 25

East Elevation

Entrance from Car Park

0 10 25 50m

South East Elevation

Target Road

0 10 25

Edges

West Elevation

Edem Effio Road

7.2 | Edges

50m

50m

0 10 25 50m

6 meters

6 meters

Activities in Festival

Pavilion Courtyard

Exploded Axonometric of

Structure

7.3 | The Festival Pavilion

Carnival Route

Carnival Route

The Festival

Pavilion

The Festival Pavilion is the first structure of the Gardens that is

accessible. It is open to the main road and becomes a roof under

which the public can rest and watch the festivities of the carnival.

The structure is scaled up from the compound motif but completely

open beneath. The main structure is CLT wood columns (25x50mm

thickness) and pitched beams spaced at 6 meter spans and has a 6

meter inside depth and 6- 8.5meter height.

The secondary structure is 200mm diameter bamboo that guides the

movement around the structure, becoming more dense on the side

toward the Sculpture Gardens and completely open to the main roads.

The roof is a lightweight straw material and the ground on the inside

courtyard is the natural earth unpaved.

The Festival Pavilion courtyard is used for performance, live art

installations and Carnival processions. Whilst under the roof is

reserved for seating and watching.

Movement under the Pavilion

7.3 | The Festival Pavilion

Traversing into The Calabar Sculpture Garden,

you meander along an contouring path and

discover between the palm trees a carved

monolithic from out of the ground protruding

towards the skies...Reaching out to treasures

long lost...

Akwanshi Monoliths found in museums

around the world

7.4 | Monument of the Lost Monoliths

Monument of Lost

Monoliths

The Monument of Lost Monoliths is a folly, commemorating the loss

of the artefacts and monoliths spread out around in the world in

countries like the UK, France, America and Germany, separated from

the ground from which the belong. Its unknown how many objects

from South-east Nigeria and most specifically Cross River State that

remain in captivity, yet this hollowed building awaits their return.

The most hallowed of artefacts are the Akwanshi Monoliths. They are

made from a singular material and carved with faces, body parts and

motifs.

They are scared objects to the local peoples therefore the Monument

building invokes a spiritual procession through the space. The visitor

is lead by the sky-light apertures that light the individual spaces. The

atmosphere of each space differs from its predecessor due to the

altering positioning of the apertures in each room and shifts with the

passage of the dayand movement of thee sun. You become aware

of the slowness of time...like the aged wait for the return of the lost

Akwanshi

Extraction of form from the Ukara Motifs

Examples of Monolithic Architecture

Soil Type in Calabar is NTu- FRp1 (Humic Nitisols - Plinthic

Ferralsols) will be used for both compressed earth brick and

rammed earth walls

Using the Bamboo as a removed structure to create a

textured interior

The form of the building is derived from the Ukara cloth. It is an

extrusion of the concentric rectangles creating the pitched roof shape.

Whilst the roofs all pitch the floor tiles of each room reflects the

patterns one would read in an Ukara cloth.

The building, from the outside should appear singular in material in the

same way that the monoliths themselves are singular. All the buildings

inside the garden are of the same material family: Compressed Earth

Brick and Bamboo structure, hearkening to traditional construction


Compressed Earth Brick

Facade Skin

Rammed Earth Interior

Bamboo Formwork

material. So the exterior of the monolith building is also brick

construction.

But the interior texture reveals the contrary. The brick is only an

outside skin and a more textured interior is created by bamboo formwork

against a rammed earth core. The bamboo is removed leaving

the rooms hollowed out as a homage to a hollowed museum space

mourning its lost artefacts.

Minimal sun exposure due

to roof shape

Rainfall and Sun Diagram

The skylight apertures range from 1 meter width to 2 meter this

reduces over exposure to sun light and limits the entrance rainfall into

the buildings which is subsequently drained out of the building.

0 1 5m

Monument of Lost Monoliths

Floor Plans


0 1 5m

North Elevation

0 1 5m

East Elevation


0 1 5m

South Elevation

0 1 5m

West Elevation


As you continue on the path through

The Calabar Sculpture Garden,

you’ll arrive at a grand house....

