Architecture and Symbolism - A Case Study of Olusegun Obasanjo Presidential Library PDF

ARCHTECTURE AND SYMBOLISM:
A Case Study of Olusegun Obasanjo Presidential Library(O.O.P.L)
A Dissertation Submitted to the Department of Architecture,

College of Environmental Sciences,
Bells University of Technology, Ota
In Partial Fulfillment
of the Requirements for the Degree of
Bachelor of Science in Architecture (B.Sc. Arch)
By
HARUNA OYINKANSOLA IFEOLUWA

2014/3523
JUNE, 2018
DECLARATION
I, Haruna Oyinkansola Ifeoluwa, a graduating student of the Department of
Architecture, College of Environmental Sciences, Bells University of Technology,
Ota hereby declares that this dissertation titled “Architecture and Symbolism: A
Case Study Of Olusegun Obasanjo Presidential Library (O.O.P.L)” submitted by
me in partial fulfillment of the requirements for the Degree of Bachelor of Science in
Architecture (B.Sc. Arch) is my original work. It has never been previously submitted
in part or in whole for the award of a degree. Wherever contribution of other are
involved, efforts have been made to indicate them clearly with due reference to the
literatures.
Signature Date
ii
CERTIFICATION
ARCHITECTURE AND SYMBOLISM:
A Case Study of Olusegun Obasanjo Presidential Library (O.O.P.L)
By
HARUNA OYINKANSOLA IFEOLUWA

2014/3523
Supervisor’s Signature Date

[Name of Supervisor]
Head of Department’s Signature Date

[Name of Head of Department]
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DEDICATION
This research is dedicated to the Almighty God who has seen me through every
aspect of this dissertation project.
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ACKNOWLEDGEMENT
I appreciate my supervisor Arc. (Mrs.) Alagbe, for her graceful mentorship and kind
advice during the course of my research project; as well as my critic, Architect
Fakolade.
My deepest appreciation is given to my family; most especially my father and hero,
Mr. J.A Haruna for wonderful supports given to me during the course of my research.
I also appreciate the support and motivation from my mother, Mrs. C.A Haruna.
I’ll like to express gratitude to my favorite people; my sisters: Haruna Morenikeji,
Haruna Eniola, Haruna OLuwadara, and Haruna Olukorede for being wonderful and
supportive towards me.
I as well give special credits to Boluwatife Makinde, for being a supportive friend, as
well as Ativie Kings, Akpa Abel, Akeem Ibrahim, and Ugah Tochukwu .
As for other friends who have in some way being supportive: Stephenie Okpofon,
Olamide Olopade, Yetunde Olowu, Fowode Ifeoluwa, Udofia Inemesit, Cynthia
Alagada, Akinsola Ajibola, and Jude chinaza, I express my gratitude.
I appreciate the contributions of Architect Tokunbo, Mrs Olanike, Mr Damien,
Achitect Ife Akande, Architect Fakolade, Mr Kehinde Soaga, Timothy, Ejikor, and
Ifeoluwa Fowode to the success of this project. I appreciate the staff and members of
the Olusegun Obasanjo Presidential Library. I especially appreciate the Department
of Safety and Tours, as well as the Youth Development Centre.
Finally, my utmost gratitude is given to the Creator, for seeing me through.
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TABLE OF CONTENT
CHAPTER ONE: INTRODUCTION
1.1 BACKGROUND OF STUDY ................................................................... 1
1.1.1 Definition of keywords ......................................................................... 2
1.2 STATEMENT OF THE RESEARCH PROBLEM ..................................... 3
1.3 RESEARCH QUESTIONS ............................................................................ 3
1.4 RESEARCH AIM & OBJECTIVES ............................................................ 3
1.5 JUSTIFICATION OF THE STUDY............................................................. 4
1.6 SCOPE OF STUDY …………………………………………………………5
1.7 LIMITATION(S) OF STUDY………………………………………………5
1.8 STUDY AREA……………………………………………………………….6
CHAPTER TWO: LITERATURE REVIEW
2.1 INTRODUCTION…………………………………………………………......11
2.2 ARCHITECTURE…………………………………………………………….11
2.3 SYMBOLISM………………………………………………………………….12
2.4 THE RELATIONSHIP BETWEEN ARCHITECTURE AND SYMBOLISM
………………………………………………………………………………………13
2.4.1 ARCHITECTURAL SYMBOLISM……………………………………….13
2.5 SYMBOLIC ARCHITECTURE IN NIGERIA……………………………..14
2.6 ARCHITECTURE AND POLITICS………………………………………...17
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2.7 PRESIENTIAL LIBRARY…………………………………………………...18
2.7.1 HISTORY OF PRESIDENTIAL LIBRARIES……………………………18
2.8 ARCHITECTURE OF PRESIDENTIAL LIBRARIES…………………….20
2.9 ARCHITECTURAL SYMBOLISM IN PRESIDENTIAL LIBRARIES….23
2.10 INTRODUCTION OF PRESIDENTIAL LIBRARIES TO NIGERIA…..29
2.11 OLUSEGUN OBASANJO PRESIDENTIAL LIBRARY (OOPL)………..29
2.11.1 OLUSEGUN OBSANJO AS A FORMER PRESIDENT OF NIGERIA
……………………………………………………………………………………….29
2.11.2 HISTORICAL BACKGROUND OF OOPL……………………………...30
2.11.3 THE LOCATION…………………………………………………………...31
2.12 ARCHITECTURE OF OOPL……………………………………..…………32
2.13 ARCHITECTURAL SYMBOLISM OF OOPL…………………………….41
CHAPTER THREE: METHODOLOGY
3.1 INTRODUCTION……………………………………………………………...43
3.2 RESEARCH APPROACH…………………………………………………….43
3.2.1 INDUCTIVE RESEARCH APPROACH…………………………………..43
3.3 RESEARCH METHODOLOGY APPROACH…………………………...…43
3.4 THEORETICAL BASES FOR RESEARCH METHODOLOGY……….…44
3.4.1 RESEARCH METHOD……………………………………………………...44
3.5 DATA COLLECTION METHODS…………………………………………..44
3.6 DATA ANALYSIS……………………………………………………………..45
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CHAPTER FOUR: DISCUSSION OF STUDY AREA
4.1 INTRODUCTION………………………………………………………..46
4.2 INTERVIEW GUIDE……………………………………………………46
4.3 INTERVIEW QUESTIONS……………………………………………..46
4.3.1 PREAMBLE QUESTIONS……………………………………………46
4.3.2 THE CATEGORIES…………………………………………………...47
4.4 EXECUTION OF INTERVIEW………………………………………...47
4.5 INTERVIEW RECORDING…………………………………………….48
4.5.1 MEANS OF RECORDING………………………………………...…..48
4.5.2 DURATION OF RECORDING……………………………………..…49
4.5.3 TRANSCRIPTION……………………………………………………...49
4.6 INTERVIEW TRANSCRIPTION………………………………………50
4.6.1 INTERVIEW TRANSCRIPT FOR CATEGORY 1…………………50
4.6.2 INTERVIEW TRANSCRIPT FOR CATEGORY 2………………….59
4.7 DATA ANALYSIS……………………………………………………..…90
4.7.1 QUALITATIVE THEMATIC CONTENT ANALYSIS……………..90
4.8 EXTRACTION OF THEMES…………………………………...……….91
4.8.1 CATEGORY 1………………………………………………………...…91
4.8.1.1 SUMMARY OF QUALITATIVE INSTRUMENT FOR CATEGORY 1
……………………………………………………………………………….…93
4.8.2 CATEGORY 2………………………………………………………….94
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…………………………………………………………………………………95
4.8.3 CATEGORY 3…………………………………………………………96
…………………………………………………………………………………97
4.8.4 CATEGORY 4…………………………………………………………98
……………………………………………………………………………….101
4.9 OTHER OBSERVATIONS……………………………………………103
CHAPTER FIVE: CONCLUSION AND RECOMMENDATIONS
5.1 INTRODUCTION………………………………………………………106
5.2 SUMMARY……………………………………………………………...106
5.3 CONCLUSION…………………………………………………………..107
RECOMMENDATION……………………………………………………..107
Reference……………………………………………………………………...108
Appendices
A. Interview questions……………………………………………………109
B. Details of interviewees interviewed per category……………………..113
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LIST OF TABLES
TABLE PAGE
1. Table 4.1: Extraction of themes from category 1 .......................................... 91
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LIST OF PLATES
PLATES PAGE
1. Plate 1.1: Location of OOPL. ..................................................................... 6
2. Plate 1.2: Location of Nigeria. .................................................................... 7
3. Plate 1.3: Location of Ogun State ............................................................... 8
4. Plate 1.4: Location of Abeokuta ................................................................. 9
5. Plate 1.5: Location of Oke Mosan .............................................................. 10
6. Plate 2.1: Tafawa Balewa Square ............................................................... 14
7. Plate 2.2: Independence Building............................................................... 15
8. Plate 2.3: National Museum ....................................................................... 15
9. Plate 2.4: National Theatre ......................................................................... 15
10. Plate 2.5: Aso Rock Villa........................................................................... 16
11. Plate 2.6: Franklin Roosevelt ..................................................................... 18
12. Plate 2.7: Franklin Roosevelt Presidential Library .................................... 19
13. Plate 2.8: William J. Clinton Presidential Library ..................................... 20
14. Plate 2.9: Ronald Reagan Presidential Library .......................................... 21
15. Plate 2.10: George Bush Presidential Library............................................ 22
16. Plate 2.11: William J. Clinton Presidential Library ................................... 23
17. Plate 2.12: Lydon Baines Johnson Presidential Library ............................ 24
18. Plate 2.13: John F. Kennedy Presidential Library .................................... 25
19. Plate 2.14: The drone Aviary .................................................................... 26
20. Plate 2.15: Aras Burak Sen first prize entry .............................................. 27
21. Plate 2.16: Chief Olusegun Obasanjo ....................................................... 30
22. Plate 2.17: Olusegun Obasanjo Presidential Library; the main library. .. 31
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23. Plate 2.18: OOPL Amphitheatre ................................................................. 33
24. Plate 2.19: OOPL Auditorium ................................................................... 34
25. Plate 2.20: OOPL Auditorium ................................................................... 34
26. Plate 2.21: OOPL Auditorium. .................................................................. 34
27. Plate 2.22: OOPL Auditorium. .................................................................. 34
28. Plate 2.23: OOPL Green Legacy Resort .................................................... 35
29. Plate 2.24: OOPL Green Legacy Resort. ................................................... 35
30. Plate 2.25: OOPL Green Legacy Resort .................................................... 35
31. Plate 2.26: OOPL Bamboo groove ............................................................ 36
32. Plate 2.27: OOPL Bamboo groove ............................................................ 36
33. Plate 2.28: OOPL Rounda Fun Stop .......................................................... 36
34. Plate 2.29: OOPL Rounda fun stop............................................................ 36
35. Plate 2.30: OOPL wild life resort .............................................................. 37
36. Plate 2.31: OOPL wild life resort .............................................................. 37
37. Plate 2.32: OOPL Rock of Inspiration ....................................................... 37
41. Plate 2.36: OOPL Souvenir House ............................................................ 38
42. Plate 2.37: OOPL Arrival Pavilion ............................................................ 39
43. Plate 2.38: OOPL Arrival Pavilion ............................................................ 39
44. Plate 2.39: OOPL Main Library................................................................. 40
45. Plate 2.40: OOPL Main Library................................................................ 40

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46. Plate 2.41: OOPL Main Library................................................................. 40
47. Plate 2.42: OOPL rock ............................................................................... 41
48. Plate 2.43: OOPL Rock.............................................................................. 41
49. Plate 2.44: OOPL Rock.............................................................................. 41
50. Plate 4.1: researcher’s tour of the library ................................................... 103
55. Plate 4.6: researcher’s tour of the library .................................................. 105
56. Plate 4.7: researcher’s tour of the library .................................................. 105
57. Plate 4.8: researcher’s tour of the library ................................................. 105
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LIST OF ABBREVIATIONS
ABBREVIATIONS
1. OOPL – OLUSEGUN OBASANJO PRESIDENTIAL LIBRARY
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ABSTRACT
The initial purpose of a Presidential Library was to store presidential archives; until
now that it has become a figure of public recognition. This recognition of it has been
expressed by virtue of what may be the symbolic essence of the library.
The introduction of the culture to Nigeria, considering the recently mounted Olusegun
Obasanjo Presidential Library, might just be a new era for symbolism in Nigeria. Past
symbolic elements and monuments have been misused, and presidential libraries
might just be the rebirth of vividly recognized National Monuments. This presents a
huge task to be handled by Nigerian Architects.
The symbolic essence of a presidential library could is said to be either by virtue of its
architectural design, or the influence of the image of the client. Studies of American
Presidential Libraries so far, sort of tell stories about the background and lifestyle of
their clients. This might thus be a competition for architects to compromise: the
ability of the edifice to speak symbolic architecture, independent of the vivid
influence of the client on the Presidential Library.
Architecture can however be interpreted in different ways, as it is an art. Thus, the
answers to the symbolism of Olusegun Obasanjo Presidential Library remain
subjective. These answers lie between the dominant factors initiated by the
architecture of the edifice, and the person of Chief Olusegun Obasanjo.
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Perhaps even, the answer to the symbolism of any edifice lies between the dominant
factors initiated by virtue of the architecture of the edifice, and the client.
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CHAPTER 1
INTRODUCTION
1.1 BACKGROUND OF STUDY
When Franklin Roosevelt, a former president of The United States of America discovered that
the National Archives were in disarray, his proffered solution was to mount an architectural
edifice to house archives from his administration. Subsequently, and over consecutive tenures,
the idea sprung to becoming a political culture of The United States of America.
Asides serving the functions of a library; the housing of books, documents, and the preservation
of knowledge, Presidential Libraries serve beyond the function of preserving National Archives.
Presidential Libraries have become an image of Political power and influence, Presidential
legacy, Cultural heritage attached to its client. These architectural edifices also mirror National
history.
The images reflected by Presidential Libraries, as stated above, projects a task to the
Architectural team: to accomplish utmost symbolism in not just the building forms, but also in
the conceptualization and each aspect surrounding the design process of Presidential Libraries.
As the culture of Presidential Libraries has been triggered in Nigeria, through the first of its kind;
The Olusegun Obasanjo Presidential Library (O.O.P.L), the role of symbolic architecture in the
design process of what is seen as a political, cultural and historical edifice cannot be
maneuvered.
This study thus uses the Olusegun Obasanjo Presidential Library to analyze and appraise
architectural symbolism.
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1.1.1 DEFINITION OF KEYWORDS
1.1.1.1 Architecture
The broadest definition of Architecture is perhaps the common dictionary definition ‘The
art or practice of designing and constructing buildings’. However, this definition has its
limitations as architecture entails beyond the design of buildings; particularly when
conveyed in terms with symbolism. Thus, an ideal definition would be imitated in the
term ‘Symbolic Architecture’.
1.1.1.2 Symbolism
The use of symbols to represent ideas and quantities.
1.1.1.3 Symbolic Architecture
Charles Jencks in the 1980s described architecture as a strong degree of personification
or with allusions to cultural ideas, historical references, and other pre-modernist themes.
As highlighted, architecture provides not only structure and form, but text, context and
meaning to social and cultural life.
Thus, symbolic architecture is when architectural forms become the vehicles of content-
in plan, elevation and decoration.
1.1.1.4 Presidential Libraries
According to the U.S National Archives and Records Administration (NARA),
Presidential Libraries are archives and museums, bringing together the documents and
artifacts of a president and his administration and presenting them to the public for study
and discussion without regard for political considerations or affiliations.
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1.2 RESEARCH PROBLEM STATEMENT
The study of the library is to inform the symbolic essence of the edifice; political power and
influence, presidential legacy, cultural heritage and National History. The symbolic essence of
the library could have been predominantly reached by virtue of the library’s architecture. This
symbolic essence however, could otherwise be as a result of the supreme political influence of
the former president, as well as affiliations to the person of Chief Olusegun Obasanjo,
independent of the architecture of his presidential library.
Thus, the symbolic essence of the studied edifice has to be identified; so as to recognize its roots.
1.3 RESEARCH QUESTIONS
In this study, a number of questions are raised to consolidate the research objectives. These are
as listed:
• What is the role of architecture in symbolism?
• What is the architectural symbolism related with Presidential Libraries?
• What is the role of Olusegun Obasanjo Presidential Library to architectural
symbolism?
• Is the library’s symbolism by virtue of the architecture or the Person of Chief
Olusegun Obasanjo?
1.4 RESEARCH AIM AND OBJECTIVES
The aim of this study is;
To analyze and appraise the symbolic essence of Olusegun Obasanjo Presidential Library
as to whether it is by virtue of its architecture or the person of former president Chief
Olusegun Obasanjo.
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OBJECTIVES
The specific objectives are to:
• review the history of Presidential Libraries in the study context;
• examine the relationship between the physical characteristics of the library and
the architectural symbolism;
• examine the influence and legacy of Chief Olusegun Obasanjo;
• review the relationship between Chief Olusegun Obasanjo and the Presidential
Library.
1.5 JUSTIFICATION OF STUDY
Eric Dumo (2016) wrote, in an editorial of a Punch Daily Newspaper ‘ Nigeria’s vanishing
national symbols’, that many monuments significant to the landmark occasion continue to lie
fallow, costing the nation huge losses in revenue that could have accrued from tourism activities
around such edifices. The writer made references to architectural edifices that at some point in
the past were beheld as National symbols. Referring to Tafawa Balewa Square, The
Independence Building, The National Museum, and The National Arts Theatre, the writer was
able to conclude that dozens of symbolic monuments and edifices fast crumbling dot the entire
landscape across the country.
The mounting of yet another symbolic monument, The Olusegun Obasanjo Presidential Library,
is however a significance of a new era of symbolic architecture. The fascinations following the
launching of the library in the year 2017 shed light on the need to examine symbolism in terms
with the edifice.
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Subsequently, the presidential library will not just be beheld as the beginning of a new era
of symbolic architecture, it will serve as a pace setter to redeem the idea of symbolizing
National heritage in building forms.
1.6 SCOPE OF THE STUDY
The scope of this study is to ascertain what Architecture and Symbolism actually entail. The
scope of the study was streamlined to a case study of Olusegun Obasanjo Presidential Library.
The findings of this study will be established on research data obtained from research activities;
the proceed of the study will be projected towards the overall awareness of Architecture and
Symbolism in Nigeria.
The dissertation project will be complete by second semester, 2018.
1.7 LIMITATION OF THE STUDY
The limitation of the study includes:
• Bases of raw facts as well as information on Presidential Libraries.
• Accessibility to the study area.
• Sentimental and social affiliations of the majority on issues concerning the former
president Olusegun Obasanjo.
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1.8 SIGNIFICANCE OF STUDY
The study simply captures the event of Olusegun Obasanjo Presidential Library as a symbolic
edifice to inspire a future of symbolic influence on Architecture.
1.9 STUDY AREA
Spanning over 32 hectares of land, the library is located in the Hometown of the former president
Chief Olusegun Obasanjo, a town called Oke Mosan, in Abeokuta. Abeokuta is the capital of
Ogun State, one of the 36 states in the Federal Republic of Nigeria.
Plate 1.1: Location of OOPL.

