EXAMINATION OF CULTURAL IDENTITY IN THE DESIGN OF A

CULTURAL CENTRE FOR UYO TOWNSHIP

BY

IDORENYIN A. THOMAS
17/PG/PGD/ARC 2196

A THESIS SUBMITTED TO THE SCHOOL OF POST-GRADUATE STUDIES, ABIA STATE UNIVERSITY UTURU
IN PARTIAL FUFILLMENT FOR THE AWARD OF THE DEGREE OF POST GRADUATE DIPLOMA IN
ARCHITECTURE

DEPARTMENT OF ARCHITECTURE
FACULTY OF ENVIRONMENTAL STUDIES
ABIA STATE UNIVERSITY UTURU, NIGERIA

APRIL, 2019
Declaration
I declare that this thesis titled: EXAMINATION OF CULTURAL IDENTITY IN THE DESIGN OF CULTURAL

CENTRE FOR UYO TOWNSHIP has been carried out by me. The information derived from the literatures

has been duly acknowledged in the text and a list of references provided. No part of this thesis was

previously presented for another degree in this university or any other institution.

………………………………………………………………………. Date: ……………………………………………………..

Idorenyin A. Thomas
17/PG/PGD/ARC/2196
Certification
This research work titled “EXAMINATION OF CULTURAL IDENTITY IN THE DESIGN OF A CULTURAL

CENTRE FOR UYO TOWNSHIP” by ………………….. (PG/), is approved by the Department of Architecture

and the School of Post-graduate Studies; Abia State university Uturu.

…………………………………………………. Date.……………………………………………...
Arc. Ochi Ejimofor
(Project Supervisor)

…………………………………………………. Date.……………………………………………...
Arc. Ochi Ejimofor
(H.O.D. Dept. of Architecture)

…………………………………………………. Date.……………………………………………...
Prof. G. N. Chima
(Dean, Faculty of Environmental Studies)
Dedication
This project is dedicated to God almighty who have seen me through my study thus far. Also to my

family and friends who supported me in different ways especially my mother Mrs Benedette Anthony
Acknowledgement
I thank all who in one way or another contributed in the completion of this thesis. I am so grateful to

my supervisor Arc. O. Ejimofor for his sustained guidance throughout this work, also to all my lecturers

in the department of Architecture; am so grateful.

Furthermore, am deeply thankful to my studio master Arc. Wogu Godson C. , my friends Esther

isangedighi, Mary akpan, Anietie Ekanem, obonganwan atakpa, eskor, Innocent Eyo, fellow students

for their challenges and productive critics which provide mew ideas towards my work.

May the almighty God richly bless all of you.

Table of Contents
Abstract
Cultural centers are venues for the culmination of cultural activities; as such their designers need to

make sure they bear the sense of the cultural group to which they are meant to serve. Identity in

architecture is a key issue that needs addressing as a result of the universal language of architecture

created by modern movement. Contemporary cultural centers are becoming homogeneous as such

lacking character and identity. The phenomenon of expressing cultural identity in the design of

contemporary cultural centers is a major issue that needs addressing. This is based on the argument

that the expression of cultural identity in architecture observed in many countries is an attempt to

create architecture that sustain and supports the continuity of cultural and social values. This research

examines the phenomenon in the context of Uyo. It focuses on the designers of cultural centers, their

perceptions, and the strategies they use in expressing cultural identity in their designs. The aim of the

research is to provide a basis for the reflection of cultural identity in the design of cultural center in

Uyo. It examines the recent attempts by designers at the beginning of the 21st century to reflect a

cultural identity in architecture. Several research studies were conducted on culture, traditional

identity, national heritage and their integration in contemporary designs by many authors and

researchers to understand the extent and the meaning of the phenomenon of expressing cultural

identity in contemporary architecture by utilizing elements from traditional architecture but none of

these studies specifically examine the perception this employed cultural elements or strategies have on

contemporary designs of cultural centers. Three case studies were conducted and the level of cultural

identity reflection was assessed and also the views of seven architects and custodians of culture were

obtained using interviews. Visual survey and checklist methods were used in conducting the case
studies in the different facilities visited. Findings show that there are several ways by which different

cultural identity principles and elements can be expressed in design in order to reflect the culture of a

particular cultural group. The research concluded that there were several strategies employed by

architects and designers of cultural centers to express a cultural identity in the design of cultural center

so as to create architecture that sustains and supports the continuity of cultural and social values. The

outcome of the research was demonstrated in a design proposal of a cultural center for Uyo which

tried to express the cultural identity elements and strategies of Uyo by borrowing from the traditional

architecture of the region. The research finally recommends that when designing any building in any

region, architects should try and express the cultural identity of the region so as to create sense of

belonging to the region on the building thereby making people appreciate the resident culture.
1.0 CHAPTER ONE: INTRODUCTION
All cultures have theatrical performances and dedicated places for viewing such performances. The

conventions of cultural performance varied in approaches to texts, subjects, acting styles, and

production elements. In the 6th century BC, the Classical period of performing art began in Greece,

ushered in by the tragic poets such as Sophocles. These poets wrote plays which, in some cases,

incorporated dance. Also, the Hellenistic period adopted the widespread use of comedy. However

between the 9th and 14th century AD; performing art in the Western world was limited to religious

historical enactments and morality plays, organized by the Church in celebration of holy days and other

religious events.

Culture is one element that makes a community to persist as a distinct entity. According to Longman

Dictionary of Contemporary English, culture is the arts, customs of a group of people. It is also defined

as the way of life of a group of people. In essence culture comprise of all the unique beliefs and

attitudes which give shape to life style, identity, arts and intellectual achievements of a group of people

or community (Rapoport, 2006). Cultural identity is one’s own sense of his culture (Nickeeninetalls,

2011). Charith (2011) opined that; cultural identity is the influence one gains by belonging to a certain

culture or group. Nigerian culture has spanned over 2,000 years, it brought together a large number of

different tribes and societies over 250 ethnic groups (Dmochowski, 1990). Nigeria is a land of many

distinct traditional cultures which have well defined spatio-temporal limits (Ademola, 2006). Over the

years, many research works have been carried out on culture, traditional identity, national heritage

and their integration in contemporary designs of different kind in order to create buildings that bear

the identity of their region as the daily challenges in the social, economic and political environment of

man dictates that for a community to persist as a distinct entity, it must make conscious effort towards
preserving its unique beliefs and attitudes which give shape to its life style. These studies include;

Tukur (2011), Micheal (2010), Mahgoub (2004), Odeyale; Sodagar and Temple (2010), and others but

most of these studies did not specifically examine the perception this employed cultural elements or

strategies have on contemporary designs of cultural centers.

