Editor’s Note
Featured Column: Paring Down a Home
Spot of the Month: Boutique Café
Interview Yusuf Adebayo Grillo
Interview Adeyemo Shokunbi
Interview Osa Seven
TOP 10 DESIGNFORWARD HOTELS IN LAGOS FOR MEMORABLE STAYS
Interview William Chechet
Elvis Osifo
Editor-in-Chief, Lost in Lagos Plus Magazine IG: @edo.wtf
That’s exactly what it feels like when it’s time to write my editor’s note. It’s one of the last things I do. But sometimes, I wonder: is there ever a finishing touch?
As a perfectionist, my mode of work allows me to believe that one touch cannot finish some things. Some things are just made to be malleable, and ever truly evolve.
I say this because when we first conceived this issue as an Art & Design issue years ago, we knew we wanted to spotlight visionaries shaping space and beauty. But quickly, the conversation expanded. Because in Nigeria, design isn’t just aesthetic, it’s survival. Art isn’t just expression, it’s documentation. And our new addition, Home, is infrastructure, enterprise, culture, identity, legacy. We’ve realised that all these are sites of shelter and ambition.
So, this is our most holistic issue yet: a deliberate dive into the people, places, and principles behind how we live and what we create. From architects and artists to real estate storytellers, interior designers, carpenters, painters, developers, collectors, and homemakers, we’ve built this issue as a handbook of insights, tips,
LOST IN LAGOS Volume 9.9 August 2025
and thought leadership. A guide to owning, managing, designing, or simply dreaming.
In this issue, Chuka Ihonor, Adeyemo Shokunbi Jr, Olaniyi Israel Shina, Okoronkwo Nkechi, Chuka Okonjo, and Clement Tolulope, takes Home; Richard Vedelago, Yusuf Grillo Museum, William Chechet, Osa Seven, and Femi Adeleke takes Art; and Tola Akerele, Anita Oghenevwede, Lara Jarmakani, and Jemima Arayela takes Design. Josh Egesi believes “Design is porous,” emphasizing the importance of fluidity and openmindedness for creatives, and King Uranta shares his “DOs” and “DON’Ts” for designing album cover art. William Ukoh discusses crafting multi-sensory experiences in interior design in “Beyond Aesthetics,” and Jenny Onibode wants us to “Leave Lagos House Agents” for her when the revolution comes. Don’t forget to check out our list of top 10 Design-forward hotels in Lagos for memorable stays, and our list of top 5 events in Nigeria.
#DiscoverNigeria
#ExperienceNigeria
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#LostinLagosPlusMagazine
Title: The BIG Picture FOUNDER Tannaz Bahnam PUBLISHED BY Knock Knock Lifestyle Solutions Ltd PRINTER Tee Digital Press EDITOR-IN-CHIEF Elvis Osifo EDITOR Leon Izegbu DESIGN Ernest Igbes CONTRIBUTORS Elvis Osifo, Mona Zutshi Opubor, Leon Izegbu, Ernest Igbes, Enemona Udile, Matildah, Tola Akerele, Richard Vedelago, Chuka Ihonor, Adeyemo Shokunbi Jr, Anita Oghenevwede Precious, Yusuf Grillo Museum, William Chechet, Olshiz Integrated Concept, Lara Jarmakani, Jemima Arayela, Okoronkwo Nkechi, Chuka Okonjo, Femi Adeleke, Clement Tolulope, King Urantata, Dioben Clinton, Jenny Onibode, Josh Egesi, William Ukoh, Osa Seven
Cover Credits: Boutique Cafe
Every month, three products are selected from businesses in Nigeria and shared with you to appeal to your senses. They range from cool, functional items that become indispensable and intimate items that make for thoughtful gifts, to artefacts you can splurge on and everything in between. This month, here are three items that are stunning, functional, and will visually elevate your spaces.
I’DOMI Side Stools by Sitting on a waterfall
Blending function with fluid art, the I’DỌMI Side Stools are sculptural pieces inspired by the calm elegance of cascading waterfalls, aptly named from the Yoruba phrase “Ida Omi.” Carved from rich mahogany, each piece features a warped leg that mimics flowing water, alongside clever design elements like book storage spaces, a flat tabletop, and detachable ashtray/key holders.
you go
Bring a playful edge to your interiors with the Bubblegum Table Lamp by Haven.ng. It’s rotating bubbleguminspired shade casts light wherever you need it, supported by a sleek cylindrical base. Perfect for bedside tables or cosy corners, this lamp adds charm and function in one simple twist.