Source: Google maps.
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The Federal Republic of Nigeria commonly referred to as Nigeria, is a federal republic in
West Africa, bordering Benin in the west, Chad and Cameroon in the east, and Niger in the
North. It comprises 3 major ethnic groups: Yoruba, Igbo and Hausa. It comprises 36 states
and the Federal Capital Territory (FCT), where the capital, Abuja, is located.
Plate 1.2: Location of Nigeria on a map of Africa.
Source: Google maps.
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Ogun State is a state of the Yoruba tribe in southwestern Nigeria. It was created in the year
1976 and borders Lagos State to the south, Oyo and Osun State to the north, Ondo State to
the east and the Republic of Benin to the west. Abeokuta is the capital and largest city in
Ogun State.
Plate 1.3: Location of Ogun State on a map of Nigeria.

Source: Google map.
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Abeokuta is the largest city and state capital of Ogun State in Southwest Nigeria
(Wikipedia). It is situated on the east bank of the River Ogun, near a group rocky outcrops
in a wooded savanna. According to historical beliefs, sodeke first settled Abeokuta
(literally meaning beneath the stone or indirectly meaning “refuge from among rocks”).
Over time, due to the influence of other tribes settling in Abeokuta, its successful palm oil
trade, as well as the influence of Baptist and Anglican missionaries that began to serve the
area, Abeokuta soon grew to becoming a mega city and thus, a long lasting capital of Ogun
State.
Locating the presidential library in Abeokuta, the hometown of the former president, is not
just an adaptation of the American culture, but also a move to blend with the town’s
already felt political atmosphere.
Plate 1.4: Location of Abeokuta.

Source: Google map.
Oke Mosan is a built area of Abeokuta city housing several ministries as well as the office
of the Governor of Ogun State.
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The presidential library almost completely blends in the political atmosphere of Oke
Mosan, combining its dignifying self with natural members of Oke Mosan; rocks, lagoons,
vegetation and the likes.
The relationship between the sited location and the library, will be further unraveled in the
course of the project research.
Plate 1.5: Location of Oke Mosan

Source: Google map.
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CHAPTER 2
LITERATURE REVIEW
2.1 INTRODUCTION
Literature review is “a summary of a subject field that supports the identification of specific
research question” (Rowley and Slack 2004). Thus, this chapter assesses relevant literature and
literal theories significant to the background of the research study. This chapter addresses
literature particular to architecture and symbolism; studied by virtue of Olusegun Obasanjo
Presidential Library.
A culture of recognizing presidential legacies has taken root in Nigeria, following the launching
of Olusegun Obasanjo Presidential Library. This culture visualizes imbibing a new idea to
presidential legacies; particularly by preserving the past, capturing the present and inspiring the
future.
A Presidential Library however is beyond an icon for presidential legacies. A presidential
Library is an architectural edifice that mirrors these legacies such that even at the sight of it, an
essence of architectural symbolism is perceived.
2.2 ARCHITECTURE
By virtue of taking a shallow look at our built environment, architecture will simply be defined
as the design and construction of building. However, architecture cannot be defined as the mere
design and construction of building when brought to terms with a form’s ability to communicate
with the immediate environment. Architecture is thus further defined in the following various
ways:
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• Roman Architect, Vitrivus, the earlies known architect described in his writing of “De
Architectura (on architecture)” during the 15BC, that there are three principles to the
definition of architecture: Firmistas (rigidity), Utilitas (functionality) and venustas
(Beauty)
(Source: Becky Quintal .121 definitions of architecture. October, 2016)
• “Architecture is such a conspicuous immensely physical object in space. Its presence is
bound to influence everyone” Gautam BBhatia in India International Centre Quaterly.
• “Architecture is a visual art and the building speak for themselves” Julia Morgan, first
female Californian Architect.
There are many definitions to architecture. The definitions highlighted above however confirm
that architecture is beyond construction of buildings. It is an idea, where buildings are through
their rigidity, functionality and beauty can be relatable with the environment, and communicate a
sense of symbolism to its environment.
2.3 SYMBOLISM
Symbolism, the use of symbols to represent abstract ideas or qualities, has grown to a diversity
of elements of symbols. Symbols have grown from being mere elements or objects as multiple
reasons to symbolism evolved. The quest of humanity to communicate and reason with his
immediate environment, has birthed mans need to as well reflect symbolism on his environment.
Subsequently, the researcher has observed symbolism as an architectural idea, and an approach
to relating with space.
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2.4 THE RELATIONSHIP BETWEEN ARCHITECTURE AND SYMBOLISM
Architecture essentially is a product of culture with its values, beliefs and structure transformed
into built forms by designers for a people that constitute a society. (Abraham George “Relevance
of sign and symbolism in the making of architecture- case studies”, Department of Mechanical
Engineering, NIT Calicut, University of Calicut, 2005).
Architecture is an embellishment of the needs and desires of people manifested through the
response of its designer to a set of spatial criteria in order to decipher their values and culture
with its systems. Moreover, it remains more than a social art and responds sympathetically to the
societal structures; a form of non-verbal communication which symbolically evokes
meaningfulness in its users.
Though the role of symbols in every culture; both civilized and pragmatic, has been established
through studies world over; only detailed case studies would establish the relevance of signs and
symbols in architectural communication even in non-traditional societies.
2.4.1 ARCHITECTURAL SYMBOLISM
In his research article “Architectural Symbolism: Body and Space in Heinrich Wolfflin and
Wilhelm Worringer” Vlad Lonescu referred to an essay “Das Symbol (1887)” written by Visher
that described architectural symbolism as an “activity of the mind that feels pleasure when a
felicitious agglutination between its structure and the perceived architectural structure is
facilitated”
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Architectural symbolism is thus understood as not just equilibrium between Architecture and the
immediate environment, but also poise between the structure of the human mind in
communication with the structure of an architectural edifice.
The symbol of a structure is abstractly reflected and understood in the mind of its users. A feel of
value and culture, by virtue of not just spatial criteria, but also conceptualization and a
progressive design process on the part of the designer, is birthed in the mind of viewers and
users.
2.5 SYMBOLIC ARCHITECTURE IN NIGERIA
Apart from the commonly identified architectural styles (Traditional Style, Colonial Style,
Brazillian Style etc) that reflect the progression of Nigerian Architectural Styles through the
nation’s independence, architectural symbolism and structures that seemed to have been
recognized as national symbols have slowly depreciated.
Eric Dumo (2016), in an editorial of a Punch Daily Newspaper ‘ Nigeria’s vanishing national
symbols’, examined the lost architectural impact on symbolic essence. He carried out these
examinations by analyzing Tafawa Balewa Square, Independence Building, The National
Museum, and The National Theatre.
Plate 2.1: Tafawa Balewa Square. Source: Google chrome.
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Plate 2.2: Independence Building. Plate 2.3: National Museum.
Source: Google chrome. Source: Google chrome.
Plate 2.4: National Theatre.

Source: Google chrome.
The writer discussed his interview with a 70 year old retired railway worker, Pa Ismail Tijani
who expressed his views as quoted “This was not the TBS it used to be. I was 14 at the time of
the Independence in 1960……………..but today, instead of maintaining the place properly and
making it a respected symbol of freedom we enjoy today as Nigerians, government has left the
15
place to die”. The respondent confirms that there used to be a sense of architectural symbolism,
unfortunately, it has been jeopardized due to lack of maintenance.
The writer drove at a conclusion that symbolic monuments and edifices are fast crumbling, and
they dot the entire landscape across the country.
However, in line with the above stated symbolic edifices, it can be observed that Nigeria’s
essence of architectural symbolism might be triggered by political and democratic events or
affiliations. This is reflected in various political sites such as Ministries, Governor’s offices, and
even the residence of the Nigerian president, The Aso Rock Villa.
Plate 2.5: Aso Rock Villa.

It thus might be said that architectural symbolism in Nigeria is somewhat intertwined with
politics, political legacy and power.
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2.6 ARCHITECTURE AND POLITICS
As it has been highlighted that architecture is not only classified as describing the elegant and
preferences of an architect, and that architectural symbolism in Nigeria is in some way
intertwined with politics, architecture further reveals the hopes, power struggle, and elements
culture of the society. Although nowadays architects tend to orbit around themes that represent
neutrality in order to represent a healthier theme or image for the city without supporting any
political regime, it can be certainly maintained that using architecture as a major tool to
symbolize power and authority for a society. This is reflected in Nazi Germany and Rome
power, where architecture is a required and proffered tool in order to keep the legacy of a society
alive.
As time passes by, the built environment is a text whose every word reveals a nation’s
vicissitudes. The environment thus serves a purpose of being a visual metaphor, announcing
something in its own way about power, politics, political legacy, existence, strength,
protectiveness and structure of the institution it represents.
Mitchell kapor by this statement “architecture is politics” explains that architecture supports the
system with a structural model which is used by the society to conceptualize the world which
makes it connected to political power. Hence, there is a relationship between the social and
political sides; architecture reveals the power that is embodied in it and specifically the
monumental architecture that is formed by political powers.
These monuments show the power, political influence and legacy of the individuals accountable
for their formation and they describe the nature of that legacy. This aspect of political symbolism
in Architecture is well represented in Presidential Libraries.
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2.7 PRESIDENTIAL LIBRARY
A presidential Library is understood to be archives and museums used to bring together the
artifacts and documents of a President and his administration, to present them to the public for
study and discussion with no regards to political considerations or affiliations.
2.7.1 HISTORY OF PRESIDENTIAL LIBRARIES
The idea of mounting presidential libraries is a tradition of the United State of America which
was first introduced by Fanklin Roosevelt in the year 1939. Franklin Roosevelt was then the 32nd
president of the U.S.A who learned that the federal records were in disarray, and this knowledge
had profound effect upon him after he entered the white house. He then pondered his only
solution was to introduce a structure to preserve presidential archives which he called “The
Presidential Library”.
Plate 2.6: Franklin Roosevelt. Source: Google Chrome.
The project was then executed and built by Philadelphia contractor John McShain on a 16acres
land donated by the president and his mother. It was completed in the year 1940 and is located at
the Hyde Park, New York, and then unveiled in the year 1941, where he announced as quoted
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“To bring together the records of the past and to house them in buildings where they will be
preserved for the use of men and women in the future”
Plate 2.7: Frank Roosevelt Presidential Library.

Since then, the United States of America has successfully completed 14 presidential libraries and
are all overseen by the Office of Presidential Libraries, in the National Archives and Records
Administration.
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2.8 ARCHITECTURE OF PRESIDENTIAL LIBRARIES
(A review of the Architectural Evolution of Presidential Libraries)
Frank Roosevelt’s announcement “To bring together the records of the past and to house them in
buildings where they will be preserved for the use of men and women in the future” was soon
reflected in the two-storey Dutch Colonial affair meant to blend in with the his family estate.
However, over time, presidential libraries have emerged from the relatively modest architectural
beginnings to becoming major design and political statements.
The progressive growth of the culture is architecturally represented and is noticed from the
William J. Clinton presidential library, which is a bold modernist rectangular structure in glass
and painted aluminium that shoots out over the Arkanasas river and is intended “to express the
optimism of the Clinton administration” (William Middletown “Exploring 12 monumental U.S
Presidential Libraries, May 31, 2013; published by Archidigest). It was designed by James
Stewart Polshek and Richard M. Olcott of Polshel partnership Architects.
Plate 2.8: William J. Clinton Presidential Library.

Source: Google Chrome.
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The Ronald Reagan Presidential Library and Museum, sitting over a mountain overlooking
Carlifonia’s simi-valley, boasts a cavernous glass walled hanger that holds Air Force One 27000.
The Lydon Baines Johnson Presidential Library and Museum, at the University of Texas at
Austin, is a ten-storey-tall testament to midcentury modernism symbolizing LBJ’s Texas Hill
country toughness”. (William Middletown “Exploring 12 monumental U.S Presidential
Libraries, May 31, 2013; published by Archidigest)
Plate 2.9: Ronald Reagan Presidential Library

The George Bush Presidential Library and Museum in Dallas is the latest addition, a fresh,
classical design by Robert A.M Stern that blends modesty and monumentality; which raised half
a billion dollars in private funds. The edifice is constructed of mansory (red brick and stone) and
glass exterior; steel and reinforced concrete structure; 20 percent recycled materials, regionally
sourced; green roof; solar panels; native plantings; 50 percent on site irrigation.
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Plate 2.10: George Bush Presidential Library.
The sequence as to which the architectural emphasis of political libraries grow and the path of
political symbolism it has begun to tow, awakened a need to renovate the Franklin D. Roosevelt
with a $35 million budget.
This awakening to political symbolism in the design of Presidential Libraries has also been
awakened towards the design of the proposed Barrack Obama Presidential Library, as the
Architects, Tod Williams Billie Tsein Architects, stated their design approach: “The design
approach for the center is guided by the goal of creating a true community asset that seeks to
inspire and empower the public to take on the greatest challenges of our time”.
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2.9 ARCHITECTURAL SYMBOLISM IN PRESIDENTIAL LIBRARIES
Presidential Libraries are becoming an icon for architectural symbolism. Architects look forward
to designing a living political edifice and not just a house for National Archives. In an article on
the ArchitectureChicago Plus (a daily blog on architecture in Chicago, and other topics cultural,
political and miliral), the writer asks, in the context to civic buildings, for a definition of the
relationship between architecture and power. The writer further discusses how presidential
libraries have become America’s pyramid. He describes the progression from the $375,000 FDR
raised for the first presidential library to the Half a billion dollars spent on the 200,000 square-
foot George W. Bush Presidential Library. He concludes that the libraries have gone from being
centres to monuments.
The design of William J. Clinton was “to express the optimism of the Clinton administration”.
Plate 2.11: William J.Clinton Presidential Library.