Cultural centers serve as tools for the rejuvenation of culture and understanding of cultural expression

as an integral element of economic and social development (Quraishi, 2003). Globalization and

technology are moving us into one culture, thereby abstracting traditional style (Wang, 2007). Rich

cultural heritage are being eroded, traditional architecture is giving way to modern and contemporary

architecture, and cultural arts and crafts are replaced by modern design, leaving a future generation

without knowledge of their roots (Falola, 2003). This emphasizes the need to have cultural centers all

over the country in other to maintain, promote and project culture. They also serve as stimulants for

cultural development and training of youths at the local level and also institutional support for the

conservation of traditions.

1.1 Study Area

Uyo is the capital of Akwa-Ibom state which is amongst the thirty six states in Nigeria. Uyo’s cultural

heritage is embedded in the culture of the ancient Ibibio kingdom which is well known for its rich

identity such as; traditional dances (), Festivals (), traditional marriage ceremonies etc. The lack of a

common space for the performance of the cultural activities within Uyo is a problem that needs to be

addressed. This calls for a propose design for a cultural center that will satisfy the contemporary social

needs and also at the same time serve as an expression of cultural identity for attraction within Uyo

town.
1.2 Statement of Problem

The major problem that had and is presently facing performing arts in Nigeria is the problem of space.

For the time past open spaces, marketplaces, parks, street corners, warehouses and formal buildings

has been used as location for performing arts thus, has constituted nuisance, traffic disruption, etc.

Space in performing arts theatre design is the uttermost importance. Many designs have failed in this

regard as the spaces needed to house all the activities are lacking. It is against this backdrop that this

thesis intends to provide a suitable space that will accommodate all forms of performance arts in Uyo

culture.

Also, despite enormous time and resources spent by scholars and researchers in trying to re-discover

and preserve our cultural heritage and identity through architecture and other means, there is still

much to do as less consideration is given on how they are perceived and the impression they give to

the architecture. Contemporary designs of cultural centers give less effort to the expression of its

region’s identity thereby not giving it any „sense-of-place‟.

1.3 Aim & Objectives

The aim of the research is to provide a basis for the reflection of cultural identity in the design of a

cultural center in Uyo town.

This will be achieved through the following objectives;

1. To conduct a review on the concept of culture and cultural identity.

2. To determine the elements of cultural identity of Uyo.

 3. To identify the different elements of cultural identity employed in contemporary designs

and the philosophy behind their incorporation.

4. To determine the impression cultural identity elements gives to the designs when

incorporated.

5. To demonstrate the outcome of the study in a design proposal for a cultural center for Uyo.

1.4 Significance of Study

In a changing world, cultural expressions must be promoted and preserved (UNESCO, 2011). The need

to re-discover and preserve the cultural heritage of people that make up the Nigerian nation may be

looked at as one of the solutions to the societal problem of debasing and wasted talents of cultural

activities in general. Cultural centers can be seen as means of stimulating, maintaining and deepening a

sense of community, creating awareness about the cultural heritage of a particular locality, the loss of

which is deeply lamented. Architecture plays a very important part in any nation’s development

ranging through the whole scope of contributions from economic, social and environmental to cultural.

It provides shelter to people and their activities as well as social identity and status. It seeks to work

within socio-cultural, environmental and national context. Architecture is herein put into play to

contribute to the issue of cultural promotion and propagation within Uyo and the nation at large. This

research enhances the understanding of the relationship between cultural identity and the

architecture of cultural centers for the benefit of the Architects and designers of cultural centers. As it

is essence for cultural centers to bear the mark of the region (sense of place) and also be unique to the

region it is designed for.

The construction of identities is fundamental to the dynamics of societies (Castells, 2004). Thus, the

study will help safeguard an aspect of cultural identity and heritage and also sustain national, local

traditions to retain and improve an existing stock of cultural facilities to ensure cultural opportunities.

Moreover, this research emphasizes the need for a proposal of a cultural center that retains and

depicts the cultural identity of the Ibibio clan which will meet the contemporary social and special

needs and also the lifestyle of the people of Uyo.

1.5 Scope of Study

Numerous activities take place in a cultural center. The scope of this project is limited to a thorough

study on adequate spaces for performing arts theatres and the provision of such spaces in a standard

design of a cultural center which will showcase wide range of the Ibibio cultural heritage like theatrical

performances, cultural dances, musical concerts, norms and traditions, fashion, different art forms

such as painting and two-dimension art, administrations, outdoor recreational activities, choral

presentations and cultural festivals.

The facility to be provided in the cultural center will include;

• Main Theatre Auditorium

• Open Air Amphitheatre

• Rehearsal halls

• Library Data Room and Archives

• Conference / lecture hall

• Exhibition halls
• Archives and shops

• Workshops

• Administration and rentable office spaces

• Recording studio

• Ancillary Spaces and car park

• Restaurant and bar

2.0 CHAPTER TWO: LITERATURE REVIEW
In the 15th century performing arts, along with the arts in general, saw a revival as the Renaissance

began in Italy and spread throughout Europe plays, some of which incorporated dance were performed

and Domenico da Piacenza was credited with the first use of the term ballo (in De Arte Saltandi et

Choreas Ducendi) instead of danza (dance) for his baletti or balli which later came to be known as

Ballets. The first Ballet per se is considered to be Balthazar de Beaujoyeulx's Ballet Comique de la Reine

(1581). By the mid-16th century commedia dell'arte became popular in Europe, introducing the use of

improvisation. This period also introduced the Elizabethan masque, featuring music, dance and

elaborate costumes as well as professional theatrical companies in England. William Shakespeare's

plays in the late 16th century developed from this new class of professional performance. In 1597, the

first opera, Daphne was performed and throughout the 17th century, opera would rapidly become the

entertainment of choice for the aristocracy in most of Europe, and eventually for large numbers of

people living in cities and towns throughout Europe.