Yellow Seat by Frenzy Furniture Limited
Yellow isn’t just pretty; it’s stealing all the attention
This stunning yellow seat from Frenzy Furniture Limited is truly the perfect piece for your home. While some pieces whisper, this one glows. Our pick for the month is a sunshine-drenched yellow chair that doesn’t just sit pretty; it commands the room. Place it in a moody reading nook, a bright living room corner, or let it anchor a minimal space.
I’m a 20-something-year-old living in Nigeria, so you know I’m constantly tired. I spend way too much time obsessing over self-care, food, tech, and anything else that makes my life easier, making me your perfect plug for anything! Like most people, I find randomly shopping online at odd hours therapeutic, so much so that if you look into your mirror and say “retail therapy” three times, I will appear.
Featured Columnist
Mona Zutshi Opubor
There is a certain amount of matter a family collects–like a planet pulling broken satellites into its orbit–and after a while debris overwhelms the home. It begins innocently. A few party packs from classmates’ birthday celebrations and a child’s room is littered with cheap playthings. A trip out for fast food, and the toy in a kid’s meal makes its way to the top of the dresser, treasured for a moment, forgotten ever after. The end of a school year brings in construction paper art speckled with dried beans, paper mache masks and poster boards with sketches of a frog’s life cycle. The mess grows, and when added to the worldly possessions of the adults in the house, it is
staggering.
I had hoped to ignore our junk until I died, and it became my children’s problem. However, after agreeing to move from New Jersey to Nigeria, I was forced to confront our stuff. We would be leaving an oversized, six bedroom suburban home and heading to a Lekki townhouse without storage. I had to make careful decisions about what we would keep and discard.
***
I wrote this in 2011:
We are moving to Africa next month and need to pare down. I am purging. It is so
hard. My husband and I both have trouble getting rid of things. My husband because he is thrifty and hates waste. Me because I am delusional.
So much of what I own is aspirational: How can I part with my wrinkle cream? Yes, it’s 10-years-old and unopened, but maybe if I keep it, I will use it, and my face will stay unlined forever. And how can I give away the ski pants that last fit me before I had kids? I’m just one rotten hamburger away from E. coli, hospitalization and then it’s, “Hello, size 4, Mona is back.” After my recovery, I may even learn to snowboard.
Don’t get me started on all the books in my bookshelf that I hold onto to seem like an
intellectual. As far as I know, nobody has ever judged me for the literature I own...but what if it happens? My unread coffee-table books on Indian art are far more impressive than Sisterhood of the Traveling Pants, volumes 1 - 4.
Who am I, really, without all my stuff? I am leaving my friends, my house and my country. I am stripping away everything that defines me, and I’m not sure what I will find at the core of my being. It’s scary to let go, but I would be lying if I said I am not looking forward to it. It is liberating. ***
I managed to donate and sell many of our possessions, and I felt transformed.
So much of what tied us to the USA was carted away: our cars, our books, even our dog. Well, the dog happened to die of old age, but you know what I mean. Just 10 overweight suitcases and our young family arrived in Lagos to begin a new chapter.
My mind turns back to those tempestuous times because we are confronting the reality of changing houses. As in 2011, I am drowning in a lifetime of possessions. Some could be valuable, just not to me. On my China hutch, where beautiful dishes are meant to be displayed, I can see a combination lock still in its package, a dissolved oxygen meter and a broken joke machine that used to make farting noises–but I don’t really see these things.
The truth is they have become invisible to me. If I had noticed them, I’d have put them away. I must bring these unseen items back into focus.
***
A home is more than four walls and a roof. It is a repository of memory, where tears are shed, triumphs are celebrated and love and life are nurtured. My husband and I will soon be empty nesters, but for one more precious year, our son still lives with us. Once again, I will throw myself into making a cosy sanctuary for our family, even if it involves the unpleasant work of wading through clutter to achieve it.
Mona Zutshi Opubor is an Indian-American and Nigerian writer. She holds an MSt in Literature and Arts from the University of Oxford, an MA in Creative Writing from Boston University and a BA in English Literature from Columbia University.