23
The Lydon Baines Johnson Presidential Library and Museum, is said “to symbolize LBJ’s Texas
Hill country toughness” (William Middletown “Exploring 12 monumental U.S Presidential
Libraries, May 31, 2013; published by Archidigest).
Plate 2.12: Lydon Baines Johnson Presidential Library

I.M Pei stated, in describing his architectural masterpiece for his design of the John F. Kennedy
Presidential Library:
“It’s openness is the essence. After witnessing the film, after leaving the concentrated exhibition
area with its many photographs and memorabilia, people will conclude their visit to the library
in a restful place where they can linger, look at the view and reflect on what they have seen. In
the silence of that high, light-drenched space, the visitors will be alone with their thoughts. In the
reflective mood that the architecture seeks to engender, they may find themselves thinking of Jon
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F. Kennedy in a different way: in the skyline of his city, in the distant horizons towards which he
led us, in the canopy of space into which he launched us, visitors may experience revived hope
and future.”
Plate 2.13: John F. Kennedy Presidential Library.

25
In the year 2015, the Chicago Architectural Club made the Barrack Obama Presidential Library
the subject of its biennial Chicago prize design competition. At the unveiling of the winners,
majority of the design proposals had a feel to symbolize some sort of political affiliations to
Barrack Obama.
The Drone Aviary: proposed by Architects Ann Lui and Craig Reschke reflected President
Obama’s Legacy: “the population and automation of the skies” as the critical operation of the
presidential library.
Plate 2.14: The drone Aviary.

26
Aras Burak Sen’s first prize entry: is accomplished by a bridge of hope, shaped as the peace
sign connecting three sides of the river.” In this case, Architect Sen shows his eight stacked
structure, each holding archives for a single year of Obama’s presidency and rotated to provide a
different view out of Chicago. The proposal includes a commentary on the limits of power: “The
level above the bridge is a distortion of hopes in random directions. The form of these floors
could be seen as artifacts of an era struggling to do something great when it is impossible to do
so. The distortion of great hopes”. As with other entries, the ground level of the building is seen
as an expression of democracy: “without any glass, without any walls, Obama Presidential
Library provides a free amphitheater for Chicago to communicate, discuss anything. The Bridge
of Hope cuts through the theatre, looking above discussion being held, allowing them to be
overhead”
Plate 2.15: Aras Burak Sen first prize entry.

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The Big O: on the handoff the ceremony was the entry’s Chinese design team, led by Dr. Zhu
Wenyi, Dean of the School of Architecture at Tsinghua University in Beinjing. The architect
stated “There is a plan A or plan B, but this is plan O”. The architect further explained the O-
shape floor plan to be a representation of “Obama”. He explains it as “a symbol of Former
President Obama, a kind of metaphor and a spiritual place for visitors of the library”.
The later concluded with his will to emphasize the interior space with Obama’s life and career
which are organized around six themes, expressed in the stutter as “a 6 parallel ways instead of
separating units of exhibition. Visitors can enjoy different angles of President Obama’s life at
one time when strolling in the library in those multi-dimensional spaces”.
The examination of existing Presidential Libraries, as well as a few of the proposed designs for
the Barrack Obama Presidential Library, is a synthesis of an examination of the architectural
symbolism of presidential libraries. The researcher senses that these examinations ooze a motive,
that presidential libraries are becoming mirrors of the president’s lifestyle, legacy and influence.
The execution of the projects being costly is however a debate on the topics related to
presidential libraries. These debates however, did not discourage the adaptation of this culture to
the Nigerian Political System.
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2.10 THE INTRODUCTION OF PRESIDENTIAL LIBRARIES TO NIGERIA
The adaptation of the American culture is yet a new trend to the Nigerian Political System. This
system which is usually characterized by the Federal Government, State Government, Local
Government and other arms of authority, mainly preserves its archives in offices. Particularly,
the Presidency preserves such archives and documents in the National Archives of Nigeria which
is headquartered in Abuja, Nigeria with branches in Enugu, Ibadan and Kaduna. The introduction
of Presidential Libraries to Nigeria is seen as a new idea to preserving national archives and
documents. This introduction adds a significance to the political system of Nigeria, as Nigeria is
the First country in Africa to adapt the culture.
Nigeria is also the second country after the United States of America to adapt the culture of
Presidential Libraries.
There is however a question as to whether the trend will continue after the Nation’s first
presidential library: Olusegun Obasanjo Presidential Library.
2.11 OLUSEGUN OBASANJO PRESIDENTIAL LIBRARY (O.O.P.L)
2.11.1 CHIEF OLUSEGUN OBASANJO AS A FORMER PRESIDENT OF NIGERIA
Chief Olusegun Matthew Okikiola Aremu Obasanjo born on the 5th of March, 1937) is a former
Nigerian Army General who was President of Nigeria from 199- 2007. Obasanjo was a career
soldier before serving twice as Nigeria’s head of state. He served as a military rule from 13th
February 1976 to 1st of October 1979, and as a democratically elected president from 29th of May
1999 to 29th of May 2007.
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Plate 2.16: Chief Olusegun Obasanjo.
2.11.2 HISTORICAL BACKGORUND OF O.O.P.L
Olusegun Obasanjo Presidential Library is what I like to describe as a “Living Library”. With its
mission to preserve the past, capture the present and inspire the future, the architectural edifice is
the first of its kind in the Federal Republic of Nigeria. It is also the first of its kind in Africa and
the second in the world after the United States of America.
It was conceived in the year 1988, by Olusegun Obasanjo himself. The presidential library
however remained just an idea until 10 years later when he was released from the incarceration
over what turned out to be a phantom coup. When Obasanjo was elected, he established the
Office of Presidential Libraries (Libraries, Research and Documentation) whose long term
mission was in to see the OOPL idea translated into reality. It was then established in the year
2005, fashioned after the United States’ Presidential Library system and culture. The Library was
finally launched in the year 2017.
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The Library is described as “a historic, touristic, recreational and academic center, which is
regarded as a national archive and a place for the preservation of presidential documents and
historical items associated with the office and person of Former President Olusegun Obasanjo.”
Plate 2.17: Olusegun Obasanjo Presidential Library; the main library.

2.11.3 LOCATION
Located at the Presidential Boulevard way, Oke Mosan, in the Former President’s hometown of
Abeokuta, Ogun State, the complex is facilitated and owned by him. It stretches across 32
hectares of land (about 40 soccer pitches).The library features of museums that boast of
15million documents, two million books, 4,000 artifacts, some of which feature essential events
in the Nigerian history and modern African history.
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2.12 ARCHITECTURE OF OLUSEGUN OBASANJO PRESIDENTIAL LIBRARY
(O.O.P.L AS AN ARCHITECTURAL EDIFICE}
Spanning over 32 hectares of land, the project was aimed to be designed that at the sight of it,
Nigerians as well as foreigners are drawn to what the edifice stands for; that is, political
influence as a means to inspire the Nigerian youths. As I have earlier described the library as a
“living library”, it is a library that breathes the culture and tradition of the county while reflecting
the latter on the architectural efforts put to the project.
The Library is also a blend of modern architecture (incorporating the modern style of
architecture) and finishing approaches that somewhat give a sense of a natural African
environment. The choice of colors (cream, brown, green, and hints of red on exterior railing), the
choice of materials (red bricks, wood, bamboo hints), the landscape design (comprising of heavy
greenery and preserved natural rocks blended with manmade landscape features) and other
features serve as characteristics that serve as an approach to giving a feel of an African
environment.
The interior design inclusive of natural and artificial lighting, ventilation consideration with the
use of large windows, modern day technology approaches(including the use of elevators,
revolving doors to control movement and traffic), consideration for the disabled (disabled toilet
in the Youth Centre, ramps, railings etc), fire protection methods (fire escape routes, fire
assembly points etc), sustainability considerations and other characteristics that define the
modern style of the edifice.
As an approach to draw men’s attention, and as a greater means to describe OOPL as a living
library, the library is characterized by exciting features that serve as tourist attraction. Asides
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from the naturally existing vegetation and rocks popularly affiliated to the city of Abeokuta, the
Library also used its natural environmental gifts as a means to amuse its visitors. The Library
thus consists of an artificial lagoon (which is used as a source of water for the whole library), a
wild life resort, and the rock of inspiration, the bamboo groove, the Rounda’s fun stop and other
features of the library.
In a nutshell, the Presidential Library is made up of a number of buildings and facilities
including the main library building, Amphitheatre auditoriums, a bookshop, an amusement park,
a wildlife park, and a guest house amongst others.
• THE OOPL AMPHITHEATRE
An open air Amphitheatre that could be used for seminars plays and live concerts.
Plate 2.18: OOPL Amphitheatre

Source: livinsapces.
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• THE OOPL AUDITORIUM
A circular, 1000 sitter approach to explicit modernism striking an outstanding structural
balance. It is also enhanced with artistic patterns at the entrance beam as well as exciting
artificial lighting on the interior.
Plate 2.19: OOPL Auditorium. Plate 2.20: OOPL Auditorium.

Source: livingspaces. Source: livinsapces.
.
Plate 2.21: OOPL Auditorium. Plate 2.22: OOPL Auditorium.

Source: livinsapces. Source: livingspaces.
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• THE GREEN LEGACY GUEST RESORT: a 100+ room 4-star hotel with facilities
such as elevated swimming pools (main and children), a tennis court, a modern well
designed gym and a sauna among other facilities. It is finely constructed of red bricks
which give an African feel and welcoming aura.
Plate 2.23: OOPL Green Legacy Resort

Source: livinsapces.
Plate 2.24: OOPL Greeen Legacy Resort. Plate 2.25: OOPL Green Legacy Resort.
Source: livinsapces. Source: livinsapces.
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• BAMBOO GROOVE
A large, lush bamboo clearing offering and “a true taste of natural cuisine” build up and
surrounded by trees, bamboo finishes and plants, rocks etc
Plate 2.26: OOPL Bamboo groove. Plate 2.27: OOPL Banboo groove.
Source: livinspaces. Source: livinspaces.
• ROUNDA’S FUN STOP (OOPL AMUSEMENT PARK)
Plate 2.28: OOPL Rounda Fun Stop. Plate 2.29: OOPL Rounda fun stop.
Source: livinspaces. Source: livinsapces.
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• OOPL WILD LIFE RESORT
Plate 2.30: OOPL wild life resort. Plate 2.31: OOPL wild life resort.
Source: livinspaces. Source: livinsapces.
• OOPL ROCK OF INSPIRATION
The rock of inspiration is believed to have once been a mountain of prayer is the highest
point of the complex, offering breathtaking views of the surrounding Abeokuta
environment, which gets better with the installed microscope.
Plate 2.32: OOPL Rock of Inspiration Plate 2.33: OOPL Rock of Inspiration.
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Plate 2.34: OOPL Rock of Inspiration Plate 2.35: OOPL Rock of Inspiration.
• OOPL SOURVENIR HOUSE
Plate 2.36: OOPL Souvenir House.

Source: livinspaces.
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• OOPL ARRIVAL PAVILION: a fairly large hanger that accommodates some
presidential artifacts such as Obasanjo’s first car, a peculiar white jeep, military
helicopter, miniature warship etc
Plate 2.37: OOPL Arrival Pavilion.

Plate 2.38: OOPL Arrival Pavilion.

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• THE OOPL MAIN LIBRARY: it is said to be designed as “outstretched arms
welcoming visitors”. It is a three story building with a manmade lagoon that sits opposite.
It is a white large structure mounted to depict political power and authority, as well as a
safe house for Olusegun Obasanjo’s legacy. The lagoon is crossed over by a bridge
constructed of timber sheets and steel members.
Plate 2.39: OOPL Main Library.

