In a 1962 article for Nigeria, a quarterly magazine that ran in different iterations from 1937-1990, Arc Frank Mbanefo presented an analysis of the forms and living arrangements of traditional architecture from Onitsha. The analysis demonstrated Mbanefo’s interest in both researching and disseminating the properties and values of local Igbo architecture.¹ Despite being trained as an architect in the United Kingdom, Mbanefo’s architecture always reflected a careful integration of modernist ideals and references to local heritage.

In 1960, the same year that the nation gained Independence, Mbanefo returned to the Nigeria to work for Godwin & Hopwood in Lagos, after ten years of studying and working in the UK.² John Godwin and Gillian Hopwood had come to Lagos in 1954 after studying at the Architectural Association in London and they continued to work in Nigeria for the rest of their careers. Designing over 1,000 projects, their practice had an immense impact on the Nigerian built environment and the office developed architecture that is considered to be site-specific and emblematic of the tropical modern style.

At the time of Independence, there was a construction boom in the country—alongside the discovery of oil in the 1950s, the government was actively seeking a new architectural image for Nigerian cities. Architecture was not only used to develop a new image for independent Nigeria but also as a tool for modernization. In the three years that Mbanefo worked at Godwin and Hopwood, they were working on a mix of residential, industrial, and educational projects. The office became somewhat of a hub for young Nigerian architects and essential to the architectural community in Lagos. Other Nigerian architects who began their careers there include Olufemi Majekodunmi, who also worked there in the 1960s, and Ayo Onajide and Biola Fayemi who joined later.³

Committed to building the profession in Nigeria, Mbanefo was an active member of various architectural bodies, locally and abroad. He was a founding member of the Nigerian Institute of Architects (NIA)—of which he later became the national president—and a registered member of the Royal Institute of British Architects (RIBA), as well as many other associations.

In 1964, Mbanefo first established his own practice in Port-Harcourt, later reopening in Enugu in 1972, after the Nigerian Civil War (Biafran War 1967-70).⁴ A year later, the Nigerian Government proposed establishing museums in four capitals; Sokoto, Maiduguri, Ibadan, and Enugu, to promote unity and establish reconciliation among the heterogeneous cultural groups across the country. While the museums in Sokoto and Maiduguri never went ahead, the National Museum in Ibadan, designed by Mbanefo, was completed in 1992.⁵ Today, it is a prominent institution and plays a vital role in promoting cultural awareness, education, and preservation for the region through showcasing the country’s rich cultural heritage. Similarly to the government’s development of architecture around the time of Independence, projects such as these museums were again tools for unification. Both the function of the museum and the style of the architecture were important.

Mbanefo’s design also reflects the intention of the museum as a means to promote local heritage. Exhibiting a cultural sensitivity, the design of the museum incorporates traditional elements that reflect the region’s history. The main form of the design is expressed in plan. Looking at the roof plan reveals a series of interconnected octagonal forms each with a courtyard in the centre. Unusual for a museum design, the inclusion of the courtyards is potentially inspired traditional Yoruba domestic architecture. The Yoruba courtyard house type has an inward orientation focused on a central courtyard that allows the rain to fall.⁶

Use of concrete for most of the building’s structure, together with this traditional courtyard form, demonstrates the coming together of tradition and modernism in Mbanefo’s design. With the exponential development of the concrete industry post-Independence, the use of concrete became a symbol of modernity. The design also incorporates brise-soleil on the exterior pathway of the building, which helps to control light and allow for cross ventilation. The rhythmic façade of the brise-soleil was increasingly being used in tropical architecture including in the nearby Kenneth Dike Library at the University College of Ibadan (1947-1960) by Fry, Drew and Partners (who Mbanefo had worked for earlier in his career, while in London). Other materials used in the museum design include mud, wood, and bamboo, showing a respect for local traditions and economy. Like other Nigerian architects at the time, Mbanefo further developed elements of tropical architecture by incorporating local techniques and forms—bringing cultural heritage together with modern design. This approach not only respects traditional building practices but also enhances the architectural narrative of the region.

In the heart of Onitsha, stands a monument to Nigeria’s first president, Dr. Nnamdi Azikiwe. While he was born in Zungeru in the north, like Mbanefo Azikiwe grew up in Onitsha. He was a crucial figure in Nigeria’s Independence. The drawings of the mausoleum reveal a deliberate balance of both modern and traditional Igbo influences, as well as nods to contextual and climactic factors. This balance is emblematic of much of Mbanefo’s work.

Looking at the symmetrical plan, a series of circles are encased by a square that is anchored by a diagonal element in each corner. Imagining the experience of the building itself, four entrances, one on each side of the square, lead to a screen of arrayed concrete blades. The ample number of windows, together with the layered façade of concrete blades control the flow of natural air within the mausoleum. Once inside, eight evenly spaced columns organized in a circle form another threshold, leading to stairs that descend to the central statue and grave. The bold form is intended to invite reflection and introspection in memory of Azikiwe.

Comparatively, the section drawing reveals both the monumentality of the design and formally, a shift away from the style of the plan. Four curved roof panels come together to form a tall tower, which illuminates at its crown, designed to bring attention to its presence. Not only does this sculptural form create a dramatic interior, but in its surrounding context, the building’s significance can be felt. Further, the tall tower helps with natural cooling.

First designed in the 1990’s, but not completed until 2015, this was one of Mbanefo’s final projects in a career that spanned over four decades. The design of the mausoleum tells the story of a life dedicated to the service of others, but it is more than a tribute to a remarkable leader; it is a celebration of Nigerian history.

Mbanefo designed structures that not only reflect the nation’s aspirations but also honour its rich cultural heritage. With a deep understanding of the local context, Mbanefo’s designs stand as testaments to Nigeria’s emergence as a modern nation. Through his work, Mbanefo told the story of a nation in transition, seeking to assert its identity while embracing new possibilities.