2.1 Evolution of Cultural Centre

The earliest recorded theatrical event dates back to 2000 BC with the passion plays of Ancient Egypt.

This story of the god Osiris was performed annually at festivals throughout the civilization, marking the

known beginning of a long relationship between theatre and religion. The most popular forms of

theatre in the medieval Islamic world were puppet theatre (which included hand puppets, shadow

plays and marionette productions) and live passion plays known as ta'ziya, where actors re-enact

episodes from Muslim history. In particular, Shia Islamic plays revolved around the shaheed

(martyrdom) of Ali's sons Hasan ibn Ali and Husayn ibn Ali. Live secular plays were known as akhraja,
recorded in medieval adab literature, though they were less common than puppetry and ta'ziya

theatre. (Performing Arts: Wikipedia encyclopaedia).

The word theatre means a "place for seeing." (Encyclopedia Britannica). The two most common types

of theatre plays are comedy and tragedy, symbolized by the theatre masks. The first recorded

theatrical event was a performance of the sacred plays of the myth of Osiris and Isis in 2500 BC in

Egypt. (Stanton, et al; 1996:241) This story of the god Osiris was performed annually at festivals

throughout the civilization, marking the beginning of a long relationship between theatre and religion.

The ancient Greeks began formalizing theatre as an art, developing strict definitions of tragedy and

comedy as well as other forms, including satyr plays. Like the religious plays of ancient Egypt, Greek

plays made use of mythological characters. The Greeks also developed the concepts of dramatic

criticism, acting as a career, and theatre architecture. (Ward, A. C. (2007:1). In the modern world these

works have been adapted and interpreted in thousands of different ways in order to serve the needs of

the time. Examples are offered by Antigone, used in 1944 by Anouilh to make a statement about the

Nazi occupation of France, and by Brecht in 1948, likening Creon to Hitler and Thebes to defeated

Germany. (McDonald, Marianne, 2003:80).

Western theatre continued to develop under the Roman Empire, in medieval England, and continued

to thrive, taking on many alternate forms in Spain, Italy, France, and Russia in the 16th, 17th and 18th

centuries. The general trend over the centuries was away from the poetic drama of the Greeks and the

Renaissance and toward a more realistic style, especially following the Industrial Revolution. (Kuritz,

Paul, 1988:305). A uniquely North American theatre developed with the colonization of the new world.
The history of Eastern theatre is traced back to 1000 BC with the Sanskrit drama of ancient Indian

theatre. Chinese theatre also dates back to around the same time. Japanese forms of Kabuki, Noh, and

Kyogen date back to the 17th century AD. (Deal, William E. (2007:276). Other Eastern forms were

developed throughout China, Korea, and Southeast Asia. The most popular forms of theatre in the

medieval Islamic world were puppet theatre (which included hand puppets, shadow plays and

marionette productions) and live passion plays known as ta'ziya, where actors re-enact episodes from

Muslim history. In particular, Shia Islamic plays revolved around the shaheed (martyrdom) of Ali's sons

Hasan ibn Ali and Husayn ibn Ali. Live secular plays were known as akhraja, recorded in medieval adab

literature, though they were less common than puppetry and ta'ziya theatre. (Moreh, Shmuel,

1986:565–601).

Ancient Greece: Greek theatre buildings were called a theatron ('seeing place'). The theatres were

large, open-air structures constructed on the slopes of hills. They consisted of three principal elements:

the orchestra, the skene, and the audience. The centerpiece of the theatre was the orchestra, or

"dancing place", a large circular or rectangular area. The orchestra was the site the choral

performances, the religious rites, and, possibly, the acting. An altar was located in the middle of the

orchestra; in Athens, the altar was dedicated to Dionysus. Behind the orchestra was a large rectangular

building called the skene (meaning "tent" or "hut"). It was used as a "backstage" area where actors

could change their costumes and masks, but also served to represent the location of the plays, which

were usually set in front of a palace or house. Typically, there were two or three doors in the skene

that led out onto orchestra, and from which actors could enter and exit. At first, the skene was literally

a tent or hut, put up for the religious festival and taken down when it was finished. Later, the skene

became a permanent stone structure. These structures were sometimes painted to serve as backdrops,
hence the English word scenery. In front of the skene there may have been a raised acting area called

the proskenion, the ancestor of the modern proscenium stage. It is possible that the actors (as opposed

to the chorus) acted entirely on the proskenion, but this is not certain. Rising from the circle of the

orchestra was the audience. The audience sat on tiers of benches built up on the side of a hill. Greek

theatres, then, could only be built on hills that were correctly shaped. A typical theatre was enormous,

able to seat around 15,000 viewers. Greek theatres were not enclosed; the audience could see each

other and the surrounding countryside as well as the actors and chorus.

Ancient Rome: Romans copied the Greek style of building, but tended not to be so concerned about

the location, being prepared to build walls and terraces instead of looking for a naturally-occurring site.

Contemporary: These theatres are often non-traditional, such as very adaptable spaces, or theatres

where audience and performers are not separated. A major example of this is the modular theatre.

This large theatre has floors and walls divided into small movable sections, with the floor sections on

adjustable hydraulic pylons, so that the space may be adjusted into any configuration for each

individual play. As new styles of theatre performance have evolved, so has the desire to improve or

recreate performance venues. This applies equally to artistic and presentation techniques, such as

stage lighting.

Specific designs of contemporary live theatres include proscenium, thrust, black box theatre, theatre in

the round, amphitheater, and arena. In the classical Indian dance, Natya Shastra defines three stage

types. In Australia and New Zealand a small and simple theatre, particularly one contained within a

larger venue, is a theatrette. (Moore, Bruce 1999) The word originated in 1920s London, for a small-

scale music venue. (Oxford English Dictionary 1989) Theatrical performances can also take place in
venues adapted from other purposes, such as train carriages. In recent years the Edinburgh Fringe has

seen performances in a lift (elevator) and a taxi.