Plate 2.40: OOPL Main Library. Plate 2.41: OOPL Main Library.
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• OOPL ROCKS AND BOULDERS
Plate 2.42: OOPL rock. Plate 2.43: OOPL Rock. Plate 2.44: OOPL Rock.
Source: livinsapces. Source: livinsapces. Source: livinspaces.
2.13 ARCHITECTURAL SYMBOLISM OF OLUSEGUN OBASANJO
PRESIDENTIAL LIBRARY.
The Olusegun Obasanjo Presidential Library and its symbolic essence cannot be
discussed without a reference to the former president’s political legacy. However, it is
mandatory to first examine the Presidential Library with respect to already documented
literature concerning the library.
According to an article on the official website of the Presidential Library: “A brief history
of OOPL”, a primary concern for the establishment of a Presidential Library is to first
acknowledge the contributions of, at any one in time, the occupier of Nigeria’s most
political office. It is also highlighted that the library was established to demonstrate and
deepen democracy. The website does not particularly relate the edifice with any form of
architectural symbolism. It only discusses architectural matters and issues about the
surrounding environment and the complex physical challenges faced because of the site’s
unique topographical formation.
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However, further studies inform that according to the Library’s official brochure “At a
more local level, the library will teach children and young adults the essential concepts of
leadership and citizenship through the example of a former president. By upholding the
critical worth of good governance, the exhibitions should inspire future leaders of
Nigeria.” (Michael X, June 2017, “Inside the Olusegun Obasanjo Presidential Library
complex as captured by Ayo Akinwande”, a photographic compilation on a website
known as livinsapces). This also further confirms the library’s popular slogan: preserving
the past, capturing the present and inspiring the future.
The legacy of the former President has been discussed and deliberated over time,
however, citizens cannot exactly pinpoint what aspect of Olusegun Obasanjo’s
presidential legacy and influence is affiliated with the architectural symbolism of the
edifice. A compilation of reviews from the Library’s official brochure as highlighted
above is also limited by virtue of the absence of specific topics that discuss issues
intertwining the architectural symbolism and Olusegun Obasanjo Presidential Library.
Thus, aspects to this topic “Architectural symbolism of Olusegun Obasanjo Presidential
Library” and the relationship between Architectural symbolism and Olusegun Obasanjo
Presidential cannot be concluded until a proper research methodology is carried out.
Notwithstanding, the Presidential Library is recognized as a National monument. This
recognition might have been triggered by the sudden emergence of something new to the
political system of the Nation. Also, this aspect of the topic “Architectural symbolism of
Political Libraries” cannot be decided examined by virtue of mere assumption, but by
proper research methodological approaches.
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CHAPTER 3
METHODOLOGY
3.1 INTRODUCTION
This chapter presents the Theoretical Bases for Research methodology, Research Approach,
Research Method, Data Collection Method, and Data Analysis surrounding the study context.
3.2 RESEARCH APPROACH
A research approach could either be deductive or inductive. For this research, an inductive
approach is adopted.
3.2.1 INDUCTIVE RESEARCH APPROACH
Inductive approach does not formulate hypothesis. It is prompted by research questions, aim and
objectives that should be addressed and achieved.
3.3 RESEARCH METHODOLOGY APPROACH
The chosen research methodology approach is the case study of Olusegun Obasanjo Presidential
Library.
• CASE STUDY
This is defined by researcher Robert K. Yin as an empirical inquiry that investigates a
contemporary phenomenon within its real-life context.
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3.4 THEORETICAL BASES FOR RESEARCH METHODOLOGY
3.4.1 RESEARCH METHOD
A research method could either be qualitative or quantitative. For this research, a qualitative
method is adopted.
• QUALITATIVE RESEARCH METHOD
This method involves describing in details, the specific situation using research tools like
interviews, surveys and observations. Qualitative Research is primarily exploration research. The
qualitative instrument selected for this research is the interview method.
Interview:
An interview is a conversation where questions are asked and answers are given. In common
parlance, the word “interview” refers to a one-on-one conversation with one person acting in
the role of the interviewer and the other in the role of the interviewee. Interviews usually
involve a transfer of information from interviewee to interviewer, which is the primary
purpose of the interview.
3.5 DATA COLLECTION METHODS
Data collection is the term used to describe a process of collecting data. It is gotten from various
sources, and has been systematically observed, recorded and recognized.
Data collection is categorized into two groups:
44
• Primary Data:
This is an original research that is obtained through first hand investigation. That is, data
collection by the researcher. Primary data includes information that can be collected from
interviews, experiments, questionnaires, focus groups and measurements.
• Secondary Data:
Secondary data is data that is being re-used. The information has been gathered by someone
else for some other purpose. These can be gotten from newspapers, articles, books,
encyclopedia and journals.
For the purpose of this research, data will be gathered through individual interviews and
observations.
3.6 DATA ANALYSIS
Data collected from the interview will be analyzed using the qualitative thematic content
analysis.
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CHAPTER 4
ANALYSIS AND DISCUSSION
4.1. INTRODUCTION
This chapter reflects information collected through conducted interview, as well as an analysis of
collected information with an aim to driving towards a properly trimmed conclusion. It also
reflects how the interview was conducted, as well as procedures implemented to carry out the
interview.
The first observed procedure was the construction of an interview guide.
4.2 INTERVIEW GUIDE
A well-constructed interview guide was prepared for the purpose of this research. It consists of
preamble questions, followed by various categories of respondent, each category having
interview questions peculiar to its respondents.
4.3 INTERVIEW QUESTIONS
4.3.1 THE PREAMBLE QUESTIONS
The preamble questions are simple questions constructed to introduce the respondents into the
discussion. The questions create a familiarity between the respondent and the topic of discussion.
It is also an avenue to educate the respondent on the topic of discussion before proceeding to
questions peculiar to his/her category. The preamble questions thus usher the respondent into the
discussion.
46
These questions might however develop further discussions; where there be a need to further
enlighten the correspondent on the topic of discussion.
4.3.2 THE CATEGORIES.
Questions were divided into various categories in order to constructively gather information from
different sources.
CATEGORY 1
This category consists of respondents who bore the vision with the client. It also consists of
persons who are also in some way related to the library, and have an understanding of its history.
CATEGORY 2: The Construction Team.
This category consists of questions asked to respondents who were members of the construction
team. These questions were asked to understand the perception of the construction team.
CATEGORY 3: Neighboring Architects.
This category consists of respondents who are well-respected practicing architects. It includes
architects that either dwell in Abeokuta, or are to a reasonable extent familiar with OOPL.
CATEGORY 4: General (i.e. residents of Abeokuta, Tourists, Visitors, others)
This category consists of respondents from the general public, who have no special affiliations or
relationship with OOPL. It is important to also address the research topic from the perspective of
the general public. This category will consist of individual interviews as well as focus groups.
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4.4 EXECUTION OF INTERVIEW
Each interview was initiated with exchange of pleasantries, followed by the preamble questions,
which made the interviewee more comfortable with the conversation.
All interviewees were informed that their opinions to the interview questions were being
recorded, and were to be transcribed and documented for the purpose of a research project. This
was noticed to have made some of the interviewees take the interview more seriously. It was also
noticed to have prompted more interest in the topic of discussion. It also made some interviewees
more careful with their speech and use of language.
Interviewees were allowed to freely express themselves. This led to lengthy conversations with
some of the interviewees. Conversations were not interrupted, except from instances where the
interviewee seemed to have required further knowledge or assistance. Some interviewees seemed
to enjoy the interview, as well as the topic of discussion, as they cracked minor jokes in the
course of the interview.
During some interviews, questions were altered, modified or avoided due to certain observations
made.
4.5 INTERVIEW RECORDING
4.5.1 MEANS OF RECORDING
Face-to-face interviews were recorded on the interviewer’s android phone; a Samsung Galaxy
Grand Prime which was able to cover a wide range, especially in instances the interviewee
moved or paced about. Phone call interviews were either recorded with the interviewer’s phone,
an alternative phone or written down.
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4.5.2 DURATION OF RECORDING
The interviews ranged between 5-30 minutes.
Conversations with members of the construction team were observed to be most lengthy. This
was due to their extensive understanding of the topic of discussion.
Conversations with passers-by were very brief, thus the least lengthy. This was probably due one
of the following factors:
• Limited understanding of the topic.
• Little interest to discuss with a stranger; the interviewer.
• Passers-by seemed to be in a hurry.
4.5.3 TRANSCRIPTION
Verbatim transcription is the process of transcribing a recording to text without omitting a single
word or utterance, down to the smallest uhm or okay. While some businesses, charities and
academic centers use non-verbatim transcriptions, which clean up grammatical errors and
remove non-verbal sounds (fillers), there are times when transcribing everything is important
(Word for word: Why and when Verbatim Transcription is necessary. Brittany Corners. July,
2015).
Reading down the above referenced publication, Brittany Corners further advises to use the
verbatim method while transcribing for research purposes. Thus, the Verbatim method is adapted
for this the purpose of this research.
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In this research, all data constructed was handled as equally relevant and thus all interviews were
transcribed in full. Descriptions were used to signify non-verbal vocal expressions such as
laughter, and physical gestures.
4.6 INTERVIEW TRANSCRIPTION
Asides the conversation between the interviewer and the interviewee, this aspects also reflects
the means of interview, means of recording and duration of recording of each interview, as well
as the mood of the interviewee.
4.6.1 INTERVIEW TRANSCRIPT FOR CATEGORY 1
RESPONDENT 1:
Means of interview: Face-to-face.
Means of recording: Interviewer’s phone.
Duration of Recording: 11mins, 51secs.
Mood of Respondent: Chatty, excited.
a) WHAT IS YOUR UNDERSTANDING OF THE RELATIONSHIP BETWEEN
ARCHITECTURE AND SYMBOLISM? Uhm it’s you can infer that errrr by
inference there should be a lot, I mean errrrr, for instance when people conceive ideas, I
think it is the whole reason you have particular structures of particular organizations
looking the same across the nation. Take CBN for instance, if you see a CBN building
across the whole country the architecture reflects CBN. So I would say yeah that there is
uh a lot of relationship between architecture and symbolism, and also even when you
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come to the library here, the library’s design was informed by errrrr the person of
Obasanjo. The architect was trying to reflect the shape of the building from what baba
has done in the past.so I would say yeah, I can comment with that.
b) DO YOU THINK THE IDEA OF SYMBOLIC ARCHITECTURE IS WELL
ADAPTED IN NIGERIA? Well errr not as it ought to, but errrr, I think it is beginning
to catch on but I think we need to take it to another level, we need to move it up because
errr it’s a way of, as it is, it’s a very good way of branding. You know your structure
reflects maybe what you want to do so I think it’s beginning to catch on but not at the
level where it ought to be but then again, I guess we can begin to flog it to make sure that
it picks. It’s going to put a lot of hard hands on the activities of a lot of architects like you
and then on money, probably? He giggles.
c) WHAT AREAS HAVE THEY BEEN ADAPTED? WHAT BUILDINGS? NAME
THEM? Well errrr yeah, some of the museums in Nigeria, like I know I grew up close to
one in Kaduna and uhm the moment you see it, it speaks of a monument. So errrrr that I
think was successfully done, and also errrr the entrance to err some of the Universities
and palaces in the North, you know, err yeah. It reflects some the like royalty, you know?
So… And then maybe a few of the corporations. I’m thinking there was one that err,
what’s it called? I’m trying to remember what it was reflecting but the moment you see it,
it convinces a particular message that: this is what this organization is into. Yeah. So but
again like I said, it needs to be much more widespread. There is room for a lot of growth
in that direction. Due to his sort of understanding of the topic of discussion , the
interviewer furthers the interview with questions prepared for category 4 (i.e. questions
prepared for members of the construction team)
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d) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? Well, the
architecture of OOPL, the main library, that’s the library and museum, it is reflective of
errrrr a presidential library and also the person of Obasanjo, and errr don’t forget that
the presidential library culture was a borrowed idea from the U.S.A. but again, err the
OOPL had to inject the Nigerian errrr, it “Nigerianised “ the design so to speak where
you have errr a homogeneous society you know, that has errrr thirty-six different states
and cultures and all of that so all of that had to be err reflected in some way, even if not
in the design but in the content. So to a large extent yeah, it does.
e) SO, WHAT DOES OOPL SYMBOLIZE TO YOU? Well, it symbolizes errr, he pauses
for seconds….a resource that, you know, is meant to inspire the future generation
because it tells the story of Obasanjo from a child who had no opportunities who was
born in a hamlet but grows up to become virtually everything. Errr, you know Africa is a
story telling country but too often our stories are told to us by the west, from their own
perspective, but in this case the Olusegun Obasanjo Presidential Library tells the story of
a worthy African son from our own perspective with the aim of inspiring coming
generations. When people are old people, you can hardly inspire them but when people
come here and see that this guy grew up with nothing yet he is everything, it inspires
them too. So it is a very tremendous inspiration to young people and a resource base to
uhm get people to uhm look up to the future no matter how disadvantage they are.
f) WOULD YOU SAY THE SYMBOLISM THAT YOU SAY IT REFLECTS, IS BY
VIRTUE OF THE ARCHITECTURE OF THE LIBRARY? Well, he hesitates, yes.
But you know, one might just see a building but by the time you’re guided and told why
the shape is the way it is, then you will be able to key into it. well err, particularly the
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main library, if you look at it from an angle it’s like somebody with two arms open like
that and that was reflected by the initial designer of the library, one architect eze, to be
err reflecting Obasanjo welcoming back err the err rebels that fought with Nigeria
during the errrr civil war, that’s Biafra, you know, he welcoming them back to the family
sort of like because he was the man that ended the war. So that’s what the building is
supposed to look like if you are made to look at it from the angle, you can be able to key
into it, you know, the symbol of err welcoming back brothers from err war.
Are there other underlying factors asides the architecture that might reflect what
you see in OOPL? Well, uhm yeah, there are. Those are mostly the add-ons you know;
you have the main building and the supporting structures. If you’re coming in from the
gate from errrr the Moshood Abiola way, you’ll be seeing the Adire and African Fabrics
center, you’ll be seeing the cultural village with aspects of err, it used to have a thatch
before the thatch came off. You know; reflecting local construction methods err some of
the traditional modes of roofing houses, then it had err some structures that have now
given in sadly. Uhm, it had the mud hut, uhm the Niger Delta kind of structures that we
build on water. All that was meant to show the homogeneous nature of the country and
how… err it spots also a mosque and spots also a chapel. Baba will be the first to tell you
that he was president not only of Christians but of Muslims. And that he was first a
Nigerian and last a Yoruba man. And errr, you know Abeokuta is the home of adire, so
we’ve also preserved all that to reflect the indigenous nature of the locality the library is
built.
g) WHAT WOULD YOU THEN SAY IS THE RELATIONSHIP BETWEEN THE
ARCHUTECTURE OF OOPL AND THE SYMBOLISM THAT IT REFLECTS?
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Well it is more than, in terms of the ideals and symbol that it is trying to reflect, we try to
give it that African flavor in many respects because the man himself, other than when he
was in military you will rarely see him in foreign gowns, you’ll hardly see him in a jacket
and all of that. Or, for instance, if you are going to the library, not just the structure now,
the content, errr we’ve done something with errr donors, we’ve given them various
categories such as gold, platinum and all of that. But at some point we’ve added ebony,
cowry and some local way of assessing the support and contribution that has come in
there. So some of that has gone...You know; lot of thought has gone into that to be able to
reflect the person that the library personifies. So for me, I think that’s still trying to
reflect what he stood for which we are trying to symbolize here in the library. So we have
to have that kind of content to reflect the person himself. He throws a question as to
whether he has satisfied the interviewer’s question and the interviewer replied positively
“yes”.
h) WHAT WOULD YOU SUGGEST TO BE DONE TO ENCOURAGE SYMBOLIC
ARCHITECTURE OR STRENGHTEN THE RELATIONSHIP BETWEEN
ARCHITECTURE AND SYMBOLISM? Well, err, I think what needs to be done, a lot
of awareness has to be done on the part of the architect,errr, yes, they do a lot of drawing
and all of that and then when architects are conveying for some sort of summit or
conference, I’m sure mostly architects or people related with that field participate. They
have to broaden their scope and bring in deliberately people that are not architects so
that they will be able to understand the standpoints from where they are coming from.
And then of course, particularly they should begin to also errr influence policy, go at the
policy level, to make sure err government makes it mandatory for corporations or big
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buildings that are coming up either government or multinationals to begin to tow that
line. You know when it is made a policy, I’m sure that in time, it will grow and faster too.
RESPONDENT 2:
Means of interview: Face-to-face
Means of recording: Interviewer’s phone.
Duration of recording: 10mins, 21secs.
Mood of Respondent: calm, slightly chatty.
ARCHITECTURE AND SYMBOLISM? Well, the architecture of a building should
actually tell the story of the building, and uhm it makes it easier for anybody taken round
for a tour to understand what the story is all about.
ADAPTED IN NIGERIA? To me, I will say, I don’t think it’s fully adapted. Few are.
For example, you find uhm the airport errr symbolical because you can find the radar
you know, so you know, uhm, and of course if you’re coming in to any of our own
Nigerian airports you’ll see the plate wings and all that. Errrr hospitals. Some. Some do
have but not all. But what I notice here is that a lot of buildings now have paintings,
mosaic and paint a picture of who should be working in that place. Errr, but I think we
have one and I know that it is one, is that of Olusegun Obasanjo Presidential Library. If
you’re coming from the arrival pavilion walking from the bridge to go into the library.
When you face the library what you see is the architectural design is like open arms
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welcoming people. Yes, if you have more of these buildings it tells a story, it makes you
understand better. I’ve seen residential buildings or houses being built especially in the
south west, I’ve seen one on the way to ijebu, the house was built like an airplane, and I
know for a fact that the owner of this house is a business man. He has nothing to do with
an airport.
THEM? This question was agreed to have already being answered by the respondent
while answering the previous question.
d) WHAT WOULD YOU SAY IS THE RELATIONSHIP BETWEEN
PRESIDENTIAL LIBRARIES AND SYMBOLIC ARCHITECTURE? Actually, the
architecture of any presidential library should actually tell the story of the government of
that person. The presidential libraries are actually out in place by presidents who have
been, and have left. I think again it should sort of remember what the vision statement is,
what they want to tell the world and tell what the president should be remembered for.
Uhmm, as for us here in OOPL, Baba’s vision is to preserve the past, capture the present
and inspire the future and it is very historical. Very very historical. It has the story right
from when he was very small, and Obasanjo through education into the military down in
to the democratic world and now he is retired. So basically, it should be very historical, it
should be a learning zone and a platform; it is. And uhm the end result of that is to
promote tourism, to encourage people to come, we want to make it a place that look, “if I
don’t come to that place, I’m not yet fulfilled”. Basically, that is what we are doing here;
telling the story to people and of course linking the past to the present.
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e) WHAT WOULD YOU SAY WAS THE AIM OF THE TEAM WHEN THE IDEA
WAS FIRST CONCEIVED? I wasn’t here when it was conceived. But I walked in and
uhm in the midst of it, and exactly what it is, it is. That is, to preserve the past, capture
the present and inspire the future. I think in all of it what Baba has in mind is to actually
make sure that the youths do not be waved away. It’s a continuation of lifetime; that some
have been, some people are now, and some people will be. In the sense that history from
the hands that have not been touched is captured, preserved and continue to inspire the
youths to do a whole lot better. I think that has actually worked because we have a lot of
programs here organized by the youth development center to inspire the youths. We don’t
want our youths to forget what they are meant to do and with this our youths will be more
proactive and they don’t lose track of anything.
f) DID IT INCLUDE SYMBOLISM OF ANY FORM? Yes. errm, I’ll say that because if
you go through the two buildings that actually start the story. You’ll notice that all
materials that are used there are symbolical. Most of these things are materials that
Baba has worked with, has used when he was a farmer, as a military man, down to a
democratic president. Errm, the building itself, when you welcome someone you want the
person to come close to you, you’ll want the person to know more about you. It isn’t a
closed fist thing, it’s an open arm thing, you must welcome. I think it’s worth it, it work.
And there is of course, there is a relationship between the architecture and the symbolic
factor.
Does it have to do with the political legacy of the client? I see it as more historical. I
see it as a gap in the curriculum being closed. I hear that they are trying to bring history
back into the curriculum in school, but here you can talk about the Nigerian civil war
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and all that, these are lacking. So it’s more of history facts that being political. If we want
to say politics here, of course Baba has his materials, registered works errr, and all that.
But whatever I see around it is to tell you about what he went through, what happened
and the results. So I consider it more historical than any other thing.
Was it the idea of the client? Certainly. I am sure it is because I consider Baba as a
man of vision, and uhm, he is also determined to follow his vision to the core.
g) WAS THIS IDEA PROPAGATED ACROSS TO THE CONSTRUCTION TEAM?
I wouldn’t know but of course you can see the relationship.so certainly, there must be.
You know because, he would’ve told them the idea he had. It couldn’t have been taken
out of it. Certainly it must be part of it.
h) HOW WOULD YOU SAY THE ARCHITECTURE OF THIS EDIFICE NOW
REFLECTS THE CONCEIVED IDEA OF SYMBOLISM? Very very. Very very. It
speaks for itself, and of course when we talk to tourists, of course, we elaborate on that.
i) WOULD YOU SAY THE SYMBOLISM OF THIS EDIFICE WAS
ACCOMPLISHED BY VIRTUE OF ITS ARCHITECTURE? OR OTHER
UNDERLYING FACTORS? i think it’s both, it’s a combination of both. You could
have a building but if you have nothing to say about the building, then what do you say?
But basically like I said, it’s historical because we have facts, we have people who can
tell the story, and you are in there to see it yourself, to see the story yourself.
j) WHAT WOULD YOU SUGGEST TO BE DONE TO ENCOURAGE SYMBOLIC
ARCHITECTURE OR STRENGHTEN THE RELATIONSHIP BETWEEN
ARCHITECTURE AND SYMBOLISM? I would say the more we have of this, the
better. Uhm, anything we do, we must leave a mark somewhere. And if you’re coming
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into a center, there must be something that tells us what exactly they are doing there. So
basically I think the more of symbolism in architectural designs we have, the better. It
tells a story. So first and foremost, whoever is coming in has an idea of what he’s going
to see there, or read or do there.
RESPONDENT 1:
Mean of recording: interviewer’s phone
Duration of recording: 22mins, 23 seconds.
Mood of Respondent: Chatty, interactive with the environment.
ARCHITECTURE AND SYMBOLISM? Architecture and symbolism? He pauses for a
moment. It depends first of all what you mean by symbolism. The interviewer briefly
explains her point of view on symbolism. Let me help you out like this. The initial
concept was designed by one architect eze. What has happened is that, we then built on
it, but we’ve tried to keep the initial concept. The building has changed in some ways, it’s
grown bigger but it’s in plan view that you see his concept. His concept is actually
someone with arms open out receiving someone, opening his arms to receive visitors
because is supposed to be something for the country.it is a museum, it’s for the country so
it receives people from all over the country. Maybe later I’ll show you the plan view. The
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interviewer asks the respondent if his response completely explains his understanding of
architecture and symbolism, and he replies positively. Yes.
ADAPTED IN NIGERIA? It depends really. There’s this building in Abuja, I don’t
know what it’s called but it’s a Lagos state house for the Lagos state government. The
moment you see that building you know its Eyo Masquerade. If you know about Nigeria
and you know about Eyo Masquerade you will know it’s about Lagos state. We don’t
need to tell you “this is what this building is”. Like what were discussing about, until you
see the plan view you can exactly understand the concept. Unlike the Eyo building that
looking at it in elevation you can tell what it symbolizes.so it depends, yes there is
symbolism, but it depends on how a person sees or interprets a building. The respondent
cracks a joke with a passing by colleague and continues with the interview.
THEM? The interviewer and the respondent agree that this question had already been
answered by the respondent; making reference to the “Eyo looking building” he had
earlier mentioned.
d) WHAT WOULD YOU SAY IS THE RELATIONSHIP BETWEEN
PRESIDENTIAL LIBRARIES AND SYMBOLIC ARCHITECTURE? The real
reason why the presidential library was started was to keep presidential papers.
However, here we don’t keep only presidential papers. We keep a whole lot of other
artifacts, and collections from different people because we don’t really have places to
safely keep things like that in Nigeria. Now this is probably the biggest presidential
library at the moment and that’s because we have many things to keep in it. When you
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look at the building from the outside, you know Abeokuta is somewhat a rocky place so
we built it in such a way that it looks like a rock emerging in the midst of rocks or from
the rocks. Now with our landscape now, we try to keep a lot of green around it and it
symbolizes how baba came out of a poor and deprived environment to become something
that describes this whole place. The building is grounded very firmly and that still
symbolizes where he is coming from. You will only know that if you know the story of his
life. Now the architect has eventually has a challenge in that area; being able to
interpret. Its why in architecture there’s really nothing like a wrong design, because you
have your own interpretation of a place. It is art. Architecture is an art and a science,
and in the art aspect you have your own understanding of it. So each one is based on
what the architect interprets the owners dream or vision to be and at the end of the day
the owner will have to agree to it. I guess this design has changed overtime but the only
thing that remained constant was the concept of the open arms
e) WHAT WAS THE AIM OF THE ARCHITRCTURAL TEAM WHILE
DESIGNING THE PRESIDENTIAL LIBRARY OOPL? This is where I’ll be open
with you. Initially we didn’t even know what a presidential library was. The only thing
that came to our heads was library, books. So we were designing foo books. Whereas a
presidential library is not a library foo books, in fact a library is not even for just books
it’s a place to contain knowledge. We were used to library being a part of schools but the
first university in the world was actually a library. However a library is a repository of
knowledge so it doesn’t have to be books only.so presidential libraries have museums
because museums, the artifacts there are also repositories of knowledge. So generally we
started off with the wrong idea, wrong vision, but we’ve been able to work round it and in
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keeping the shape. The interior has changed a lot and a lot around it. The building has
grown bigger because we had to keep a lot more in it.
f) WAS THERE ANY ATTEMPT TO REFLECT SYMBOLIC ARCHITECTURE IN
THE DESIGN OF OOPL? Mmm, symbols… well, I guess that’s still the open arms
concept. He pauses for a while. Well, another thing is when you come in from the main
entrance, the wall on both sides you’ll see the mosaic patterns on the wall. They are
meant to depict traditional….the respondent stands up to pick mosaic tile samples and
shows the interviewer….to depict traditional architecture and symbols, some other things
around too symbolize our tradition.
g) IF YES, WHAT DID THE TEAM ATTEMPT TO REFLECT...? The respondent
refers back to what he had mentioned while answering the previous question. …DOES
IT HAVE TO DO WITH THE POLITICAL LEGACY, INFLUENCE OR POWER
OF THE CLIENT? Uhm, in some way maybe, yes. The building itself it, it describes
“rocky”. Wherever you see it from, you can see it’s different. That is how it has to do
with the client. That’s how the client is. His voice is still to be reckoned with not only in
Nigeria but all around the world. Then for the greenery, we have greenery around
because he wants a legacy. The guest house there is called the green legacy resort, he
wants to leave a legacy behind and he wants it to be green. So it’s supposed to be a place
that remains for both recreation and learning. We have a dam and we generate power
from it. We have solar…and we have recycling plants that regenerate biogas. The car
parks are all covered with solar panels. He still wants to keep teaching to see what they
could learn, and see what’s still possible in Nigeria. There is a wild life park and what
the moment we are planting rare species of trees that are going extinct in Nigeria. In fact
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the furniture in the museum are made of local timber that were sourced here in Nigeria,
and some in Ogun State then taken to be worked on. So yes, we’ve taken a foreign
concept but we’ve tried to make it local. To make it tangent with our own ideas.
Asides the influence of the client are there other factors that influence the
symbolism of the edifice? I guess that’s subjective again because it depends on what a
person interprets of the edifice. But some things have changed, architecturally, because
of the site. Initially, the building was supposed to be on the highest spot. He points at a
high rock. That rock there. But there is a high tension cable running across there so we
shifted the building. Now we have this lake here because there happened to be a small
stream flowing through the sight. So these are one of the little things that influence the
image of the site. Let me take you out. The respondent leads the interviewer to a large
balcony from where the site could be viewed. He points at a building. That building you
see there, the arrival pavilion, that’s where you come in first. Then he points at a bridge
over the lake he had earlier mentioned. Then you cross the bridge over to here. That
bridge was used during the civil war. It was actually put up by the Nigeria Army Core of
Engineers. We call it the Unity Bridge, because the civil war was fought to ensure
Nigeria stayed united. All that wasn’t part of the initially, the bridge wasn’t part of the
intention. There was a stream over there, and we said, “okay, there’s a deep raliver, let’s
dam it”. We dammed it. Then the engineers wanted to give us samples because Baba
wanted to give us some samples because baba had been in the core of engineers. They
wanted to give us some things to display there, so we said, “Look, we need a bridge to
put across the lake. Why don’t we use the military’s bridge? We don’t have any space to
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put it (i.e. in the arrival pavilion)” So along the line, little changes have been the made,
the site had made us consider some changes. However, we still maintained the concept.
h) WERE THERE PARTICULAR DESIGN CHARACTERISTICS,