Read more at www.monazutshiopubor.com
By Elvis Dante Osifo Editor in Chief, Lost in Lagos Plus Magazine
The thing about living in a fast city like Lagos is that everyone is constantly asking what’s next? Which isn’t a bad thing, really; but more often than not, people fail to pause to admire the now, or even maybe try to look back to how far we’ve come. I think this is what makes Boutique Cafe so special. Nestled in the eyes of Adeola Odeku, this charming and ageless cafe carries the weight of nostalgia that Lagos so desperately needs, while inviting busy Lagosians to relax and escape the city’s traffic and bustle with its European elegance, warm brews, artisanal flavours.
At the entrance of this cafe is a cute little forest green door and an automatic sliding glass that feels like an entryway into your fondest memories. A quick look around and you notice so many fun antiques from different periods. A black and white tv, retro art pieces, books, and collectables from the different eras. The interior? Victorianstyle: plush velvet and European leather seating, ornate furnishings, patterned wallpapers, and dramatic colour schemes. An opulent ambience. Just being in the lower, upstairs, or smoking area feels like a warm vintage hug.
The menu at Boutique Café is everything! Compact but confident. Their all-day brunches are the perfect fuel or refuel for work for any coffee purist or newbie who prefers their caffeine softened with steamed milk. The entire beverage selection is expansive yet refined: Double Espresso, velvety smooth Caramel Lattes and creamy Cafe Mochas topped with delicate chocolate shavings. Feeling playful? The Dirty Chai Latte, Vanilla Beetroot Latte and ‘Kiss the Berry’ mocktail are cups of flavourful poetry. Bonus: Boutique prints vintage-style black and white portraits of guests on their takeaway coffee cups. Chic? Très.
Brunch here is hearty, honestly, punching far above what one might
expect. The Classic Nigerian Breakfast carries our familiar and comforting Nigerian flavours, but with European-style serving: the yam slices perfectly cooked with a buttery edge, paired with thick, rich egg stew, long golden plantains that are equal parts sweet, soft, but firm, and a playful mix of sausages and baked beans. Then there’s the American Morning Breakfast, a plate that belongs in a dreamy 1950s diner: pillowy scrambled eggs, crispy beef bacon, golden hash browns with just the right crunch, soft sausages, buttery French toast, and fluffy pancakes dripping with maple syrup like golden sunshine.
And then, the digital nomad and remote workers’ favourites: dessertfor-breakfast, flaky croissants, moist pound cakes, and colourful macarons that crunch gently before melting into sweet, almondy perfection.
From sunrise to moonlight, 7am to 10pm, Boutique Café feels like a well-kept secret you almost don’t want to share. The service and baristas are absolute sweethearts. Knowledgeable, patient, and always ready to walk you through a pairing, recommend a mocktail for your mood, or just make your coffee exactly the way you didn’t know you needed it. Whether you’re sliding in for a peaceful morning coffee, afternoon latte time, waiting out Adeola Odeku’s evening traffic, reconnecting with an old friend, or setting up shop with your laptop and something frothy, Boutique Café offers a rare kind of fond stillness and remembrance for a city that always asks “what’s next?”
Boutique Café
64 Adeola Odeku St, Victoria Island, Lagos Phone: 0915 136 0000 e: info.boutique.lagos@gmail.com IG: @cafeboutiquelagos
Late, Yusuf Adebayo Grillo Legendary Artist & Art Instructor
‘‘ Grillo believed an artist must be true to himself, and his creations must emanate from his true identity.
Tell us about Yusuf Grillo, what did he believe was the fundamental ‘power’ his art brought into a home or a public space?
We present the enduring legacy of Yusuf Adebayo Cameron Grillo, a pioneering master of Nigerian modernism and a revered icon of Lagos, the city where he was born, raised, and lived his entire 86 years. His professional life, spanning over five decades, was a testament to an unwavering dedication to the intertwined passions of creating art and nurturing future artists. While serving as a distinguished and lifelong educator at the Yaba College of Technology, where he shaped generations of creative minds, his prolific genius simultaneously graced public and private spaces through a diverse range of media, including his signature paintings, magnificent stainedglass windows, intricate mosaic murals, and powerful sculptures. More than just an artist, Grillo was an institution builder, a beloved teacher, and a cultural custodian whose work remains a vital and celebrated part of our national heritage.