The design of contemporary auditorium structures has developed to accommodate a range of

functions and these new styles now accompany traditional historical theatre buildings. Considerable

revival in the design of the theatre and auditorium has seen a move away decorative architectural

expression towards providing more multipurpose, flexible and functional structures. In addition,

flexible seating and storage facilities, along with variable stage openings and mobile ceilings, allow

adaptation of audience.

2.2 Culture and its Elements

Culture always seen as a complex issue and socially and politically highly sensitive, it has nowadays

become an overused word (clinched) in almost all contexts of reality. Culture has also been an area in

which we most times find controversial in the political and social arena (UNESCO, 2008). Geli (2008)

opined that the word culture is often used abruptly without knowing exactly what it’s referring to. The

word culture is a word which has been recently incorporated into our language with its current

meaning. Pedro (2006) opined that the birth of the word culture is a relatively recent linguistic event.

There are many readings and different approaches to the notion of culture and the problem is what is

included and what is excluded from it. Mondiacult (1982) gave a broad definition of culture as it

integrates the cultural expressions, as specific manifestations of cultures. Hence the definition goes as;

culture is that which offers the context, values, subjectivity, attitudes and skills on which the

development process must take place. As seen from the above definition, it is clear that the idea of the
complementary nature of the cultures, their dynamism and the generation of culture, culture identities

which are not mutually exclusive have been included.

A culture is the way of life of a people through which they humanize and socialize nature. It implies a

world-view, a value system, and a network of social relationships (Featherstone, 1996). Culture is not

static; it grows out of reverence for selected customs and habits. Culture is changing; People make

culture, culture makes people (Tomlinson, 1999). Culture is the total pattern of human behavior and its

products embodied in speech, action, and artifacts and dependent upon man’s capacity for learning

and transmitting knowledge to succeeding generations (Webster’s 3rd new international dictionary).

The term culture can be defined broadly as being; “the whole complex of distinctive spiritual, material,

intellectual and emotional features that characterize a society or social group…” (UNESCO, 1995).

Oxford advanced learner’s dictionary also defined culture as the advanced development of the body,

mind and spirit by training and experience. Ayangaor (2003); defined culture as a pattern of life, ways

that man has evolved in his attempts to understand, use and control his social and natural

environment. Thus, culture is not a static set of values and practices: it is constantly recreated as

people question, adapt and redefine their values and practices when faced with changes and the

interchange of ideas.

...culture consists of patterns, explicit and implicit, of and for behavior acquired and transmitted by

symbols, constituting the distinctive achievement of human groups, including their embodiment in

artifacts; the essential core of culture consists of traditional (i.e., historically derived and selected) ideas

and especially their attached values; culture systems may, on the one hand, be considered as products
of action, on the other as conditioning elements of further action….(Al-Kroeber and Kluckhohn in , Dana

2012).

As defined earlier, culture can simply be said to be everything that makes up a person’s entire way of

life. Going by this definition, the elements of culture can be said to be all the things that all cultures

have in common. Elements of culture influence the behavior and expectation of people in a community

(International Business proprietary, 2008). Elements of culture can be classed into two basic categories

viz;

A. The material and the non-material elements of culture.

B. Core and Peripheral Elements of culture.

Material and Non-Material Elements of culture: The material elements of culture; these are the

physical objects, resources and spaces that people use to define their culture. They include all of the

physical objects that people create and give meaning to (Groat, 2002). They are the visible elements

that define a particular cultural group. Example of the material elements are; homes, neighborhoods,

cities, schools, synagogues, temples, places of worship, factories, plants, tools, means of production

and others. They are the physical aspects of culture that help define its members‟ behaviors and

perceptions (John, 1996 in Tukur, 2011). Material culture places emphasis on objects, material

accomplishments; the acquisition of material wealth; skill and productivity in arts and crafts;

technology; fine buildings and displays of material prosperity (John, 1996 in Tukur, 2011).

The non-material elements of culture; these are the non-physical ideas that people have about their

culture, including beliefs, values, rules, norms, morals, language, organizations, and institutions (John,
1996 in Tukur, 2011). John (1996) opined that; A non-material culture values „abstract/intangible‟

things more highly than objects, example; things such as ideas; the things of the mind; philosophy,

meta-physics; „spirituality‟, values, beliefs, relationships between god and man; „being‟ among others.

When considering non-material culture, sociologists refer to several processes that a culture uses to

shape its members‟ thoughts, feelings and behaviors. Four (4) of the most important of these are

symbols, language, values and norms (John, 1996). In essence, this aspect of cultural elements (non-

material) consists of thoughts and behavior that people learn as part of the culture they live in such as

politics, economics, language, rules, customs, family, religion or beliefs, values, knowledge and other

intangible elements of culture (Groat, 2002).

Core and Peripheral Elements of Culture: The core elements of culture refer to those BASIC or

CENTRAL values that integrate a culture and help distinguish it from other cultures (John, 1996 in

Tukur, 2011). Core values are constant, as they are not descriptions of the work we do or the strategies

we employ to accomplish our mission. They are values that underlie our work, how interact with each

other and which strategies we employ to fulfill our mission. The core values of culture are the basic

elements of how we go about our work. They are the practices we use every day in everything we do;

Beliefs, language, religion (John 1996 in Tukur, 13 2011).

Peripheral elements of culture refer to those weak elements of culture that can be changed with time.

They are the non-constant elements of culture that often change with time. They include; clothing and

mode dressing (John, 1996).

Popular culture is also an element to consider very seriously: humor, handicraft, antiques, dances,

tools, cooking, clothes, songs, pictures, photographs and so on, are often some of the best ways to
express an identity. Seen from abroad these elements constitute some of the most representative

images (Manuel, 1996).

2.3 Cultural Background of Uyo

Effiat-Uffot in located in Uyo which is in the present Akwa ibom State. It possesses a wealth of culture

expressed through their arts, crafts, and cultural events. The Uyo people are of the Ibibio tribe who

engage in farming and fishing. They are also famous in their skill on wood carving and weaving.