CONSIDERATIONS AND PRICIPLES PERCULIAR TO ACHIEVING
PARAMOUNT SYMBOLISM IN THE DESIGN OF OOPL? Uhm, apart from the
hand, like if you look it from here…He points at an angle of the building… this is a hand,
that is a hand. So, even with that, that’s really what we have tried to stick to throughout.
So in some way we had the function following the form. It was a bit difficult to work with
but in the end I believe we were able to achieve it.
i) DO THEY REFLECT IN THE DESIGN PREOCESS, ELEVATIONS, AND
LANDSCAPE? The respondent had mentioned these factors while he answered previous
questions. i.e the floor plan, the lake, the bridge etc.
j) DOES OOPL ADAPT THE TRENDS OF AMERICAN PRESIDENTIAL
LIBRARIES? The respondent referred to what he had said earlier, about how the idea
was an American culture that has been localized to suite our culture. Then further
explains with a short sentence. Our own problems are peculiar to us.
k) WHAT WOULD YOU ADVISE TO BE DONE TO ENCOURAGE SYMBOLIC
ARCHITECTURE OR IMPROVE THE RELATIONSHIP BETWEEN
ARCHITECTURE AND SYMBOLISM IN NIGERIA? Nigeria. The problem with
Nigeria and symbolic architecture. I’ll break it down to two. Firstly, the economy.
Second, the client.no matter how your architect feels the client decides in the end what he
wants. Now not every client is adventurous. They want “look. We’ve always done it like
this. That is what I want. I know this cannot fail. Don’t experiment with me”. Now, for
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you to be very symbolic, the client must be willing to allow their clients experiment. Let
me make an example I always use. In Nigeria, there is only one bank that allows the
architect to be flexible, its only GTBank. Every other bank just, you know. It’s quite
expensive for the bank, but it has made a name for them.
RESPONDENT 1:
Mean of recording: interviewer’s phone.
Duration of recording: 7mins, 29 secs.
Mood of Respondent: calm, collected.
ARCHITECTURE AND SYMBOLISM? Well, let me look at it from this perspective.
It is said that we don’t have our own architecture on this part of the world; it doesn’t
necessarily mean we don’t have buildings. But researchers are tempted to think we don’t
have our own architecture because we borrow styles from others.so when talking of the
relationship between architecture and symbolism, it means there should be a particular
image for the architecture of a particular region. In terms of symbolism, if I see a place
or the type of buildings around there I can say, “This is what they symbolize”.
ADAPTED IN NIGERIA? Ah well. No. No, No. I don’t think so. Well, going with the
history of architecture in Nigeria especially the traditional architecture we used to have
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our own architecture by virtue of the arrangement of spaces and all that; you should
have heard of the Yoruba, Igbo traditional architecture and all that. Those were our own
architecture. But over time, due to civilization, technology, and other factors, things have
changed. We have experienced modernism and now people are just shouting
contemporary architecture. If you look at the architecture of contemporary architecture,
the elements and the characteristics, you will agree with me that it’s the architecture of
foreigners.in a way, I can say we are losing what we can call our own architecture.
THEM?? The respondent already stated that symbolic architecture is not well adapted in
Nigeria, and was only initially reflected in our traditional architecture.
d) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? Well, as
much as they have tried to reuse local materials, bricks and all of that, in a way, foreign
architecture found its way into it. In as much as they endeavored to make do with local
materials, if you look at the library itself, you’ll see that a lot of things in play are foreign
things. It’s sort of a mixed architecture. If you look at Mapo hall in Ibadan, and some
buildings that were built represent the strength and power in Nigeria, in the South-West
then. Some of the elements there appear in OOPL.
e) HOW WILL YOU DESCRIBE THE ARCHITECTURE OF OOPL IN THE
CONTEXT OF SYMBOLISM? Like I said earlier, the only thing I can reckon with
there is the material. But if you look at the main library it has deviated from the usual
bricks used around the place.well the symbolic aspect of it is that the library itself is
symbolic, as an edifice. It’s not common around here and the architecture here. But the
building itself is symbolic because it is an edifice to behold all the time.
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f) WHAT STRIKES YOUR MIND AS THE FIRST GLANCE OF OOPL? If I pretend
to not know what the building was meant for I wouldn’t have known it’s a library. I
probably would have thought it was a five-star hotel or something like that.
What about answering the question with an understanding of what it is? It is perfect
for what it is meant for.
g) WOULD YOU SAY THE SYMBOLISM WAS UTMOST ATTAINED BY VIRTUE
OF ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? The other
underlying factor is that, the owner of the place is not just a Nigerian but a powerful
person. Those are the things that will attract people to come here not just the building.
you can see more beautiful buildings across the world, but foreigners, tourists and other
Nigerians they will want to come by virtue of the ownership status of the place and the
function of the place. It is more or less like a museum.
h) WHAT WOULD YOU ADVISE TO BE DONE TO ENCOURAGE SYMBOLIC
ARCHITECTURE OR BUILD THE RELATIONSHIP BETWEEN
ARCHITECTURE AND SYMBOLISM IN NIGERIA? We should encourage
traditional architecture. Though, I understand that our forefathers did not document the
way we do our things and that was a major mistake. We cannot boldly say we have a
record somewhere to prove that this is our architecture. But if we study traditional
architecture, the way we arrange our spaces, the way the openings are designed, etc.
we’ll understand that those things were meant to be done here. They were functional,
beautiful and they encouraged what I’ll like to call communal living which is part of our
system or culture here. So if we go back and try as much to borrow some of those
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elements, even though we cannot completely adapt them due to civilization and all, we
could have an image of our own.
RESPONDENT 2:
Mood of Respondent: chatty.
ARCHITECTURE AND SYMBOLISM? Well, architecture and symbolism. Architects
make use of symbolism or symbols as a concept. It’s a style of expressing architecture.
That the way I see it.
ADAPTED IN NIGERIA? Well, it depends. It’s not like it is well embodied generally as
a concept. There are a lot of concept that architects use; architects use symbolism,
modernism etc. it’s not a very easy thing to adapt. I know of someone that probably
worked with something that has to do with a ship, so he built a house now called the shit
house. Some people or clients impose symbols on their architects. Some farmers can say
because they are farmers they want their buildings to look like cocoa pods. So symbolism
expresses something, but might be very difficult to handle. There are some people that
one way or the other they have expressed it. But generally we can’t say architecture and
symbolism is one thing or the other. It is not district.
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THEM? There is one in Abuja, I don’t know the name. Then the one I earlier mentioned,
its somewhere in Ogba, it looks like a boat. But you se, generally, some people try to
have these buildings express symbolism in the elevations, not exactly in the form. Where
we can easily appreciate symbolism would be in public building, but in private buildings
when they try to use some symbolism.errrrrr. There are some prominent ones but I can’t
really remember. There is a house in Abuja, probably in area 3 or so, it was built by the
federal ministry of transport but later given to the ministry of defence.in fact, and they
call it boat house or ship house. So you will see symbolism, the architect designed it to
look like a boat, very gigantic. So that’s one of the most prominent architecture that the
place of symbolism is recognized.
d) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? Well to me,
it’s kind of…should I use the word “amorphous”? It’s not specifically…there is nothing
you can easily point as the form that the architecture has taken. I think it is made up of so
many functions and that has really defined the form to be amorphous. I know for example
we have a portion for the guest house, then another that’s like a multipurpose hall. So,
rather than have a form that is well defined, the building probably takes the form of the
functions assigned to it. I can’t really say this is the form assigned to it.
e) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL IN
CONTEXT OF SYMBOLISM? That’s what I’m saying, that I can’t see a specific
symbol. I think I’ve been there just once for a function in the hall then I took a walk
around it. Other times I’m just passing by and seeing different buildings.
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f) WHAT STRIKES YOUR MIND AT THE FIRST GLANCE OF OOPL? The most
striking portion of it is probably the guest house, the one with about three or four floors.
The respondent was further questioned: is there anything else that crosses your mind
about oopl? Maybe an aura or a message it passes? Well, it’s like a mixed use. To me
it’s like a mixed use, it’s more of a recreational form than any other thing because you’re
seeing some sort of event or functions and all that. In fact, I question myself “we call it
library, where is the library?” the interviewer briefly enlightens the respondent about the
white structure which is the main library and the respondent agrees to be familiar with the
main library. Yes, but the library itself has been submerged. I think they just call it library
in terms of function and all so many other things. I don’t think it really depicts a library;
I mean the serenity of a library and all those things. To me, it’s just like a business
concern.
g) WOULD YOU SAY THE SYMBOLISM WAS UTMOST ATTAINED BY VIRTUE
OF ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? The
architecture to me, there is nothing specific about it except one has to really study it in
depth. I’ve told you I’m not too familiar with the place but the one that strikes me most,
because of the height is the guest house. And I know that there are many units. The
problem is when we have a lot of buildings displaying a lot of forms and functions; it’s
difficult to confine it to a symbol. The architect probably got carried away. Like for
instance bells University, you can talk about the concept but not of the symbolism. The
concept would be the form of the building and the materials. The same thing with OOPL,
different…… it’s a well laid out environment no doubt about that; but for the specific
reason for which it is named, if I were the one I would not name it a library. I would give
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it another name but that it contains a library. Not naming it after a library because there
is no overriding function of a library.
ARCHITECTURE AND SYMBOLISM IN NIGERIA? Well, it’s left to us as the
designer. But the client will say “this is what I want”. But symbolism in architecture;
there is no big deal about it. If the client says “this is what I want”, you have to do it for
him. The problem with symbolism is, it’s not easy to handle. If for example I say because
my father is a father and he planted cocoa, and I say I want to make my building look like
a cocoa pod; there is going to be a challenge to that.; a lot of wasted space and all that.
Well that we can do when designing public buildings like recreational and tourist
centers, but when designing residential buildings; it is difficult to really assert
symbolism.
RESPONDENT 1:
Means of interview: phone call
Mean of recording: alternative phone
Duration of recording: 8mins, 42secs
Mood of Respondent: not read.
ARCHITECTURE AND SYMBOLISM? The respondent first seems confused by the
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question. He is then further enlightened by the interviewer. Architecture I believe is a
profession. I believe is a work of art that relates to building and works of structures.
While symbolism is an art of the visible; someone that can see and understand or
interpret the meaning of what he sees.so they are both arts. The interviewer perceives
that the respondent might not exactly understand the topic of discussion. So she asks him:
Do you have any understanding of the term “symbolic architecture?” No. I don’t.
The interviewer thus briefly educates the respondent. Oh, yes. Like a building designed in
a boat like structure or that? The interviewer further discusses with the respondent, as he
is more enlightened on the topic.
ADAPTED IN NIGERIA? In Nigeria here, very few people are exposed or want to
stand out in the terms of symbolism. in Nigeria. Maybe some old buildings, but not now.
THEM? Like I said some old buildings in some commercial places in Nigeria. They are
no more in vogue. Then there is this boat building somewhere in Ikeja; ogba-ikeja, the
National theatre here. Maybe elsewhere like the National Theatre in Ghana but in
Nigeria here I don’t see much. Just some old building. It’s kind of like an old technique
here.
How familiar are you with OOPL? Well, recently, very familiar. I and my colleagues
are shooting a movie here.
d) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? I think it’s
the combination of structures that I’ve probably seen somewhere before or new
structures like the resort. Then they have their own dam and some sort of artistic touch to
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the environment like how they maintained the natural state of the land. I think the place is
more appreciated when you take an aerial view of it. The rocks there, and the zoo too;
the zoo is surrounded by rocks. Then the main building itself looks firm.
e) WHAT DOES OOPL SYMBOLISE TO YOU? It looks like an estate of some sort. But
when you get in there you will know that there’s more to it and you will appreciate it
more. The cannibal of people there are also knowledgeable and quite exposed.its
something that is not out of this world but it is out of Nigeria. But when you look at the
building itself, the main library, it takes you to the white house. The green legacy resort
looks like an African induced edifice. Then the main library itself looks like a roman
structure. The zoo is very natural too. It creates a natural environment.
f) WOULD YOU SAY THE SYMBOLISM WAS UTMOST ATTAINED BY VIRTUE
OF ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? Yes, that’s
for the green legacy hotel and for the main library too. It’s like a combination of
Africanism and “Westernism” and for other factors, the natural factors; the natural
environment.
ARCHITECTURE AND SYMBOLISM OF OOPL? I just see it as a very good
architectural structure. It’s a unique structure. It just reminds me of the white house.
ARCHITECTURE AND SYMBOLISM IN NIGERIA? I think we need to appreciate
the fact that the world is reaching a climax; in Africa for instance, like the green legacy
implied we should maintain our green and natural environment. There should be more of
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green in our environment, it will make us encourage our buildings better. When a
structure stands out or is built to stand out in that environment, it speaks better for it and
what it is trying to symbolize.
RESPONDENT 2:
Means of interview: face-to-face
Duration of recording: 6mins, 39secs
Mood of Respondent: excited.
ARCHITECTURE AND SYMBOLISM? Well, luckily for you, I studied Urban and
Regional Planning when I was in school.so I have a slight understanding of the role of
symbolism in architecture, and I travel a lot due to the nature of my job. I will just say
sometimes when I see buildings, they speak to me. It’s more than just the materials and
all that.
ADAPTED IN NIGERIA? Well, Nigeria is a very interesting country whether we build
fine houses or not. However, I don’t seem to see many buildings that speak to me. Except
a few old ones like the National Theatre, and maybe Aso Rock Villa. Buildings here are
just plain. Like we are just meant to live in them and there is nothing more to that.
THEM? Well like I said earlier National Theatre, Aso rock villa. Actually ehn, there are
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a lot of other ones but I just don’t know their names. There is this one that I see when I
am approaching the Lagos Island, it looks like a basket with fins all over, but it’s not
round. It looks like a basket standing on water and it is not an old building. the IBS is just
an arena now, but I’m certain it must have meant something at some point.
d) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? ahh!
Magnificent. Simply magnificent. You will understand what I am saying if you have seen
the interior of these buildings. I could not even take pictures with my phone, but it is
magnificent.
e) WHAT DOES OOPL SYMBOLISE TO YOU? it just looks like a very big guy that
came out of nowhere, especially the main library building. It has this… this you know,
powerful standing. Then the whole place is so natural; preserving nature and wild life. It
just seems like an environment that has all that you want or need. That it now belongs to
Obasanjo! Ah!
OF ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? The
respondent becomes less excited at this point. Well, errr, the architecture makes it look
magnificent like I said. Abi? Is that what you’re asking? He pauses a bit. When I was
inside the main library, it became less of the building and more of the owner, Obasanjo.
Everywhere I look at Obasanjo, Obasanjo, and Obasanjo. It even made the place feel
grander and more magnificent. Maybe the architects also tried with what they did to the
interior, but making it all about the owner gave it a different feeling inside. I felt like I
was in the Aso Rock or something like that.
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ARCHITECTURE AND SYMBOLISM OF OOPL? errrr, I think the architects were
just trying their best to impress the owner. So they designed something this grand. So
maybe the relationship between the architecture and the symbolism of OOPL is Obasanjo
himself. I can like to say tradition, luxury, nature, wild life and all that, but it all still
surrounds the person of Obasanjo and probably what he wanted or what he stands for.
The fact that the architects put these things together means that’s what the client is about.
So I will say the relationship between both is the client himself.
ARCHITECTURE AND SYMBOLISM IN NIGERIA? Does Nigeria want to
symbolize anything? It’s only rich people that have money to spend on symbolism in
buildings. Maybe I should advise Nigerians to get richer. He laughs. But then honestly,
most people see these things as a waste of time and money. It’s not a bad idea, but maybe
if architecture is more affordable in Nigeria, it will make sense. Nigerian architects
should also broaden their horizon and think like artists and creative people, not all these
box houses everywhere.
RESPONDENT 3:
Mood of Respondent: calm.
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ARCHITECTURE AND SYMBOLISM? Respondent speaks his local dialect and
cracks a joke with his friends. Architecture and symbolism, eerm, simply put. He laughs.
How do I put this? He laughs again. By symbolism, we mean an entity somewhere that
signifies something. Architecture is the study of buildings and designs in the environment.
So it’s like creating an entity in the environment.
ADAPTED IN NIGERIA? Well to me, I’ve seen some symbolic buildings like the
National Theatre, errm, economical center in Abuja, and some other structures designed
by renowned architects.
THEM? Heritage place, intercontinental hotel, TBS, errr to mention a few. I don’t know
sha.
d) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? it’s quite
symbolic, the building being the first presidential library in Africa portraying the lifestyle
and background of the former president of Nigeria. The architecture is okay, the trees,
the Natural feeling. It is one of the renowned places I know.
e) WHAT DOES OOPL SYMBOLISE TO YOU? to me, errm, how would I put this.ah. I
think it’s just setting or trying to create a legacy for the upcoming generation to not
forget where they are coming from, you can reference to the place sort of. You can
reference to the place sha.
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OF ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? Ahh, I don’t
think it’s the architecture per say. It’s the whole point that it is a presidential library.
ARCHITECTURE AND SYMBOLISM OF OOPL? There is a relationship in a way,
like I said it’s because of it’s a presidential library. Like what is meant to be inside. Or
what they want to portray.
ARCHITECTURE AND SYMBOLISM IN NIGERIA? The respondent giggles. To
encourage symbolism? ah. He laughs again, this time with his friends. Mad! To
encourage symbolism? The respondent seems taken aback by the question. Well,
architects in general, whatever they are trying to design, they should make it stand out
just like the father of modern architecture, Louis Sullivan. I think architects should come
up with their own styles, it will encourage symbolism.
RESPONDENT 4:
Means of interview: face-to-face.
Mean of recording: interviewers’ telephone.
Mood of Respondent: Excited, calm.
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ARCHITECTURE AND SYMBOLISM? what I feel is rrm, architecture and
symbolism, is like bringing or relating buildings to a subject. You’re conceptualizing a
subject into a building so it can stand for something. Looking at it from afar it stands for
something so I can say they interplay.
ADAPTED IN NIGERIA? Of course, we have buildings that tell something or
symbolize something for us. Like iganmu theatre, it tells us the state Nigeria was at some
point.
THEM? Like I’ve said the iganmu theatre. Then the economical center, it’s for everyone,
and quite a number of buildings that give us an idea. They stand for something basically.
d) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? the
architecture is…. The landscape first is nice. Each building tells a story. At least I’ve
being there, they all tell a story centered not just around the owner but around Nigeria.
It’s not something you can easily see. A layman will not see all that. He will just come for
his own thing and leave.
e) WHAT DOES OOPL SYMBOLISE TO YOU? Obasanjo. He giggles.it symbolizes the
fight for freedom in Nigeria. It tells you the story of a nation, centered about the fight of a
man; Obasanjo.
OF ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? I think there
are something’s, it can be the entire overview of the building, the rear view, it depends.
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But for OOPL, I think it when you enter you see what everything represents. Like
entering the museum, you’ll see all the materials use, the elements and all that. Then the
library itself, you see art works and other things you don’t need the tour guide to tell you.
so for OOPL I think it’s about the inside itself.
ARCHITECTURE AND SYMBOLISM OF OOPL? This one is deep oh. He grins.
I’ll say well, the whole thing about OOPL is the architecture of OOPL because what
really brings us to the edifice is somebody sat down and made some sketches we can all
see. We can’t take away architecture from the symbolism.in fact, architecture is a tool to
bring out what was on the client’s mind, the clients story. So to extent the architecture did
justice to the story the building should tell. Coming inside you can basically read what
they are trying to pass across to it.
ARCHITECTURE AND SYMBOLISM IN NIGERIA? Well I think there must be a
total understanding of the subject. When we talk about symbolism, there is a subject; you
want o give representation of a subject. The architect must understand what it is standing
for and should be able to interpret it in the design; a layman wouldn’t readily understand
it because it shouldn’t be all about the interior. From outside, materials should tell the
story. We have some buildings across the world that tells us something like the Eiffel
tower, when you see it, it tells something. OOPL isn’t there yet but it is something. For
architecture to really do justice to a building, the subject should be well read.
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RESPONDENT 5:
Means of interview: phone call.
Mean of recording: alternative phone.
Duration of recording: 5: 02secs.
Mood of Respondent: chatty, hasty.
ARCHITECTURE AND SYMBOLISM? Errmm, a piece of architecture that can be
related to something. Maybe iconic buildings?
b) WHAT AREAS HAVE THEY BEEN ADAPTED? WHAT BUILDINGS? NAME
THEM? I don’t know, at all. I don’t know.
c) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? Err, how do
I start? Well I don’t know. I’ll actually say it’s very nice. I like the whole interior details,
the functionality of the spaces, I like the finishes.
d) WHAT DOES OOPL SYMBOLISE TO YOU? Mmmmmm, symbolize? I’m not sure. I
don’t know if OOPL symbolizes anything to me. As the respondent stated that the edifice
might not symbolize anything to him, the interview questions had to be modified.
e) SO DO YOU THINK OOPL CARRIES ANY SORT OF POLITIAL AURA? Of
course it does. Yes now. It does. Considering the owner and all, of course it does.
f) WOULD YOU SAY THE AURA WAS UTMOST ATTAINED BY VIRTUE OF
ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? I think asides the
name of the owner, the structure itself is a factor.
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g) WHAT WOULD YOU ADVISE TO BE DONE TO ENCOURAGE SYMBOLIC
ARCHITECTURE AND SYMBOLISM IN NIGERIA? The architects need to work
more. It’s the responsibility of the architect. They need to understand their roles; even
their country and the environment. I don’t think they will be able to work on symbolic
architecture if they don’t research first or know more about Nigeria.
RESPONDENT 6:
Means of interview: face-to-face
Mood of Respondent: hasty.
ARCHITECTURE AND SYMBOLISM? Well, I don’t know. What do you mean?
Like a building as a symbol or looking like something? That’s what I know.im not an
architect so I can’t tell.
ADAPTED IN NIGERIA? Maybe back in my days, yes. Now architects just want to do
simple things.
THEM? Like I said, maybe in those days. So let me say old buildings like the National
Theater in Lagos, TBS, and the likes.
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d) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? I’m not an
architect so I can’t use their terms, but it’s a fine place.
e) WHAT DOES OOPL SYMBOLISE TO YOU? ah, it’s a really huge thing. Like a
rebirth of what we used to know as monuments. Yes. A monument.
OF ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? Well. You
are just bringing me back to thinking like an architect, which I am not. But I guess the
building somewhat contributes to what makes the place look like a monument, asides the
drama behind the owner of the place.
ARCHITECTURE AND SYMBOLISM OF OOPL? Politics? All these things are just
political stunts. The building is this loud because of politics. Everything is politics.
ARCHITECTURE AND SYMBOLISM IN NIGERIA? Well Nigerian architects are
lazy and need to buckle up. We don’t necessarily have to spend a lot of money on
buildings honestly, just a simple touch of something that speaks in every building.
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RESPONEDNT 7:
ARCHITECTURE AND SYMBOLISM? I don’t know much but when a building isn’t
boring and plain there is probably more to it.
ADAPTED IN NIGERIA? Well, if we are talking of buildings that are not boring, most
Nigerian buildings are boring. Only a few seem interesting.
THEM? Some hotels, palaces, or theatres. Asides that, nothing much.
d) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? The place is
fun and interesting, and I think the architectural structures add it. The architecture of the
place is welcoming; there are different places and different points of attraction.
e) WHAT DOES OOPL SYMBOLISE TO YOU? Well, it’s a fun place to be. Sometimes
it looks like a place you can walk into if you want to see Obasanjo or all those other big
big people in power.
OF ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? Errrrrr, no. I
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think the architecture is wonderful but most people come there because it has to do with
Obasanjo, or let me speak for myself, I will go there because of Obasanjo.
ARCHITECTURE AND SYMBOLISM OF OOPL? the buildings look powerful, just
like Obasanjo.
ARCHITECTURE AND SYMBOLISM IN NIGERIA? It depends on what exactly
symbolism means for architecture, but all join I think the architects should brainstorm on
that. Not business people like me.
RESPONDENT 8:
Means of interview: Face to face.
Mood of Respondent: hasty, chatty.
ARCHITECTURE AND SYMBOLISM? What is symbolism? The interviewer briefly
educates the respondent. Oh, if that’s it, I only remember when I was in school, one of my
architecture friends always tried to design his buildings in funny shapes. I didn’t
understand why he was doing so or how, but it was different; and never seemed like just a
building.
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ADAPTED IN NIGERIA? Talking about building with funny shapes? Err, not really.
The interviewer briefly enlightens the respondent that it doesn’t have to be funny looking
buildings. Oh, if it’s about symbolizing or meaning something like you say, there are
some but it’s not just easy to read these things. Only the architect knows.
THEM? I only read meanings to art galleries, and things that have to do with
entertainment or art. Let’s say fela’s shrine in Lagos. It has this fun buzz.
d) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? I am not an
architect ooo. She laughs. But the buildings are well done. Are we talking of the whole
OOPL? Or what? The interviewer responds positively. If it’s all the buildings I can’t say.
But I see the hotel when I am passing by, and one other big white house that people say is
Obasanjo’s house. Both of them are very fine.
e) WHAT DOES OOPL SYMBOLISE TO YOU? It’s a nice place to be in; like a world
on its own, but it’s for people that have the money to enjoy such life. The hotel is
expensive as I hear from the streets. It also makes it seem like Obasanjo is the president
again, like why would he have a library for himself? And the other fancy things in the
place.
OF ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? I just think
it’s all about Obasanjo, and they are making a lot of money from the hotel and
everything. As for the hotel it looks ancient with the whole bricks.
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ARCHITECTURE AND SYMBOLISM OF OOPL? Like I said, it’s all about
Obasanjo.
ARCHITECTURE AND SYMBOLISM IN NIGERIA? This question is bigger than
me oh! She laughs. Aren’t you an architect? You should know now! I don’t know oh!
Please I’m in a hurry. She laughs and walks away.
RESPONDENT 9:
Mood of Respondent: calm.
ARCHITECTURE AND SYMBOLISM? Well, in my own understanding oh, it’s like
errrr, from what I know that symbolism is, it’s when a building can symbolize something.
ADAPTED IN NIGERIA? Symbolic architecture is like when a building is symbolizing
something right? The interviewer responds positively. Well, errrr, symbolizing
something? Not really. I haven’t been out of Abeokuta much so I can’t tell what’s outside
here. But for here maybe the cultural center and OOPL.
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c) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? Very nice.
Looks like a presidential villa, but with some extras. It looks like a democratic sort of
thing, maybe cause of the influence of the owner. Sometimes I wonder if I would see it the
way I see it if it’s not for Obasanjo.
d) WHAT DOES OOPL SYMBOLISE TO YOU? Like I said it looks like a presidential
villa, all that democracy stuff.
e) WOULD YOU SAY THE SYMBOLISM WAS UTMOST ATTAINED BY VIRTUE
OF ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? Yes the
architecture. The architecture of a building always influences how people see it. And the
person of Obasanjo is also an influence.
f) WHAT WOULD YOU THEN SAY IS THE RELATIONSHIP BETWEEN THE
ARCHITECTURE AND SYMBOLISM OF OOPL? It simply shows the attempt of the
designer to do something different from the usual, and it looks like just what Obasanjo
will like.
g) WHAT WOULD YOU ADVISE TO BE DONE TO ENCOURAGE SYMBOLIC
ARCHITECTURE AND SYMBOLISM IN NIGERIA? Well people don’t always
want to go crazy with their buildings. For me ill like to have some crazy idea for my
future home. Architects should start thinking outside the box, and people should stop
being afraid of crazy buildings.
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RESPONDENT 10:
Means of interview: face to face.
ARCHITECTURE AND SYMBOLISM? Well errrr, in those days there seemed to be
a relationship. Now it’s all just simple and plain. I think it’s the new concept. Buildings
used to be loud and meaningful, but not anymore.
ADAPTED IN NIGERIA? It was, but not anymore. And that’s normal because things
change.
THEM? Errrr, those monuments of the past. National monuments. I can’t be mentioning
them; you should find out.
d) HOW WOULD YOU DESCRIBE THE ARCHITECTURE OF OOPL? It’s a lot,
there are so many buildings and a lot of money was probably used. But the structures are
fine, different from the usual. Each and every one of them.
e) WHAT DOES OOPL SYMBOLISE TO YOU? its errrr, like a monument of those
days, unlike now. I like the grass, the rocks and everything conserved. It’s like those days
that people build and still try to maintain nature.
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OF ITS ARCHITECTURE? OR OTHER UNDERLYING FACTORS? yes sort of.
There are other things but I might not really have thought of it.
ARCHITECTURE AND SYMBOLISM OF OOPL? Respondent is quite for a while.
Well, errrr, ah. That’s some question; I just know the place is really natural. I don’t
really have much to say on that.
ARCHITECTURE AND SYMBOLISM IN NIGERIA? Well, it’s on the architects.
4.7 DATA ANALYSIS
4.7.1 QUALITIATIVE THEMATIC CONTENT ANALYSIS
Thematic analysis is a widely-used qualitative data analysis method. It is one of a cluster
of methods that focus on identifying patterned meanings across a dataset. It emphasized
pinpointing, examining, and recording patterns (or “themes”) within data. Themes are
patterns across datasets that are important to the description of a phenomenon and are
associated to a specific research question.
Braun and Clarke (2006) define thematic analysis as: “A method for analyzing and
reporting pattern with data.”
Thematic analysis is a widely used method of analysis in qualitative. In 2006, Braun and
Clarke published an article that described to novice researchers how to use thematic
analysis in a step-by-step manner. Thematic analysis is simple to use which lends itself
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to use for novice researchers who are unfamiliar with more complex types of qualitative
analysis. It allows for flexibility in the researchers choice of theoretical framework. Some
other methods are closely tied to specific theories, but thematic analysis can be used with
any theory any researcher chooses. Through this flexibility, thematic analysis allows for
rich, detailed and complex description of data.
4.8 EXTRACTION OF THEMES
4.8.1 CATEGORY 1
Table 4.1: Extraction of themes from category 1
RESPONDENT 2 RESPONDENT 1
Relationship between Respondent has a relatable Respondent has a relatable