Yusuf Grillo saw art through the lens of his culture and environment. In the African context he embraced, art is not so much for its decorative factor, but more for its function. Art was used as an expression of spirituality (as in objects for worship and religious rituals). Furthermore, the patterns and motifs used to adorn textiles, stools, calabashes, pots, and other functional items of daily living were symbolic and best understood within the culture that created them. Therefore, Grillo believed an artist must be true to himself, and his creations must emanate from his true identity. Grillo saw the world through the lens of his ‘Yorubaness’ and expressed himself through the elements of that culture. Thus, his art brought the power of the Yoruba ethos to the homes and public spaces where it was installed.
How does the serenity portrayed by his art contribute to its power?
The serenity portrayed in his art is powerful because it is genuine. Grillo was committed to being true to himself, allowing the
canvas, the colours, and the brushstrokes to reflect what was truly within him. He was a peaceful and serene character; a stickler for truth, honesty, and unpretentiousness. These were the qualities within him as a person, which come through in his art and, by extension, speak to the audience of his paintings, evoking the same feelings in them.
How does the narrative power in his paintings contribute to the energy and conversation in a room?
He was a consummate storyteller. Whether speaking orally to his children and grandchildren or painting on canvas, there was always a backstory to evoke conversation among those beholding his pieces. His compositions were almost always based on his musings on Bible stories, Islamic literature, traditional religion, and the social life of the people in his environment. For those fortunate enough to have heard him explain his work, the depth of thought behind his portrayals is intriguing and becomes a catalyst for discussion. The questions and insights revealed lead to genuine learning experiences and cultural exchange.
How does cultural specificity become universal beauty, enriching rooms anywhere in the world?
His genius shines through in his ability to use his training in the classical, Western art of his colonial teachers and infuse it with his own cultural interpretation to create works that speak eloquently to both local and international audiences. Art itself is a powerful and evocative medium of communication that transcends cultural divides, which is why the looting of art as spoils of war was so significant, and the collection of art for pleasure and profit remains popular today. In this regard, Grillo’s work follows a long tradition of art that transcends its origins.
Three Works That Amplify Grillo’s Storytelling
of the market” or a young trader). Omoloja, representing COMMERCE, is depicted as an attractive young hawker, commonly seen hawking wares through the streets of Yoruba communities. The body language of these two figures, as captured by the artist, suggests their silent conversation is not merely transactional.
This piece, created in 1972, tells how Grillo perceived the Bible story of the flight to Egypt of Joseph, Mary, and the infant Jesus to escape the wrath of Herod (Matthew 2:1323).
He depicts Joseph as a bicycle-riding Yoruba carpenter, with the tools of his trade hanging from the bicycle, and Mary cradling the infant Jesus while sitting on the crossbar. The figures are depicted in traditional Yoruba clothing and coloured in his favourite hues of blues, purples, greens, and burnt sienna.
My Taiye tells of the Yoruba love and veneration for twin births. Twins, in the Yoruba setting, were seen as very special children and venerated as deities. They are culturally represented by the Ère Ìbejì small woodcarvings thought to embody the spiritual essence of the twins. It was therefore a matter of serious spiritual import when one of a set of twins died. The mourning rituals involve having a woodcarving of the deceased twin kept in the household. It
Commerce and Industry (LCCI), now situated on the grounds Commerce House at the corner of Idowu Taylor and Adeyemo Alakija Streets in Victoria Island, Lagos. While fulfilling the brief for a sculptural piece to represent Commerce and Industry, Grillo’s sculpture tells the story of a love affair between Ṣokotí Ọrun), the heavenly blacksmith of Yoruba folklore, and Omo Oloja, the female trader. Ṣokotí, representing INDUSTRY, is depicted as a handsome, strong, muscular young blacksmith with the tools of his trade (anvil and hammer) visible. He is shown in a serious conversation with Omoloja appellation meaning “child
Interview
Tola Akerele
GM/CEO of the National Arts Theatre
Founder, iDesign & Soto Gallery Foundation
Convener, +234 Art Fair
Author, Orishirishi Cookbook
‘‘ Quality control is critical. If we want to take our work from local to international markets, we have to ensure we’re following best practices, especially when it comes to consistency and finish.