CULTURAL EVENTS: the notable cultural events in Effiat-uffot correlates to that in Akwa ibom; which

includes:

USORO USUUK UDIA: new yam festival (June & September)

USORO IYAK: Fishing festival (November & December)

USORO IKOM: melon festival (September)

USORO ITA: hunting festival (August)

USRORO EKONG: traditional hero festival

NDAP EKPO: masquerade festival

ATARA UKWA: festival of deities

2.4 Cultural Centre Space Requirements

2.4.1 The Amphitheatre
Theatres vary in form. Those with a proscenium arch cater for a linear relationship between the

audience and a rectangular stage. By contrast, theatres in the round are, as their name implies,

designed so that the audience surrounds the stage. Generally the stage and the auditorium are the

largest spaces within the hierarchy of space in a theatre. This is where the main action takes place both

in reality and metaphorically. The high auditorium is designed to be airy, give good acoustics and to
provide audiences with adequate sight lines. Above the raked seating in the auditorium there may be a

number of galleries or tiers of balconies. Further seating may also be provided by boxes, which may or

may not be cantilevered one above the other along the side walls. The stage area may appear to be a

small box shape to the audience, but it includes a tall rectangular space above the stage, housing the

hoist mechanisms for the stage scenery. The types of performance and the facilities for the audience

and the artistes determine both the relative size of the stage and auditorium and the range and size of

other spaces. (Hazel and Rowan, 2006; 64).

The importance of the Paris Opéra, designed by Charles Garnier, 1861–74, is reflected in its overall size

as a theatre and in its elaborate decoration and grandeur, which emulated the magnificence of

imperial Rome (Figure 2.3). The rear of the building (right) houses a complex of tiny cells used for

dressing rooms, administrative activities and storage. The stage and auditorium combined are

allocated a far larger space. The stage is a tall rectangular box shape. The auditorium, which is lower, is

roofed over with a dome; it’s shallow rounded form inside pleasingly echoes the circular tiers of

balconies beneath and symbolically unites the audience in a shared ambience. Poor visibility of the

stage, however, is offered to those not fortunate enough to be in the front row of the boxes and

balconies. The Emperor Napoleon III had his own private entrance to the theatre, via a circular ramp to

the side of the auditorium. This leads into an elegant, small-domed circular hall that gives access to the

royal box on the Second-level plan of the Paris Opera. Spatial priority in this building is allocated to the

front (left) housing the main entrance. This includes a large vestibule leading to a two-branched grand

staircase overlooked by galleries within a large domed foyer adjacent to the auditorium.
The grandeur and complexity of these spaces make them as significant as the auditorium and stage.

These are important social and ritual spaces designed for the audience to promenade elegantly and to

see and be seen during intervals and when entering or leaving the building.

Throughout Western theatrical history, there have been six major types of theater buildings and basic

arrangements of audience seating:

(1) The proscenium or picture-frame stage,

(2) The arena stage, or theater in the round,

(3) The thrust or open stage,

(4) The amphitheater,

(5) The black box or studio, and

(6) Created or found space.

The proscenium or picture-frame stage is the most prevalent type of theater architecture in the West.

The word proscenium, used by the Romans, originally referred to the area in front of the stage. Today,

it refers to the wall with a large center opening that separates the audience from the stage. In the past

the opening was called an arch or proscenium arch, but the shape of the opening is more rectangular

than oval. In this type of theater, the audience faces in the direction of the proscenium opening and

looks into the stage, which is framed by the opening. The auditorium floor slants downward from the

back toward the stage to provide greater visibility for the audience. Often at least one balcony is above
the auditorium floor, protruding about a quarter of the way over the main floor. A curtain located just

behind the proscenium opening hides or reveals the events taking place on stage. The proscenium wall

conceals the complicated stage machinery and lighting instruments required by modern theater

production.

The arena stage, also called a theater in the round, places the stage at the center of a square or circle.

Seating for the audience surrounds the stage. This stage offers more intimacy between actor and

audience, since the playing space has no barrier separating them. In addition, productions can usually

be staged on relatively low budgets since a large, complex set would partially obscure the audience’s

view of the actors. In the mid- 20th century, American director Margo Jones initiated the development

of modern arena stage design in the United States.

An amphitheater is an open-air building with tiers of seats surrounding a central area, as in a sports

stadium or an open-air auditorium. The term originated to describe a Roman open-air building with

tiers of seats, generally oval in shape, which was intended for staging gladiatorial contests, wild beast

shows, or mock sea battles. The Coliseum in Rome, the most famous amphitheater, was completed in

AD 80 and still stands today. In the United States, outdoor theaters, another name for amphitheaters,

are often used for historical pageants or other summertime celebrations.

The black box is a type of minimal performance space developed in the 1960s in the United States for

inexpensive experimental work or new plays. Essentially a large, rectangular room painted a flat black

or muted color, the black-box theater is usually equipped with a complex overhead lighting grid and

movable seating (usually about 50 to 200 seats). The movable seating permits flexibility with the shape

and size of the performance space. The Cottesloe Theatre, part of Britain’s Royal National Theatre, is a
black-box theater with galleries (balconies) on three sides of the rectangular room. The galleries are

permanent, but the risers of seats positioned along the floor are movable.

The search for alternative or environmental performance spaces, also called created or found space,

although international, is associated in the United States with protest movements of the 1960s. In their

revolt against society and the cultural establishment at that time, artistic groups created theatrical

performances that rejected conventional stages and seating arrangements. Sometimes the audience

became a part of the playing space. Streets, garages, warehouses, lofts, and halls became performance

spaces. Jerzy Grotowski, a Polish director, introduced the concept of poor theater—theater without

costumes, scenery, makeup, stage lighting, or sound effects. All that was needed were the essentials:

the actor and the audience in the bare space. The Living Theatre, the Performance Group, the Open

Theater, and the Bread and Puppet Theater were among the American groups active in the search for

alternative spaces in which to convey new messages about American society. (Microsoft Encarta 2008).

2.4.2 The Stage

A variety of theater stage designs have been developed over the years to accommodate different styles

of theater. These schematic diagrams show three of these designs. The proscenium stage, the most

common form in the West, is separated from the audience by a wall with a large opening in it. The

arena stage, or theater in the round, is surrounded by the audience. An open stage, also known as a

thrust or platform stage, has seats arranged around a platform that extends into the audience. Two

variations are shown here.