It’s a home for the dead.

Community preservation of the Monoliths

Akwanshi in Circular arrangements

7.5 | House of the Akwanshi

House of the

Akwanshi

The second building in the sculpture garden is the House of The

Akwanshi. This will house 30 preserved monoliths from the 30

Cross River ethnic groups that still have the remaining Monoliths

scattered across the region. One monolith selected from each ethnic

group to pay homage to the different tribes tasked with the care and

preservation of these monoliths.

The building form draws from the interruptions of the circle on

Ukara cloths. In the Nsibidi language used on the Ukara cloths, the

circle normally represents the House of the Nsibidi, the place where

young boys/men learn to write Nsibidi. Other circular motifs tend

to represent congress or meetings therefore symbolise moments of

learning, debate or discussion.

Examples from Ukara cloth possibly

symbolising meeting or congress

House of the Nsibidi symbol

2500mm

400mm

Scale variation of the Akwanshi

A circular arrangement is traditionally how the Akwanshi are situated

in their local communities. The monoliths are not just extracted from

their communities but rather the community chiefs or storytellers

must be able to lead a dialogue/ discussion or meetings in and around

the Akwanshi. Therefore, in the House of the Akwanshi, seating in the

courtyard for community discussions and the ability to walk amongst

the Akwanshi and discuss their histories and relevance is possible.

Whilst the main form of the building extrapolates the courtyard

pattern on the Ukara cloth, the spatial arrangement includes a circular

interruption where the Akwanshi are housed.


Demas Nwoko Impulvium

Initial Impulvium concept

Impulvium Bamboo Structure

Rainfall concept

The Akwanshi represent dead ancestors and therefore a spiritual

catharsis is also incorporated in the form of the building. The

impluvium like that in the villa of Demas Nwoko can be used to infuse

such a cathartic moment in the building.

In the Villa of Demas Nwoko, the architect uses the impluvium as a

focal point in the space. Drawing the outside in. The akwanshi are

normally outdoors so this building intentionally invites the outside

inside allowing rainfall to enter the building.

The Impluvium in this building is a bamboo grid structure and covered

in thatched straw that helps to absorb the rainfall. The length of the

funnel is 10 meters and the narrowest width of the funnel’s opening is

2.5 meters, this reduces the over flooding of the exhibition space.

Rainfall that does enter the space is directly stored and deposited into

the canal via the rill. This rainfall is aptly caught by the positioning of

the impluvium in the south west of the part of the building.



0 1 5m

House of The Akwanshi

Floor Plans 1-100

0 1 5m

North Elevation

0 1 5m

East Elevation


0 1 5m

South Elevation

1-200

0 1 5m

West Elevation



The gardens springs to life around the walls

of the compound with innumerable species

of flowers, trees and bushels. Hidden behind

the pictured walls are the secrets of the Old

Botanical Garden.

CRSFC Nurseries in the current Botanical

Gardens

Species List

Nurseries propagated by the CRSFC throughout

the garden

7.6 | The Garden Compound

The Garden

Compound

A new home is made for the Cross River State Forestry Commission

(CRSFC) inside The Calabar Sculpture Gardens. The CRSFC retains a

fundamental socio-economic value in the gardens, employing several

research staff and gardeners that maintain the archives, seed banks

and plant nurseries that foster the knowledge and seedlings of the

regional indigenous flora and ecology. This is valuable for the local

agriculture industries as well as holding historic and educational value

internationally.

Though many of the nurseries are plotted through out the gardens,

The Garden Compound building provides space for the remaining

programme requirements of the CRSFC such as reading rooms, labs

and meeting spaces whilst providing some public facilities such as

classrooms and a museum shop and a communal courtyard. This

means that the location and the arrangement of the building requires

intermediary/ shared space between what is workplaces and what is

for the visiting public.

Division of Spaces

Room Schedule

Examples from Ukara Cloth of the divided

Compound Motif

Arrangement of Traditional Efik

Compound

Initial sketches


Wall decorations of the Efik Compound

Arrangement of Traditional Efik Compound

The arrangement takes inspiration once again from the Ukara cloth,

where the compound symbol is split in two by a figure and the form

of the building transforms the traditional closed Efik Compound

typology into and open compound building.