Meet Tola Akerele, a visionary whose work seamlessly weaves together culture through the vibrant mediums of food, design, and art. Her Afro-modern style, deeply rooted in sustainability, draws inspiration from local contexts while embracing global best practices. Across all her endeavors, Tola consistently champions cultural heritage, ensuring it shines through in a way that is both relevant and contemporary.
What does the “home” mean to you, not just as a designer, but as a Nigerian, a woman, and someone with such an expansive, layered career in the industry?
Home, for me, is where you recharge, it’s a space that brings peace. As a designer, I believe creating a home isn’t just about making something beautiful, it’s about how the space works for the person living in it. You have to take into account their lifestyle and daily rhythm. With my busy schedule, coming home is about having a place where I can truly relax and unwind. It needs to feel like a sanctuary. No matter who you are or what you do, your home should reflect your personality, it should hold space for who you are, and allow you to feel completely at ease. We also like to host people over, so spaces that are fluid, some entertaining space is super important. A home should adapt to both rest and connection.
Your work, synonymous with layered storytelling through space, is always iconic. How do you approach design as both a visual and cultural archive?
I think iDesign gets approached because of the way
we design. We’re very intentional about turning each brief into something that truly reflects the purpose of the space. Whether it’s a restaurant, a hotel, a home, or an office, we focus on how people will interact with that space. We don’t do copy-and-paste design. Each project is carefully thought through; who is the space for, how will it function, and what makes it unique? We’re always thinking about the context: why the space exists, who it serves, and how best to bring that story to life. That level of consideration shows in our work. It’s distinctive because our approach is rooted in meaning, originality, and a deep sense of place.
You’ve consistently championed local artisanship and Nigerian materials. What systems do you believe we need to institutionalize to support the design value chain; from the roadside carver to the export showroom?
I think what we really need to strengthen the design value chain is investment in research and training. Since I moved back to Nigeria, I’ve worked with a small team where we produce bespoke furniture made from wood. What I’ve seen is that we have incredible natural talent, people with raw skill and creativity but they need the right tools, training,
and infrastructure to scale and compete on a global level. Quality control is also critical. If we want to take our work from local to international markets, we have to ensure we’re following best practices, especially when it comes to consistency and finish. When I speak about research, I mean really understanding and expanding the potential of our local materials. Take bamboo, for example. Countries in Asia have invested in research to develop bamboo into flooring, cutlery, plates, everyday functional products. Meanwhile, we’re still using bamboo in its raw form for basic furniture. There’s so much more we could be doing if we invested in material research. It’s the same with our textiles and other textures, we have such rich resources, but we haven’t fully tapped into their potential. We also need more dedicated design schools; that’s a major gap. It’s difficult to grow without formal institutions supporting the ecosystem. Product design, in particular, is such an important part of the design conversation. Learning how to create for global markets, and how to produce functional, context-inspired pieces. Right now, we’re limited by the lack of structured education and training in that area. The good thing is that we do have a growing market here that could help fund research and development. If we build systems that support artisans from the roadside carver to the high-end export showroom, we’ll start to see real transformation in the design ecosystem.
With +234Art you have spotlighted over 200 artists, what have you observed to
be the biggest roadblocks for emerging Nigerian creatives, and how can they be overcome?
One of the biggest roadblocks I’ve seen is limited visibility and access. Many talented creatives from places like Nasarawa, Ebonyi and other parts of the country just don’t have the platforms to show their work. With +234Art, we’ve tried to address that by creating a space that brings new artists into the conversation and grows the art market at the same time. The market here can be small, with just a handful of collectors, so a big part of what we’re doing is expanding that base and making the ecosystem more sustainable. Beyond visibility, we also run training and programming helping artists understand their role in the local, regional and global art scenes. The international art market is a multi-million dollar industry, and our artists should absolutely be part of that. We’re now looking at how to do even more capacity building outside of the fair so things like artistic research, understanding the market, career planning, and longevity. All of that is necessary for artists to thrive not just now, but in the long term.
Soto Gallery has played host to critical conversations and art shows. What role do you believe art galleries should play in civic life, and how can they move beyond being just elite spaces?
