Mummy & Daddy Lagos At Number 14
Words & Images by Mimi Akuse
This photo essay explores concepts such as historic homes, preserved building materials, traditional art, and Nigerian architecture. It is an exposition of the post-independence residential architecture of Lagos, Nigeria. It gives a window into the values and lifestyle of Lagosians at the time through the lens of the author’s grandparent’s home.
Nigerians have this unique method of nomenclature when it comes to our relatives. We tend to refer to a person based on their current geographical location. It is not uncommon to hear of “Mummy Ibadan” or “Daddy Canada” in conversations relating to uncles, aunts, and grandparents. “Mummy & Daddy Lagos” were my maternal grandparents who lived across the country from us, not to be confused with “Papa Adikpo and Aya” my paternal grandparents who lived in the middle belt. This photo essay is an architectural exposition of their home in Lagos. Though they are no longer with us, it is a space that has held special memories for three generations, now going on four. Through these photographs, we get an exclusive view into the unique elements of an architecturally ambiguous time for the nation.
“Number 14” as it was fondly referred to by the family, was built in the early 70s. A time when traditional Nigerian architecture was considered ‘out of style’ as we had just recently gained independence in the year 1960 and were desperate to show off this new found freedom in our buildings. The house façade features a unique stark green oil paint, which has remained the choice colour even 50-odd years on. Once you get past the solid core doors with removable metal poles (security is a cardinal design consideration in Nigerian architecture), you step into a portal that transports you to life in Nigeria in the 70s. Most of the elements have remained unchanged, giving you a feel of what life was like as a Lagosian family of 6 back then. The children’s playroom still contains working toys, hoping for another chance at play. The dining room shelves feature traditional and Christian art, giving an insight into the family’s values. The walls take you through the lifetimes of the former inhabitants through framed memories of christenings, graduations, weddings, and grandchildren. The solid terrazzo floors have stood the test of time, as with the glass casement and louvre windows. Reaching the rooftop terrace is the crescendo of this time travel. Looking out over the neighbourhood, one sees Lagos architecture for what it is today: a mixture of something old, something new, something borrowed, all on the backdrop of something blue.
Slide I
A. Compound of Number 14, with the African apple tree shading the entrance
B. Building facade showing geometric balustrade motif, unique stark green oil paint and glass windows
SLIDE II
A View of solid core front door featuring house number
B Stairwell lit up by natural lighting
SLIDE III
A. Children’s playroom with decades-old rocking horse, toy car and original terrazzo floor
B. Dining room shelves with African & Christian art
SLIDE IV
A. Mummy & Daddy Lagos at the christening of Rosamund, their first-born, with her Godparents
B. Rosamund’s graduation from university
SLIDE V
A. Original louvre windows of the house
B. Original solid wooden doors with metal bars for security
SLIDE VI
A. Original swing doors leading up to roof terrace
B. Roof terrace overlooking neighbourhood in Lagos, showing old and new architecture
Mimi Akuse is an architectural designer & photographer with a keen aesthetic eye who enjoys design storytelling and is currently on a quest to amplify brilliant design voices. She believes that design can solve problems on all levels and that the key to solving African problems lies in true, context-specific African design solutions.