Our team visited UNILAG, where the MADHOUSE creative hub stands as a testament to the vision of Adeyemo Shokunbi, an architect, lecturer, and founder of the New Alternative Nigerian Architecture (NANA) concept. Adeyemo discussed his commitment to shaping a legacy through architecture that honors Nigerian heritage while pushing innovative boundaries. He shared insights on how his work aims to leave a lasting impact on architectural practice and education, inspiring future generations to embrace and elevate local design principles.
OBIDA:Tell us a bit about your childhood ?
Adeyemo: I was born in Manchester, United Kingdom, but my family is originally from Ikorodu, Lagos State. My father, being the only child of his mother, was asked to return to Nigeria from the UK, and he made that sacrifice. I was about five or six when we moved back and settled in Surulere. At that time, Surulere was a serene and well-planned neighborhood, though I’ve heard it was relatively new back then.
We lived on Sabiu Ajose Street, but eventually, my parents separated. My brother and I stayed with my father for a few years, and after some time, my mother returned from the UK, where she had gone after the separation, to raise us. We moved to Smith Street on Lagos Island but continued attending school in Surulere, commuting daily.
As a single mother, my mom worked hard to provide for us, but eventually, she decided she couldn’t manage on her own. So, my brother and I were sent to boarding school in Abeokuta, Ogun State, at St. Bernadette's Nursery and Primary School, while our youngest sibling stayed with our grandmother in Ikorodu. We spent most of our holidays between Lagos and Ikorodu, often with our cousins. My childhood involved a lot of moving around, mostly because of the circumstances we were in.
OBIDA: How did your upbringing influence the person you are today?
Adeyemo: Growing up in Surulere, My memories are rooted in everyday life going to school and living there. But when I was in Comprehensive High School Aiyetoro,Ogun State, I was very conscious of the fact that I could draw, that it was in me. I remember going to the National Museum and entering art competitions. It wasn't like I was drawing buildings or fascinated by architecture at that time, but I was very aware of my environment, now as an architect, I see how those experiences subtly shaped my perspective. When I revisit these places, I recognize the design elements that influenced me, even if I didn’t fully realize it at the time.
OBIDA: Studying overseas must have been an incredible experience. What inspired you to return to Nigeria and continue your career here?
Adeyemo: I am incredibly proud to be Nigerian. When I moved back, there was a wave of people returning home from the diaspora, driven by a renewed sense of purpose. We weren’t just coming back for the sake of it; we came to make a difference, equipped with the knowledge we had gained abroad. While that knowledge was valuable, I quickly realized I had to unlearn the idea that everything overseas is better than what we have here. What we have here may be rough around the edges, but it’s our responsibility to refine it—not by changing its essence, but by shaping it into what it’s meant to be.
Many years after completing my studies at South Bank University and working as an architect in the UK, I returned to Nigeria to execute the design for my cousin’s crepe store at The Palms Mall in Lagos. The project was a success, and through that experience, I met Patrick Koshoni, which ultimately led to the creation of Patrickwaheed Design Consultancy. When Patrick and I teamed up, something shifted. I began to grasp the significance of designing specifically for the Nigerian context, blending ethnic and tropical influences with contemporary architecture. This collaboration gave rise to our unique approach, which we named 'Ethno-Tropical Contemporary Architecture.' Returning home allowed me to adapt my skills to the local environment, creating spaces that resonate both culturally and functionally in Africa.
OBIDA: How would you describe your style of architecture?
Adeyemo: My architectural style is modern, with a strong affinity for the Japanese brutalist minimalist approach. I knew from the start that South Bank University, where I earned my degree, had a very technical approach to architecture. It focused more on how to make architecture than on how to design it. Once I began practicing, I became grounded in my understanding of materials, realizing the importance of being responsible for the environment and considering the impact on users.
In Nigeria, I understand that I have to be responsible with the architecture I propose, especially considering clients who may not maintain their buildings properly. Over time, I’ve learned to incorporate materials like, laterite, wood and metal to warm up the ambiance and use Tyrolean finishes to disguise wall imperfections. This allows me to create textures that aren’t completely rough but help hide flaws, all while staying within the context of Nigeria design form-making
OBIDA: Can you tell us more about NANA (New Alternative Nigerian Architecture) ?
Adeyemo: NANA started as an internal exploration—trying to find a way to use locally sourced materials to enhance the architecture we were creating, so it could reflect its origins. It was also about developing an aesthetic that, while not the norm, would still be acceptable and true to its geographical context. NANA originally stood for ‘New Alternative Nigerian Aesthetic,’ but I felt that was too limited, focusing only on appearance. I realized it was something bigger, so it evolved into ‘New Alternative Nigerian Architecture,’ aimed at inspiring younger architects to recognize that there is a Nigerian way, an African way, to reference our heritage in architectural design, and that it deserves attention.
OBIDA: In this new role as a lecturer at YABATECH, What do you hope to share/inspire in your students?