Architecture and Symbolism understanding of the understanding of the
relationship between relationship between
architecture and symbolism. architecture and symbolism.
Adaptation in Nigeria Not fully adapted. Not fully adapted.
Relationship between It tells the government, history

Presidential Libraries and and vision of the owner to
---------------
symbolism. tourists and learners.
Architecture of OOPL It links the past to the present. Reflects the person of
Olusegun Obasanjo, a
Presidential Library, as well as
Nigeria as a whole.
Aim of the team Aim: preserve the past,
• Symbolic capture the presence and
consideration:
• Affiliations with inspire the future.
political legacy of ----------------
Symbolic consideration: the
client:
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• Conception from the “open arms” concept of the
client:
floor plans and symbolic
materials used.
Affiliations with political
legacy of client: it is more
historical than political.
Conception from the client:
it is certainly the idea of the
client.
Propagation of the idea to The idea could not be kept
the architectural team away from the architecture.
---------------
Reflection of symbolism by The edifice speaks for itself. A resource to inspire the
the architecture of the future.
building
Factors influencing Architecture, history, Nature. Architecture, tradition and
symbolism of OOPL. diversities in Nigeria the client
wanted to celebrate.
Relationship between A relationship exists. Reflecting the person the
architecture and symbolism library personifies as well as
of OOPL.
his love for Nigeria.
Suggestions/ Architects should design to Awareness on the part of
recommendation tell a story. architects, involvement of
non-architects with
architectural topics, architects
should influence policy.
Source: Researcher’s Compilation
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The respondents had a relatable understanding of the topic.
From discussions carried out with the respondents, one could state that their understanding of the
relationship between presidential libraries and symbolism is the ability of a Presidential Library
to reflect the government, vision and history of the owner to tourists and learners. The
architecture of Olusegun Obasanjo Presidential Library is such that links the past to the present,
reflects the person of Olusegun Obasanjo, reflects what a presidential library entails as well as
Nigeria as a whole.
The aim of the team when the project was envisioned was to, and remains to “preserve the past,
capture the present and inspire the future.” Symbolism was of course a consideration, as it
reflected in the conceptual floor plan of the library; open arms welcoming visitors.
The idea is said to have nothing to do with the political legacy of the client, it is rather seen as an
historical legacy. The idea of mounting the Presidential Library was agreed to have been initiated
by the client himself. This idea was propagated to the architectural team, as they further
envisioned the presidential library with the client.
Over time, the edifice is reported to be such that speaks for itself, and a resource to inspire future
generation. The factors that led to or influenced the symbolism of this edifice was said to be the
Architecture itself as well as history, nature, tradition and diversities in Nigeria that the client
wanted to celebrate.
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The relationship between the architecture and symbolism of Olusegun Obasanjo Presidential
Library is the ability of the edifice to reflect the person it personifies as well as his love for
Nigeria.
Respondents thus suggest that symbolic architecture should be encouraged in Nigeria; architects
should design to tell a story. They should also be more aware of their responsibilities as
architects to design symbolically. They should involve non-architects with architectural topics
and should influence policies.
4.8.2 CATEGORY 2
RESPONDENT
Relationship between Architecture and Respondent has a relatable understanding of the