The thrust or open stage consists of a platform stage that thrusts out into the audience, which is seated

on three sides or in a semicircle around a low platform stage. At the back of the stage are a proscenium

wall and an opening. These provide entrances and exits as well as space for scenery and visual

elements. In the 1950s and 1960s, a number of important thrust stages were built in the United States

and Canada, including the Guthrie Theater in Minneapolis, Minnesota, and the Stratford Festival

Theater in Ontario, Canada.

2.4.3 Seating & Audience

Every member of the audience should be able to see and hear clearly whatever is happening on every

part of the stage or platform. This is an ideal rarely (if ever) totally attainable in practice. However, a

clear view for every one of the main part of the stage or platform is normally achievable in modern

auditoria.

The greater the encirclement of the audience of platform or stage, more people can be accommodated

within the aural and visual limitations up to 180° encirclement. With a full encirclement, the distance

from platform or stage is restricted to six rows.

Visual limitations determine the maximum distance from platform or stage at which the audience is

able to appreciate the performance and for the performers or speaker to command an audience. This

distance varies according to function type and the scale of the performance:

• For drama it is essential to discern facial expression, and the maximum distance should be 20m

measured from the setting line of a proscenium stage or geometric center of an open stage.
• For opera and musicals discerning facial expressions is less critical and the distance can be 30m. For

cultural dance the audience needs to appreciate the whole body of dancers and facial expression: the

distance should not exceed 20m.

• For full symphonic concerts acoustic conditions predominate.

• For chamber concerts acoustic conditions also predominate but visual definition assists achieving an

intimate setting.

• For conference speaker and lecturer there are two scales: discerning facial expression, restricted by

20m; larger scale where facial expression is not regarded as critical.

• For slide, video, television and overhead projection visual limitations are determined by their

respective technologies. This refers to the distances across which speech, singing and music can be

clearly heard without the need for amplification, and beyond which they cannot. For drama, opera and

classical music amplification is deprecated; but it is acceptable for variety and pantomime and essential

for rock music.

For amplified sound the auditorium requires a dead acoustic with no reflected sound from the platform

or stage and limited or no reverberation; loudspeakers are positioned to provide full and even

coverage of the audience. The volume and quality of the unamplified sound is dependent on the

volume, shape, size and internal finishes of the auditorium, and on its resultant reverberation time. It is

therefore not possible to lay down limits as for visual appreciation. Even experts in acoustics find that

their predictions are not always borne out in practice, although they should be consulted and their

advice followed wherever possible. Spacing is controlled by the clearway between the leading edge of
the seat (in an upright position, if shippable) and the rear of the back of the seat in front. For the

seating, the minimum clearway for people to pass along the row is 300 mm and this dimension

increases with the number of seats in a row. For continental seating the clearway is not less than 400

mm and not more than 500 mm. Legislation also dictates the minimum row-to row dimension at

760mm: this is usually not adequate and the minimum should be 850 mm for traditional seating. For

every member of the audience to have an uninterrupted view of the platform or stage over the heads

in front and clear of overhangs the section and plan of the auditorium need to conform to certain

limitations set by vertical and horizontal sightlines.

When applied as described the rake will also be steep. This is satisfactory for a single tier of seating

with no balconies and is especially appropriate for open-stage formats. If a balcony or balconies are

introduced, the rake of the lower bank of seats can be reduced, assuming vision to be every other row

allowing for point P being seen between heads in the row in front. The vertical distance between

points from eye to top of the head for calculation purposes can be reduced to 65 mm if seats are

staggered. This is particularly applicable with the design of a large auditorium where, within the visual

and aural limitations, the aim is to maximize the seating capacity. This implies a balance between

sightlines, height of auditorium and seating capacity. Reducing the accumulative height of the lower

level of seating allows more height for balconies. With the smaller auditorium, especially with the

audience partially or wholly surrounding the stage and a limited number of rows of seats, an increased

height of the rake to the seating encourages a sense of enclosure of the stage, while providing good

sightlines.
3.0 CHAPTER THREE:METHODOLOGY
The goal of this chapter is to explain what methods of study are to be employed in this thesis to answer

the initial research questions. Fraenkel (2000) described this phase of research report as the general

strategy and logistics that are employed in the conduct of the study. In this research, case studies and

interviews will be conducted using qualitative approach to examine the reflection of cultural identity in

the design of a cultural center and also to provide a basis for its reflection in cultural center design.

Thus the research will employ the following methods: case studies, observations and interviews.

According to Gambari (2011), one of the most important elements in methodology is instrumentation.

Writing a research report is incomplete without describing the instruments and how they were

validated (Gambari, 2011). There are many different types of instruments which can used to collect

data from a case study. The case studies for theoretical research in Architecture may require the use of

general methods for data collection (Oluigbo, 2010). Theory could be absent from studies which focus

on describing the case and its issues (Stake, 1995). The use of multiple sources of data in order to

capture the complexity of cases is one of the defining characteristic of case study methodology (Yin,

2004; Veal, 2006; Johansson, 2010 in Oluigbo, 2010). This research will employ Visual survey and

interviews of the designers thereby analyzing the reflectance of cultural identity on the cases selected.

Case Studies: according to Johansson (2003), case study is a dominant factor of architectural research

that addresses the importance of learning; how to learn as an essential element of continuous

professional growth. Case study may refer to both research method and unit of analysis, which

involves the study of examples- a case of being researched (Oluigbo, 2010). Case studies in architecture

are the main sources of tangible or physical examples that provide practical interpretation of what has
been studied in the literature as they provide in-depth overviews of units of study. Case study is

basically a qualitative method of study. It is an empirical inquiry that investigates a phenomenon or

setting within its real life context (Groat, 2002). Case study methods involve systematic gathering of

data to permit the researcher to effectively understand how it operates or functions and what is

peculiar to the cases. For the purpose of this research, multiple case studies will be conducted on

different structures based on purposive sampling of cultural centers in Nigeria and other buildings that

have cultural identity incorporated in their design. The buildings will be analyzed based on

contemporary approach to the design of buildings using cultural identity. Moreover, cases for the study

will be selected through certain criteria and qualitatively analyzed. The focus of the case study on the

selected buildings will be on the identification of vernacular strategies adopted and cultural identity

elements, forms, materials and other relative elements of cultural identity that form a framework of

analysis. The majority of the data will be obtained from drawings such as plans, elevations (facades)

and sections of the cases.