Adeyemo: I’ve always been deeply concerned about young architects graduating with the knowledge they’ve gained, often with a strong appetite for everything foreign. Recently, I was awarded The OBEL Teaching Fellowship Award 2023, which recognized the concept of NANA. There’s nothing more rewarding than seeing students become more open and receptive to someone like me, especially because I’ve been through the journey in my practice. I’ve noticed a real shift in how students think now compared to when I first started lecturing.
I tell them that sometimes we need to break the rules—not just for the sake of it, but to develop a fresh way of thinking. We have to think critically and differently from what we’re used to because that’s the change we’re striving for. The goal is that, 20 years from now, people will benefit from the fact that we cultivated a different way of thinking about Nigerian architecture. My mission is to share knowledge, inspire young architects, and show them that there is real value in our local perspectives and methods. Ultimately, I want to communicate that there is a unique Nigerian and African way of doing things that deserves to be recognized, respected, and celebrated.
OBIDA: Architecture is changing in Lagos, developers are building in every available space, this has in recent times caused massive flooding in Lagos. What role do you think architects play in addressing climate change?
Adeyemo: Unfortunately, Lagos has grown in a way that is deviant from the original plan, we don't seem to know how to manage the overpopulation. They seem not to revisit old plans of how the city has been laid out. In Lagos, areas dedicated to outdoor spaces, like parks and gardens, often end up being used for purposes other than what they were intended for. This highlights one of the main issue that there isn't a strong enough authority to enforce how things were originally intended and to ensure they are maintained. Architects, especially those who haven’t started yet, should start learning that architecture is not just about showing how good you are or what you can do but understanding that you have a responsibility to cater to the community that you serve.
OBIDA: Your renowned Central Mosque project in Abijo showcases the intersection of architecture, aesthetics, and spirituality. Can you share your insights on how architecture can elevate the religious experience, and what considerations you took into account to create a harmonious balance between form, function, and faith in this project?
Adeyemo: In the Central Mosque project in Abijo, I was given the opportunity to create something that brings people closer to Allah. Over the years, my understanding and consciousness of my Islamic faith have deepened, and in this journey toward my Creator, I’ve embraced the concept of Da-wah. When we were entrusted with building the mosque, we deliberately chose natural materials like cement-rendered walls and laterite. It wasn’t about making the building fancy, but about preserving its integrity and innovating the old traditional Yoruba architectural language.
We didn’t want to compromise on any part of the design. The space was intentionally crafted to feel naturally cool, so when you’re inside, your body feels at ease, which allows your spirituality to rise—especially as a Muslim. We removed all distractions. There’s nothing on the walls to divert your attention, so when you look up, it elevates your spirituality and reminds you that you're there to connect with Allah.
I’ve been fortunate to design this space for the community, and I hope that every Friday, when people gather to worship, Allah is pleased.
OBIDA: When you look back on your career, what do you hope your legacy will be?
Adeyemo: I was very fortunate to design and build the Abijo mosque. If someone finds their way to Islam through experiencing that space, then that is my spiritual legacy. As an architect, though, I believe my legacy transcends the physical. Yes, buildings may outlast us, but for me, it’s more about showing how architecture can be a reflection of who we are—architecture that is for us, by us, and deeply rooted in our culture and context.
What matters most to me is planting a seed in the minds of young architects through my lectures—that they have a responsibility. A responsibility to our environment, to our communities, and to the society we are shaping. Especially here in Nigeria, where our architectural identity should reflect our unique values and perspectives. If I can leave behind a generation of architects who carry that sense of responsibility, then that will be my true legacy.
OBIDA: As someone who shapes spaces and environments, how important is fashion to you?
Adeyemo: Fashion is important to me. It’s about creativity, self-expression, how we clothe ourselves and project our identity. For me, fashion involves breaking rules and expressing where I’m from and who I am. For instance, while living in the UK, I avoided traditional styles, but now I embrace them and feel confident in my choice. What I wear now is so reminiscent of what I met in Nigeria as a child, reminiscent of the Yoruba culture but updated to fit into today's times. It’s not just about wearing clothes, Ultimately, fashion for me is about expressing my identity, culture, and values.
OBIDA: What about the design of OBIDA clothing do you admire ?
Adeyemo: OBIDA blends cultural heritage with contemporary style which allows me to stay true to who I am while feeling confident and stylish. One can argue that it's a shirt and it's a pair of pants, right? But it speaks to us because we can identify with it because it is a twist on something that, yes, might be foreign, but there's a familiarity there.
A while back, I was in the UAE, and throughout my time there I was getting a lot of compliments while wearing OBIDA. The compliments that I was getting were uplifting. You know how you put on something, you feel so good that you walk into a space and you're like, yeah!
OBIDA: How does the design infuse with your day to day life?
Adeyemo: I can wear OBIDA anywhere. I have several OBIDA shirts and, as I've grown older, I have stopped wearing regular trousers with my agbada. Instead, I wear three-quarters pants or Jido pants, as OBIDA calls it, It makes me comfortable.
When I first returned to Nigeria, I worried that wearing jeans and a shirt to a site might lead to being taken less seriously due to cultural perceptions. With OBIDA, it's not necessarily traditional, but something that is still relevant within the context of where I exist. OBIDA strikes that balance for me.
OBIDA: Thank you, that is the last question
Adeyemo: Thank you so much