Symbolism relationship between architecture and symbolism.
Adaptation in Nigeria Subjective: it depends on how an individual sees
or interprets buildings in Nigeria.
Relationship between Presidential It entails how an architect is able to interpret the
Libraries and symbolism. background and lifestyle of the client into the
design.
Aim of the Architectural team/ architect. No initial definite aim until they figured it was
much more than a basic library.
Aim of the architectural team There were symbolic considerations made.
• Symbolic consideration: Symbolic considerations: the “open arms” floor
• Affiliations with political legacy of
client: plan concept, traditional architecture and
symbolism.
Affiliations with the political legacy of the
client: The “rocky” main library and the green
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legacy both represent the legacy of the client.
Factors influencing symbolism of OOPL Architecture, tradition and diversities in Nigeria
the client wanted to celebrate.
Design considerations, principles or The “open arms” concept led to a function that
concepts followed form.
Reflections of the concept. Reflected in the floor plan, and can be slightly
recognized in the elevations and 3d if viewed
from particular angle.
Adaptation of the trend from American Adapted only to suite our culture and way of life.
Presidential Libraries.
Suggestions/ recommendation Clients should be willing to allow architects
experiment.
Source: researcher’s compilation
Respondent has a relatable understanding of the relationship between architecture and
symbolism. Unlike correspondents in category 1, he believes the question to how much symbolic
architecture is adapted in Nigeria is subjective.
Respondent’s understanding of the relationship between presidential libraries and symbolism is
similar to that of respondents in category 1; as he sees it as an ability of a design to depict the
background and lifestyle of the client.
The respondent made it clear to the interviewer that there was no initial aim while designing the
library. However, over time, the team developed its knowledge on the design brief and was able
to come up with a suitable concept. Thus the concept “open arms” was initiated by one architect
Eze, which was to symbolize the owner welcoming people to the library. The “open arms”
95
concept led to a “function following form” edifice of the main library and is well reflected in the
floor plans of the main library; as well as the elevation and 3d if sighted at a particular angle.
Other aspects of symbolism are reflected by traditional architecture and symbolism well
pronounced in Olusegun Obasanjo Presidential Library. These aspects and concept are said to be
affiliated with the political legacy of the client. Thus, factors influencing symbolism in the
edifice include Architecture, tradition and diversities in Nigeria that the client wanted to
celebrate.
The responses in this category are very similar to that of category 1; except from the question
with regards to the political legacy of the client.
The architect agrees that the trend was adapted from the American culture but only to suite or
culture and way of life. He advises clients to be willing to allow architects experiment.
4.8.3 CATEGORY 3
RESPONDENT 1 RESPONDENT 2
Relationship between Respondent has a relatable Respondent has a relatable

Architecture and understanding of the relationship understanding of the
Symbolism between architecture and relationship between
symbolism. architecture and symbolism.
Adaptation in Nigeria None Not definitely as a concept.
Architecture of OOPL Mixture of foreign and traditional Amorphous, undefined, too

architecture. many structures and functions.
96
Relationship between Symbolic as an edifice to behold. No specific symbol.
architecture and
symbolism of OOPL
Personal perception of A five star hotel; however still Mixed use, does not exactly
the symbolism of perfect for the function of a depict serenity of a library.
OOPL Presidential Library.
Factors influencing Architecture and the person of The architecture is not specific
symbolism of OOPL Olusegun Obasanjo, tourism. due to different functions of
different buildings. No
symbolic essence, no factors.
Suggestions/ Encourage traditional architecture to It is left to designers to work
recommendation give an image of our own. and look better into it
symbolic architecture.
Source: Researcher’s Compilation
Respondents had relatable understanding of the relationship between architecture and
symbolism. Averagely, from the responses of the respondents, symbolic architecture is only
slightly adapted in Nigeria.
Both respondents seem to have different views on each of questions. The responses of
Respondent 1 are quite similar and relatable with previous categories. However, respondent 2
gave responses from a different yet, brilliant perspective.
The architecture of OOPL by respondent 1 was said to be a mixture of both traditional and
foreign architecture; however respondent 2 states that the architecture is undefined due to the
numerous activities on the site. As for the relationship between its architecture and symbolism,
respondent 1 describes it as an edifice to behold, however he had earlier stated he could have
97
preferred more of traditional architecture. Respondent 2 does not find anything symbolic about
the edifice.
In brief words, the personal perception of the symbolism of OOPL for correspondent 1, is
influenced by the person of Olusegun Obasanjo, even though in some way, this particular
architect seeks to find a better name for traditional architecture in Nigeria.
Respondent 2 on the other hand does not sense any form of symbolism from the library. He says
this is due to the numerous activities and functions of buildings on the site, which he was able to
justify in his own words.
4.8.4 CATEGORY 4
RESPONDENT 1 RESPONDENT 2 RESPONDENT 3
Relationship Respondent has a Respondent has a Respondent has a

between relatable relatable relatable
Architecture and understanding of the understanding of the understanding of the
Symbolism relationship between relationship between relationship between
architecture and architecture and architecture and
symbolism. symbolism. symbolism.
Adaptation in Not currently; old Not currently; old Not fully adapted.
Nigeria buildings. buildings.
Firm architecture, Symbolic, natural

Magnificent.
Architecture of natural environment, environment.
OOPL old and new
architecture.
98
Personal perception An estate, the white Power, natural A legacy to be
of the symbolism of house, natural environment, the referred to.
OOPL environment. person of Obasanjo.
Factors influencing Architecture, natural Architecture, the The factor of being a
symbolism of OOPL environment. person of Chief presidential library.
Olusegun Obasanjo.
Relationship Unique; a reminder of The client himself, Whatever was meant
between architecture the white house. Olusegun Obasanjo. to be portrayed by the
and symbolism of presidential library.
OOPL
Suggestions/ Encourage natural Architects should Architects should
recommendation environment to make broaden their horizon. design outstanding
buildings stand out. buildings.
Source: Researcher’s compilation
RESPONDENT 4 RESPONDENT 5 RESPONDENT 6
Relationship Respondent has a Respondent has a Respondent has a

between relatable relatable relatable
Architecture and understanding of the understanding of the understanding of the
Symbolism relationship between relationship between relationship between
architecture and architecture and architecture and
symbolism. symbolism. symbolism.
Adaptation in Slightly adapted. Not adapted.

Not currently; old
Nigeria
buildings.
Nice landscape, Commendable A fine place.
Architecture of
storytelling buildings. interior, finishes and
OOPL
functionality.
99
Personal perception Chief Olusegun Bears a political aura. A monument.
of the symbolism of Obasanjo, Nigeria.
OOPL
Factors influencing Architecture, Chief Architecture, chief The architecture.
symbolism of OOPL Olusegun Obasanjo. Olusegun Obasanjo.
Architecture is a tool Politics.
Relationship to reflect the client’s
between architecture mind.
--------------
and symbolism of
OOPL
Suggestions/ Architects need to Architects need to Architects need to
recommendation better understand the research more, buckle down.
subject of the symbol. especially about their
environment.
RESPONDENT RESPONDENT RESPONDENT RESPONDENT
7 8 9 10
Relationship Respondent has Respondent has a Respondent has a Respondent has a

between a slight slight relatable relatable
Architecture understanding of understanding of understanding of understanding of
and Symbolism the relationship the relationship the relationship the relationship
between between between between
architecture and architecture and architecture and architecture and
symbolism. symbolism. symbolism. symbolism.
Adaptation in Not fully Can only be Not fully Not currently;
Nigeria adapted. decided by adapted. old buildings.
100
architects.
Welcoming. Commendable Democracy, Unique.
resort and main presidency, the
Architecture of
library. Person Of
OOPL
Olusegun
Obasanjo.
Personal Fun, an avenue Luxury, an Democracy, Monument,
perception of to meet Chief imagery of Chief presidential. natural
the symbolism Olusegun Olusegun environment.
of OOPL Obasanjo and his Obasanjo in
likes. government.
Factors The person of The person of Architecture, the Architecture.

influencing Chief Olusegun Chief Olusegun person of chief
symbolism of Obasanjo. Obasanjo. Olusegun
OOPL Ancient feel from Obasanjo.
the resort.
Relationship Power. The person of The architect’s The natural

between Olusegun attempt to meet environment.
architecture Obasanjo. the client’s taste.
and symbolism
of OOPL
Suggestion It all depends on Architects should It depends on the
the architects. -------------------- think outside the architects.
box; and clients
should be more
experimental/
adventurous.
101
4.8.4.1 SUMMARY OF QUALITATIVE INSTRUMENT FOR CATEGORY 4.
Majority of the respondents had a reasonable understanding of the topic of discussion. Observing
and comparing responses from each respondent, it can be said that the idea of symbolic
architecture is not fully adapted in Nigeria; although at some point in the past, it did.
The architecture of the edifice, Olusegun Obasanjo Presidential Library can also be
commendable in terms of its aesthetics, rigidity, uniqueness, natural environment, interior
designs, functionality, and traditional architecture and of course it’s symbolism. The question to
the symbolism of the edifice ranged from an answer to the other. However, these answers
seemed to stay within the controls of factors that were initiated by virtue of the edifice’s
architecture and its client; ranging from the political power, legacy, and lifestyle of the client, to
the greenery, natural environment, beautiful interior and choice of materials associated with the
architecture of the library. These factors have been stated in earlier categories 1 and 2 as
approaches to reaching the team’s aim, as well as factors they had considered advantageous for
the symbolism of the edifice.
These factors have seemed to also mirror in the descriptions of the relationship between the
architecture and the symbolism of Olusegun Obasanjo Presidential Library. However, there was
more emphasis on the person of Olusegun Obasanjo, and underlying factors that could be traced
to him.
To improve the idea of symbolic architecture in Nigeria, majority of correspondents stated it to
be the responsibility of the architect, and advised architects to further improve on symbolism in
the design of buildings. Architects are also advised to carry out necessary research about the
country that will foster the improvement of symbolic architecture in Nigeria.
102
4.9 OTHER OBSERVATIONS
Plate 4.1: researcher’s tour of the library.