Observation: a case study in architecture begins with a documentation of the physical characteristics

of the case (Oluigbo, 2010). The selected cases will be visited, a guided tour round the facility will be

taken around the facility and information will be gathered and the results will later be analyzed.

Structured Interview: this is very intensive in its search for detail, designers of the selected

facilities/cases will be interviewed on several aspects of the design, its philosophy, concept generation,

construction techniques and other relevant information. The interview is meant to acquire detailed

and precise information on the philosophy of the design and the extent to which cultural identity was

considered and from the conception of the design.

3.1 Sampling
A sample is a very tiny fraction of the population from which it is drawn. A representative sample

refers to a sample whose members possess all characteristics in the same proportion as the population

as a whole (Ellis, 1994). Case study selection is comparable to sampling in a quantitative research and

that those cases are usually purposively selected (Veal, 2006 in Oluigbo, 2010). In order to identify

cases, they have to possess some intrinsic virtues which are in relation with the phenomenon under

consideration (Oluigbo, 2010). The key reason for being concerned with sampling is that of validity- the

extent to which results maybe be generalized to other situations with other people (Shavelson, 1998).

Moreover, Johansson (2010) asserted that case study approach is characterized by a purposeful

selection of the case to study. Therefore, looking at the fact that case studies provide in-depth

overviews of single units of study and the fact that most architectural design solutions are derived from

the knowledge of case study, the selection of cases will be based on certain criteria which will be

discussed below;

I. Buildings that have elements of cultural identity incorporated in their designs.

II. Buildings that have standard cultural facilities that can be used to come up with user-space-needs,

aspirations and requirements.

III. Buildings that exhibit similar characteristics and feature of cultural center.

IV. Traditional buildings within the study area that exhibit traditional techniques, cultural identity,

materials, forms and vernacular strategies peculiar to the region.

3.2 Case studies
Three case studies were examined in this work; of which two are Local with one international case

study. This was to compare and contrast the pros and cons ion each facilities present in all case studies

in other to have a holistic outcome in the new cultural center design.

3.2.1 Case study I

NATIONAL THEATRE, LAGOS NIGERIA

This project was completed in 1975 and located in Lagos, Nigeria which is one of the largest

commercial hub in West Africa. The structure is of average of 200m in diameter. It was designed on

pile foundations with collapsible stages for performances. The hall has a capacity of 3500 persons.

APPRAISAL: Circular form concept allowed easy space integration and aesthetics, good lighting for

internal spaces, poor ventilation due to fixed glazing, good acoustics in the theatre, elaborate entrance

well celebrated, good parking spaces for visitors, good stage design, and absence of am-phi theatre.

3.2.2 Case Study II

UK BELLO CULTURAL CENTRE MINNA, NIGER STATE

The UK Bello center was designed by Julius Berger Nig. LTD. It was to serve as a cultural center for the

people of Niger state, Nigeria. The spaces available in the project includes: drama theatre, museum,

arts and crafts workshops, libraries, exhibition hall, administrative offices and archives.

The project is was done in four different sections with cylindrical and cuboid form which conformed to

the Hausa-Fulani prototype.

APPRAISAL: poor cultural identity, gender segregation due to space provision, inadequate parking

spaces, and traffic is cumbersome due to space separation.

3.2.3 Case Study III

CULTURAL CENTRE AND LIBRARY ‘DE FACTORI’, BELGIUM

This project was complete in 2017 and located at Willem lamberstraat, Zaventeni Belguim. With a total

of 14835m2; the original terrain was an elongated area between backdoors, garden walls and a railway

track. The site was subject to strict building regulations. Developing the site meant a social and cultural

injection for the city center. The facility boosts a multi-purpose hall of 350 capacity and a dance hall for

150 persons and an orchestra for 30 musicians. Also there is a double parking lot in which one is under

ground for 143 vehicles.

APPRAISAL: good acoustics, good seating and audience sight, good security, shell shaped theatre very

good for acoustics, good traffic circulation and parking.

4.0 CHAPTER FOUR: CULTURAL CENTRE DESIGN

The design of any building must be led by series of investigation, assessment and controls. However, in

the design of this cultural center, the following considerations were employed.

4.1 Site Selection

Choosing a viable site in Uyo is challenging due to rapid development. Three sites have been

considered. Site A, B, C are all located within Uyo metropolis. The following under listed criteria were

used to weigh the suitability of each of the site and thus the most appropriate site shall be selected.

They are: Accessibility; Proximity to Cultural facilities; Proximity to residential areas; Proximity to
recreational facilities (attractions); Proximity to Landmarks; Size of site; Possibility for expansion;

suitability and availability; and, Land use compliance.

Accessibility: the site for the design of a cultural center should be easily accessible from the main road

so as to enhance safe ingress and egress of people. The site should be easily accessed and evacuated at

any time especially in the event of emergency.

Proximity to cultural facilities: a site meant to accommodate cultural activities should be located close

to cultural facilities so as to create the most pleasant environment for cultural activities. This is aimed

at attracting people’s attention and making them want to visit the facility. Facilities that are meant to

accommodate cultural activities are best located around the same area.

Proximity to residential areas: the site should also be located close to residential area, where people

live with their families. This is because the facility is meant to serve the people as their venue for the

culmination of their cultural activities. As such the location of the cultural center shouldn’t be away

from residential area.

Proximity to recreational facilities (attractions): venues of leisure activities are better located within

the same neighborhood. Cultural center as one of such facilities should be sited around recreational

facilities so as to attract people’s attention and also in order not to stand out.

Proximity to Landmarks: facilities meant to house cultural activities should be sited in an area close to

landmarks so that they can be easily traced. This will also enhance the level of patronage by people

and visitors coming to visit those landmarks.