I believe galleries should be spaces where people feel welcome, not intimidated. That was one of the reasons we started +234Art
in the first place. We wanted people to feel free to walk in and engage with art, without feeling like they needed prior knowledge or special access. Galleries should encourage dialogue and be open spaces for discovery. At Soto Gallery Foundation, we run various programmes that reflect this belief. For example, The Art of Collecting is one of our initiatives focused on helping people understand what it means to be a collector not just from a transactional point of view, but from a place of genuine appreciation and cultural investment. Beyond exhibitions, we’re also exploring how art intersects with other disciplines. In October, we’re hosting a conversation around art and health exploring how creativity can support mental and physical wellbeing. Art is incredibly powerful and inspirational; it shouldn’t be confined to gallery walls. It has the potential to spark civic dialogue and bring people together around issues that matter. Another key role galleries must play and one we take seriously is artist development. We work closely with a few artists because we understand the time and care it takes to support a creative career. From securing residencies to facilitating international shows and getting the right kind of exposure, it’s a long-term commitment. Globally, this is a traditional role galleries play, and I think we in Nigeria need to do more in that space.
Most underrated piece of advice you’ve received as a creative entrepreneur?
One of the most underrated pieces of advice I’ve received is to start where you are and with what you have. It’s easy to get caught up waiting for perfect conditions; more funding, the right team, a bigger platform but I’ve learned that consistency, resourcefulness, and staying true to your values will always open doors. I think when you create with intention, even in small ways, people take notice. That’s been my experience whether it’s working with local artisans, launching +234Art, or designing a space, you just have to begin. Everything else tends to align in time. It’s also really important to know your ‘why’. Knowing your why helps you articulate your how. It keeps you grounded when things get tough and helps guide your decisions, especially in a space as fluid as the creative industry. Once you’re clear on that, you’re not easily swayed and that clarity becomes part of your strength.
For young Nigerians looking to build culturally rooted, commercially viable businesses in art, design, or hospitality, what would you say is the most important first principle to hold on to?
I think to run a business in Nigeria today, especially in the cultural space you have to be extremely tenacious. It’s not an easy environment, so while passion is important, it can only take you so far. What really sustains you is understanding the fundamentals of business. Even though you’re building something creative, you still need to know how to structure and run it properly. I think my financial background helped me in that regard, and I always encourage young people not to shy away from the business side of things. It’s what allows your creativity to thrive in a sustainable way.
Interview
Chuka Ihonor Founder, ARG Studio, Ci Studio, 9H Media, & OKA4
Meet Chuka Ihonor, a visionary architect and designer who honed his craft at University College London before making an indelible mark on Nigerian architecture. He masterfully blends Modernism with the rich heritage of Nigerian lifestyle, particularly the Igbo Courtyard and Compound House model, through his acclaimed practice, ARG Studio. Beyond architecture, Chuka’s creative empire includes Ci Studio for bespoke objects, 9H Media for design-focused audio/visual content, and the forthcoming OKA4, dedicated to showcasing furniture and lighting by predominantly Nigerian and Black designers.
You’ve had a multifaceted impact across architecture, design curation, and urban discourse. What would you say, make you choose everyday to do the work you do?
The thing is that if I wasn’t an architect, I’d have been an Economist just like my father who studied at LSE (so we both attended University of London). But I always knew it would be design; I have drawn cars and houses ever since I can recall. I live for the world of design; the creation of new things, the journalistic side of it, writing books, and reaching out to universities and students of design in Nigeria and the UK.
You’ve long championed context-driven design. What’s the biggest misconception Nigerians have about architectural value when it comes to building homes and residential properties?
Nigerians hardly understand the work of the architect; they do not appreciate the enormity of the thought processes that go into creating architectural structures, and consequently almost never pay fees commensurate with the work they receive. Tied to this are the designers themselves, many of whom produce work that utilises little or no hard work, graft and thought. Clients who have the money are now turning to foreign architects for more exciting work, but this also backfires when the architect in question is no better than those you are running away from.
True value comes from design that not only solves problems, but creates a whole new world in itself. Inspiration from stories, from traditions, from the culture of the time and of the past, the use of, and manipulation of space and spatial hierarchies of past and present building traditions. Abstraction. These are the hallmarks of the best design work. Designers and clients ought to start to take these things seriously.
Through Ci Studio and ARG, you bridge design with community,
research, and policy. In what ways do you think policy and regulation must evolve to support better, more sustainable urban housing in Nigeria?