Source:Department of safety and tours, OOPL.
Plate 4.2: researcher’s tour of the library Plate 4.3: researcher’s tour of the library
Source:Department of safety and tours, OOPL Source:Department of safety and tours, OOPL.
103

104
Plate 4.7: researcher’s tour of the library Plate 4.8: researcher’s tour of the library
Source:Department of safety and tours, OOPL Source:Department of safety and tours, OOPL.
105
CHAPTER 5
SUMMARY, CONCLUSION AND RECOMMENDATION
5.1 INTRODUCTION
This chapter simply summarizes analyzed data, in order to reach a specific conclusion.
5.2 Each category, as well as interviewed respondents, successfully relayed their opinions on
the topic of discussion. As highlighted in the summary of qualitative instruments in the previous
chapter, respondents relayed answers that majorly ranged between the architecture of the edifice
and its client.
These answers were closely related to factors and opinions initially discussed by the respondents
of chapters 1 and 2. This gives a positive impression: that is, the symbolism of Olusegun
Obasanjo Presidential Library is well pronounced in a language that is easily read by people.
The limitations to this aspect however, will be the inability of tourists, neighbors, and other
outsiders to fully understand the mind of the architect or the founder. For instance, the “open
arm” concept was not noticed as a concept of symbolism by any of the respondents. It takes
someone who has been to an extent, introduced to the concept, the floor plans, elevations and 3d
views to understand the concept of the open arms. Also, respondents could not exactly state what
the edifice symbolized; they majorly stated factors that are somewhat linked to the symbolism of
Olusegun Obasanjo Presidential Library. This could be due to our lack of knowledge of the
historical values of the country. These values were exactly the factors utilized to depict even the
most minor aspects of symbolic architecture (e.g. the union bridge, the mosaic tiling on the wall,
the arrival pavilion, the Adire house) in the design of the library.
106
However, these limitations cannot easily be influenced or maneuvered to reach preferred
conclusions. Opinions will always differ as architecture remains an art that can be interpreted by
anyone in his/her own understanding. Thus, every opinion of all respondent is acknowledged,
and has proven useful to the conclusion of this research.
5.3 CONCLUSION
Architecture can be interpreted in different ways, as it is an art. Thus, the answers to the
symbolism of Olusegun Obasanjo Presidential Library remain subjective. However, these
answers lie between the dominant factors initiated by the architecture of the edifice, and the
person of Chief Olusegun Obasanjo.
Perhaps even, the answer to the symbolism of any edifice lies between the dominant factors
initiated by virtue of the architecture of the edifice, and the client.
5.4 RECOMMENDATION
Similar studies should be carried out on other monuments in the environment in order to identify
more areas of symbolic architecture,
107
REFERENCE
Presidential Libraries and Museums of the National Archives, https://www.archives.gov/presidential-

libraries, August 2016.
Presidential Library History | National Archives, https://www.archives.gov/presidential-
libraries/about/history.html., August 2016
Becky Quintal .121 definitions of architecture. October, 2016
https://www.archdaily.com/773971/architecture-is-121-definitions-of-architecture
Frank, G. Virtruvius’ Definition of Architecture: the classical review. June 1925. Published by the
Cambridge University press on behalf of the classical association retrieved from
https://www.jstor.org/stable/697676?seq=1#page_scan_tab_contents
Encyclopedia.com. A Dictionary of Architecture and Landscape Architecture.
http://www.encyclopedia.com originally published by oxford university press, 2000.
Eric Dumo. Nigeria's vanishing national symbols – Punch Newspapers http://punchng.com/nigerias-
vanishing-national-symbols . Oct, 2016.
Jennifer Rowley, Frances Slack, (2004) conducting a literature review, Management Research News, Vol
27 issue: 6, pp. 31-39,https://www.emeraldinsight.com/doi/abs/10.1108/01409170410784185
Vlad Lonescu, Architectural symbolism: Body and space of Heinrich Wolfflin and Wilhelm Worringer.
https://journal.eahn.org/articles/10.5334/ah.213/
Essays, UK. (November 2013). Relationship between Architecture and Politics. Retrieved from
https://www.ukessays.com/essays/architecture/the-relationship-between-architecture-and-politics.php
William Middleton, Exploring 12 monumental U.S Presidential Libraries
https://www.architecturaldigest.com/story/presidential-libraries-museums-bush-reagan-kennedy,may,
2013
inhabitat.com, Chicago prize winners reveal their visions for the Obama Presidential Library
https://inhabitat.com/chicago-prize-winners-reveal-their-visions-for-the-obama-presidential-library/
archichicagoPLUS, Presidents and their monument shttp://arcchicago.blogspot.com/2015/02/presidents-
and-their-monuments-barack.html?m=1l, February, 2016
Official website, Olusegun Obasanjo Presidential Library, https://oopl.org.ng, 2017
Marcel Mbamalu, Gregory Austin Nwakunor, Leo Sobechi, Samson Ezea, inside Olusegun Obasanjo
Presidential Library https://guardian.ng/features/inside-olusegun-obasanjo-presidential-library/ , march
2017
Michael x, inside the Olusegun Obasanjo Presidential Library as captured by Ayo Akinwande,
Livinspaces https://ww.livinspaces.net/projects/interiors/inside-the-olusegun-obasanjo-presidential-
library-complex-asa-captured-by-ayo-akinwande-pt-2/, june, 2017
Brittany Corners, Verbatim vs, Non-verbatim transcription: what is the difference?
https://www.transcribe.com/verbatim-vs-non-verbatim-transcription-what-is-the-difference/, april, 2015
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Robert K yin, Case Study Research: Design and Methods, October 1984
Braun, V and Clarke, V, (2006), Qualitative research in psychology, available from
http://eprints.uwe.ac.uk/11735
Abraham George, development of symbolic pedagogical tools for commination in architecture, 2005.
109
APPENDICES
APPENDIX A: THE INTERVIEW QUESTIONS.
THE PREAMBLE QUESTIONS
The preamble questions are simple questions constructed to introduce the respondents into the
discussion. The questions create a familiarity between the respondent and the topic of discussion.
It is also an avenue to educate the respondent on the topic of discussion before proceeding to
questions peculiar to his/her category. The preamble questions thus usher the respondent into the
discussion.
The preamble questions are highlighted as follows:
• What is your understanding of the relationship between architecture and symbolism?
• Do you think the idea of symbolic architecture is well adapted in Nigeria?
• What areas have they been? Or what buildings? Name them?
These questions might however develop further discussions; where there be a need to further
enlighten the correspondent on the topic of discussion.
THE CATEGORIES.
Questions were divided into various categories in order to constructively gather information from
different sources.
CATEGORY 1
This category consists of respondents who bore the vision with the client. It also consists of
persons who are also in some way related to the library, and have an understanding of its history.
110
• What would you say is the relationship between presidential libraries and symbolic
architecture?
• When the idea was conceived, what was the aim of the team?
• Did it include symbolism in any form?
✓ What was it?
✓ Does it have to do with the political legacy of the client?
✓ Was it the idea of the client?
• Was this idea propagated across to the construction team?
• How would you say the architecture of this edifice now reflects the conceived idea of
symbolism?
• Would you say this symbolism was achieved by virtue of the architecture of the edifice or
other underlying factors? Name them?
• What would you suggest to encourage symbolic architecture or improve the relationship
between architecture and symbolism?
CATEGORY 2: The Construction Team.
This category consists of questions asked to respondents who were members of the construction
team. These questions were asked to understand the perception of the construction team.
• What would you say is the relationship between presidential libraries and symbolic
architecture?
111
• What was the aim of the architectural team while designing the Presidential library
OOPL?
• Was there an attempt to reflect symbolic architecture in the design of OOPL?
• If yes, what did the team attempt to reflect? Does this by any chance have to do with the
political influence, legacy and power of the client?
• If not, what were the factors (like what is the symbolism affiliated with?)
• Were there particular design characteristics, considerations and principles peculiar to
achieving paramount symbolism in the design of OOPL?
• Do they reflect in the design process? Elevations? Landscape?
• Does Olusegun Obasanjo Presidential Library adapt the trend and styles of American
presidential libraries?
• What do you think should be done to encourage symbolic architecture or improve the
relationship between architecture and symbolism?
CATEGORY 3: Neighboring Architects.
This category consists of respondents who are well-respected practicing architects. It includes
architects that either dwell in Abeokuta, or are to a reasonable extent familiar with OOPL.
• How would you describe the \architecture of OOPL?
• How would you describe the architecture of OOPL in the context of symbolism?
112
• What strikes your mind at the first glance of OOPL? I.e. what doe OOPL symbolize to
you?
• Would you say this symbolism was utmost attained by the architecture of OOPL? Or are
there other underlying factors?
• What would you suggest to be done to encourage symbolic architecture or improve the
CATEGORY 4: General (i.e. residents of Abeokuta, Tourists, Visitors, others)
This category consists of respondents from the general public, who have no special affiliations or
relationship with OOPL. It is important to also address the research topic from the perspective of
the general public. This category will consist of individual interviews as well as focus groups.
• How would you describe the architecture of OOPL?
• What does OOPL symbolize to you?
• Would you say the symbolism is by virtue of the architecture of the library? Or
underlying factors? Name them?
• What would you then say is the relationship between the architecture and symbolism of
OOPL?
• What do you suggest to be done to encourage symbolic architecture or improve the
113
APPENDIX B: DETAILS OF INTERVIEWEES INTERVIEWED PER CATEGORY
CATEGORY 1
Respondents in this category were specifically selected due to their level of familiarity
with Olusegun Obasanjo Presidential Library.
NAME PROFESSION/POSITION GENDER AGE RANGE
Respondent1 Long Term Staff, OOPL. Male 50-65
Respondent2 Long Term Staff, OOPL. Female 50-65
CATEGORY 2: THE CONSTRUCTION TEAM
Respondent(s) in this category consist of members of the Construction Team available for
interview.
Respondent1 Architect Male 50-65
CATEGORY 3: NEIGHBOURING ARCHITECTS
Respondents in this category were specifically selected, due to their level of expertise and
familiarity with Olusegun Obasanjo Presidential Library.
114
CATEGORY 4: GENERAL
Respondents in this category were either specifically selected or randomly selected. All
respondents are very familiar with Olusegun Obasanjo Presidential Library, except some passers-
by that refused the interview. Out of thirteen (13) approached passers-by, only five (5) seemed
interested in the interview.
Respondent1 Film Director Male 60-75
Respondent2 tourist Male 25-35
Respondent3 Architecture student/ Male 20-25

Abeokuta resident
Respondent4 Architecture Student/ Male 20-25
Abeokuta resident.
Respondent5 Architecture Student/ Male 20-25
Abeokuta resident.
Respondent6 Passer-by Male 60-75
Respondent7 Passer-by Female 40-50
Responednt8 Passer-by Female 25-35
115
APPENDIX C: STUDIO DESIGN PROJECT (BELLS UNIVERSITY STAFF APARTMENT
BUILDING)
116
117
118
119
120
121
122
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ARCHTECTURE AND SYMBOLISM:

A Case Study of Olusegun Obasanjo Presidential Library(O.O.P.L)

A Dissertation Submitted to the Department of Architecture,

HARUNA OYINKANSOLA IFEOLUWA

I, Haruna Oyinkansola Ifeoluwa, a graduating student of the Department of

Architecture, College of Environmental Sciences, Bells University of Technology,

Case Study Of Olusegun Obasanjo Presidential Library (O.O.P.L)” submitted by

me in partial fulfillment of the requirements for the Degree of Bachelor of Science in

ARCHITECTURE AND SYMBOLISM:

A Case Study of Olusegun Obasanjo Presidential Library (O.O.P.L)

HARUNA OYINKANSOLA IFEOLUWA

Supervisor’s Signature Date

Head of Department’s Signature Date

aspect of this dissertation project.

advice during the course of my research project; as well as my critic, Architect

My deepest appreciation is given to my family; most especially my father and hero,

I’ll like to express gratitude to my favorite people; my sisters: Haruna Morenikeji,

supportive towards me.

Olamide Olopade, Yetunde Olowu, Fowode Ifeoluwa, Udofia Inemesit, Cynthia

Alagada, Akinsola Ajibola, and Jude chinaza, I express my gratitude.

I appreciate the contributions of Architect Tokunbo, Mrs Olanike, Mr Damien,

the Olusegun Obasanjo Presidential Library. I especially appreciate the Department

of Safety and Tours, as well as the Youth Development Centre.

Finally, my utmost gratitude is given to the Creator, for seeing me through.

CHAPTER ONE: INTRODUCTION

1.1 BACKGROUND OF STUDY ................................................................... 1

1.1.1 Definition of keywords ......................................................................... 2

1.2 STATEMENT OF THE RESEARCH PROBLEM ..................................... 3

1.3 RESEARCH QUESTIONS ............................................................................ 3

1.4 RESEARCH AIM & OBJECTIVES ............................................................ 3

1.5 JUSTIFICATION OF THE STUDY............................................................. 4

1.6 SCOPE OF STUDY …………………………………………………………5

1.7 LIMITATION(S) OF STUDY………………………………………………5

1.8 STUDY AREA……………………………………………………………….6

CHAPTER TWO: LITERATURE REVIEW

2.4 THE RELATIONSHIP BETWEEN ARCHITECTURE AND SYMBOLISM

2.4.1 ARCHITECTURAL SYMBOLISM……………………………………….13

2.5 SYMBOLIC ARCHITECTURE IN NIGERIA……………………………..14

2.6 ARCHITECTURE AND POLITICS………………………………………...17

2.7.1 HISTORY OF PRESIDENTIAL LIBRARIES……………………………18

2.8 ARCHITECTURE OF PRESIDENTIAL LIBRARIES…………………….20

2.9 ARCHITECTURAL SYMBOLISM IN PRESIDENTIAL LIBRARIES….23

2.10 INTRODUCTION OF PRESIDENTIAL LIBRARIES TO NIGERIA…..29

2.11 OLUSEGUN OBASANJO PRESIDENTIAL LIBRARY (OOPL)………..29

2.11.1 OLUSEGUN OBSANJO AS A FORMER PRESIDENT OF NIGERIA

2.11.2 HISTORICAL BACKGROUND OF OOPL……………………………...30

2.11.3 THE LOCATION…………………………………………………………...31

2.12 ARCHITECTURE OF OOPL……………………………………..…………32

2.13 ARCHITECTURAL SYMBOLISM OF OOPL…………………………….41

CHAPTER THREE: METHODOLOGY

3.2 RESEARCH APPROACH…………………………………………………….43

3.2.1 INDUCTIVE RESEARCH APPROACH…………………………………..43

3.3 RESEARCH METHODOLOGY APPROACH…………………………...…43

3.4 THEORETICAL BASES FOR RESEARCH METHODOLOGY……….…44

3.4.1 RESEARCH METHOD……………………………………………………...44

3.5 DATA COLLECTION METHODS…………………………………………..44

3.6 DATA ANALYSIS……………………………………………………………..45

4.2 INTERVIEW GUIDE……………………………………………………46

4.3 INTERVIEW QUESTIONS……………………………………………..46