Size of site, possibility for expansion, suitability and availability: cultural events are known to gather

large crowd of people due to the different activities that are performed in every event. As such, there

is the need to provide large indoor and outdoor spaces and also suitable and available space for future

expansion.

Land use compliance: planning authorities mostly zone land for certain building types based on the

nature of the activities to which the building/ facility is to serve. Therefore, it’s mandatory to respect

the land-use degree in choosing a site for proposing a cultural center.

S/N CRITERIA SITE A SITE B SITE C

1 Accessibility Excellent Good Poor
2 Proximity to cultural facilities Good Good Good
3 Proximity to residential areas Excellent Good Good
4 Proximity to recreational facilities (attractions) Good Poor Good
5 Size of site, possibility for expansion, suitability Excellent Good Poor

and availability

6 Land use compliance Excellent Good Poor

Table 1: Showing comparison between Sites: A, B, C.

After a careful assessment of the three sites; the outcome was the selection of site A as the most

suitable.
4.2 Site Analysis
The site was analyzed based on several parameters that will aid the design of the cultural center on the

site. All the feature of the site were carefully studied and incorporated into the design.

Weather and Climate Conditions: the climate of Uyo is averagely humid. Rainfall figures range from

600-700mm per annum. Climate varies considerably with month and season. December to February

witness a cool dry (Seldom dusty harmattan) season; while from March to May witness a hot dry

season with temperatures ranging from 320C to 400C. The season is followed by a warm wet one

which flows from June to September. Another season comes between the month of October and

November. It is characterized by decreasing rainfall.

Physical Features: the vegetation of Uyo is rainforest mixed with mangrove in certain areas. Therefore,

the area is characterized by forests, swamps, and open grassland. However, the site has young

matured and pre-matured mango trees especially northwards. The trees can serve as wind breakers

and shield from noise from neighboring sources. Together with the abundant grass cover, the trees

form a pleasant micro-climate to the site.

The north and eastern part of Uyo is gently undulating plain with occasional outcrops. However, the

southwestern part is hilly, rocky and wooded. The site specific topography has a gentle slope

northwards. Services such as sewage, refuse, drainage and plumbing take the slope direction so to

utilize natural gravity.

Areas with lowest slope in the site have a relatively sandy soil while eastwards the site has a brown

laterite covered by grasses. The site’s soil superficially exhibits some physical signs of load bearing
capacity. However, the actual load bearing capacity is subject to hydrological and geological surveys

which are beyond the responsibility of architects, hence the need to refer to soil engineers for

appropriate advice.

4.3 Design Considerations

The design considerations engaged in the design of this cultural center includes;

TRAFFIC: the design adopted large lobbies and hall ways in order to accommodate huge human traffic

which is eminent in cultural centers. However, vehicular traffic was sorted by creating adequate car

parking spaces with excellent turning radius for easy navigation. Also, parking spaces were located

close to the main access roads.

Acoustics: performing spaces that were provided was acoustically considered by their shape and

arrangements. Also material design was adopted to help take care of the acoustic requirement of

performance spaces. Also the choice of windows will eliminate external noise influence on noise

sensitive spaces.

LIGHTING: cultural center requires good lighting and this was holistically done in the exhibition halls

and spaces and theatres by adopting large window screens which allow proper lighting at angles

incident on exhibited materials.

CULTURAL IDENTITY: The cultural identity of Uyo was integrated into the total design which was

reflected on the shape and forms in the entire project.

VENTILATION: ventilation was considered through provision of large fenestration and sizable spaces

and separation of spaces from external influence. Also the choice of site will allow for proper air

circulation.

4.4 Plans

Floor plan (not to scale)

Roof Plan (not to scale)
 Site Plan (not to scale)

4.5 Elevations

Front Elevation (not to scale)

Sectional Elevation (not to scale)

5.0 CHAPTER FIVE: DISCUSSION AND CONCLUSION

The research started by reviewing several related literatures on the concept of culture and its

elements, cultural identity and its elements, cultural activities, cultural centers and cultural identity

expression in architecture. The study area (Effiat-Uffot, Uyo) was also studied, its people, its culture

and also the materials that come together to make up their culture. Studies showed that cultural

centers are the best forms of buildings to showcase/display the cultural identity of a region. This is

because of the fact that it is being patronized by both the locals and the foreigners. The research seeks
to identify the different elements of cultural identity employed in contemporary designs and the

philosophy behind their incorporation and also to determine the impression cultural identity elements

gives to the designs when incorporated. The major interest of the research is to investigate how

cultural identity is being expressed in cultural center designs. As cultural centers are said to be the

venues for the culmination of cultural activities, it is best to know how they are being design in this

contemporary setting so as to accommodate the function to which they are known for.

The research shows that identity in architecture is a key issue that needs addressing as a result of the

universal language of architecture created by modern movement. Contemporary cultural centers are

becoming homogeneous as such lacking character and identity. Design used to be the symbolic totem

for showcasing culture.

Case studies of several cultural buildings in Nigeria were surveyed so as to understand the concept of

cultural identity expression in their designs in order to create a sense of place. The designers of these

buildings were also interviewed. Also others architects, designers and custodians of culture were also

interviewed in order to ascertain their views and perception on the concept of cultural identity

reflection in the design of cultural centers. However, the research aimed at providing a basis for the

reflection of cultural identity in architectural design. It seeks to find out how best can cultural

characters be employed in order to best reflect the cultural identity of a region through architecture.

Moreover, it seeks to investigate the perception these incorporated characters give to the architecture.

From the research, it has been seen that cultural revival through architecture in Nigeria is diminishing

as contemporary cultural centers are becoming generic as they lack identity and sense of environment

to which they belong. It has also been seen that cultural identity of a region can best reflected on a
building through borrowing elements, vocabularies, proportions and materials from the region’s

traditional architecture.

The study concluded that there were several strategies employed by architects to express cultural

identity in their work. Their attempts influence the development of cultural identity expression in

contemporary architecture. The use of cultural elements in architectural design will help in reviving lost

culture heritage by utilizing elements from traditional architecture of the region, thereby reducing the

problem of debasing culture.

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