The walls around the compound are rammed earth and decorated

with traditional figures similar to the Ukara Cloth but taking direct

reference from the compound house typology.

Section study of Demas Nwoko House

Sun Path and Occupancy


Shading and ventilation techniques

As the building is located in the eastern part of the site, more

attention has to be paid to sun exposure and cooling. Being

predominately an office space, occupancy of the building is from 9am

to 5am. So the spaces with the highest occupancy level have been

oriented away from direction sunlight or in places with beneficial

shading.

Attention has been given to natural ventilation moving trough the

spaces of the building. Learning from the techniques of Demas Nwoko

of allowing ventilation from the bottom and top of the wall so that

cool air moves up through the space has been applied to all the

workspaces in the building.

Furthermore, the shared courtyard receives shade and has a

bamboo pergola structure that creates a shaded walk way and also a

landmarking structure for the compound.

0 1 5m

The Garden Compound

Floor Plans 1-100


0 1 5m

North Elevation

0 1 5m

South Elevation


0 1 5m

East Elevation

1-200

0 1 5m

West Elevation

1-200



0 1 5m

The Garden Compound

Section 1-100


SUMMARY

Festival Roof

8.1 | Reflection

The Monument to Lost Monoliths

House of the Akwanshi

8.1 | Reflection

The Garden Compound

8.1 | Reflection

Reflection

The Calabar Sculpture Gardens not only showcases the array of

cultural heritage across the state of Cross River and the South Eastern

Nigerian region but it embodies and is reflective oft his cultural

richness. It reintroduce the experience and value of indigenous flora

to the city but also draws the community beyond its walls to be

reconnected to the heritage, folklore and festivities of the place.

APPENDIX

Image Attributes

and References

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[Accessed 4 January 2021].

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[Accessed 4 June

2020].


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[Accessed 4 June

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survey and in the Metropolitan’s collection. [image] Available at: <https://www.

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Page 86 - Museum of Fine Arts Boston, 1994. Carved stone (atal or akwanshi).

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[Accessed 4 October 2020].

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[Accessed 4

February 2020].

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www.factumfoundation.org/pag/1173/bakor-monoliths-metropolitan-fragmentconference-and-site-visits>


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Contributors and Special Thanks

ii. Contributors and Special Thanks

Contributors in this project range from Mentor and Committee members to those

that supported with valuable research advice or guidance in the process of the

project:

Mentor: Jo Barnett

Committee: Remco Rolvink & Joseph Litchfield Conteh

Exam Members: Gianni Cito & Judith Korpershoek

Additional Members: Jurriaan Van Stigt

Research Advice in Nigeria:

Osumah Augustine, Agala Ebiaga, Imoke Enya, Diseye Tantua, Felix Uyah, Ntufam Joe

Ndifon, Demas Nwoko, Arit Umoh

Calabar Advice: John Odu Akan

Landscape Advice:

Tunde Morakinyo, Brita von Schoenaich, Hanneke Kijne, Lindsey van de Wetering

Technical Advice: Adeyemo Shokunbi

Fieldword Support From:

Evamena Nanna, Olivia, Nanna, Felix Onoriode Nanna,

Model Support From:

Lorretta So, Lotanna Amaechi, Paola Salviano, Zina Musengo, Anna Zan and AHK

MakerSpace Team

Very Special Thanks to

Charles, Eunice, Jessica and Darryl Ete - my dear and supportive family throughout all

of my education without whom none of this would be possible.

The team at Bright for being extremely patient, helpful and understanding as I

completed my thesis.

To every friend and family member that offered a kind ear and supportive hand.

My communities both in Amsterdam and London, though you outnumber the stars,

everyone of you is truly appreciated.

To the AVB 2016-2020 Cohort - WE DID IT!

To the D80 students - Thank you all for creating a community and atmosphere within

which we all could flourish!

A.D.M.G - Ad Maiorem Dei Gloriam

The Calabar Sculpture Garden - Design Book

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