Nigeria is totally unprepared for a debate or any progress regarding affordable housing; nothing is in place to even start the conversation. Much more important to those in power is getting rich [quick]. There is no manufacturing base, so no supply chain. No hurry to address any of the issues that will help steer the way to the realisation of a plan for more housing. The cities and towns especially aren’t even properly designed and managed; without an urban plan, talk of housing policy is merely wishful thinking. Exactly where in a city do you build these structures?
What are three design interventions, big or small, that Nigerian homeowners and developers can embrace now to make more thoughtful, livable, and climate-conscious homes?
People will always build what they like; without their own money. Only a very small percentage are design-savvy and understand how design could solve problems. As an architect, I never set out to make a building fit into a type: climate conscious, sustainable, etc. Through design, these issues are silently tackled without typecasting the building.
There’s a growing interest in alternative building systems and local materials. What’s your take on the practicality and scalability of these trends in Nigeria today?
Using local materials is good; it helps to create a local industry. Beyond that, there’s the issue of the appropriateness of material to function, or to structure. Technological advancement has meant that you could build certain structures cheaper with certain materials; how then do you force the hand of the designer or client to only use that which he digs out from his locale? At what scale could local
‘‘
Nigeria is totally unprepared for a debate or any progress regarding affordable housing; nothing is in place to even start the conversation. Much more important to those in power is getting rich [quick].
material be used for larger, taller structures? What new applications can be achieved that rival the coming of reinforced concrete and steel? We can dream, but we must work towards realising progress.
For someone designing a home today in Lagos or Abuja, what should they absolutely not compromise on, and why?
Clients and developers should place a premium on design; they should attend design events, read up on design, listen to their designers and get their money’s worth (for those who actually pay). The rate of default on payments to consultants is alarming; there is an epidemic of scoundrel clients in the highest places who do not pay their bills, and I am considering exposing a few of them. It is inhumane, wicked, evil and at best, uncivilised.
What advice would you give a young architect who wants to operate not just as a designer, but as a civic voice and cultural advocate?
A true brilliant architect would be a cultural advocate; they go hand in hand. The richest designers are not necessarily the brilliant ones; far from it. So I am not referring to them. The true brilliant designer wants to teach, wants to galvanise others in the professions to move forward as a collective. They do not serve on the altar of the client’s whims and caprices; they teach the client. Many, sadly, are tutored by their clients. Isn’t that such a shame!
Interview Anita Oghenevwede Precious Creative Director, Noni Design and Noani Home
What do you see as the biggest misconception Nigerians have when it comes to designing the interior of their homes?
One of the biggest misconceptions Nigerians often have about interior design is that it should be cheap. There’s sometimes a lack of understanding of the value that thoughtful design brings not just in terms of beauty, but in how it enhances the functionality, comfort, and long term value of a space.
People often underestimate the cost of quality materials, skilled labor, custom furnishings, and the time it takes to properly execute a project from concept to completion. Alongside that is the belief that interior designers are simply offering a free service, almost like decorators who come in at the end to “arrange things nicely.” In reality, we are problem solvers, planners, creatives, and project managers all in one. We’re involved from the early stages, working through technical drawings, spatial planning, mood direction, sourcing, and coordination. It’s a service that requires not just talent, but deep expertise, experience, and emotional intelligence. Good design saves time, reduces costly mistakes, and transforms a house into a home and that kind of transformation requires investment.
Meet Anita Precious, the founder and creative director of Noani Design, a Lagos-based studio specializing in cozy luxury interiors. With nearly a decade of experience, she masterfully blends storytelling and cultural richness to create spaces that are not just beautiful, but deeply personal sanctuaries. Anita transforms both residential and commercial environments, infusing each project with an otherworldly and emotionally resonant energy.
What are some creative and budgetfriendly ways to incorporate artistic elements into a home without necessarily buying expensive fine art pieces?
There are so many beautiful ways to bring artistic elements into a home without spending a fortune on fine art. One of my favorite approaches is using fabric and textile art frames or even vintage scarves that can add so much personality to a space when displayed creatively. Wall baskets, ceramics, and locally crafted items also tell a rich story while supporting artisans.
Another great option is creating gallery walls
‘‘ When home, art, and design speak the same emotional language, the result is always harmony.
using personal photography, handwritten notes, or pages from meaningful books and magazines. You can even play with abstract paint techniques on blank canvases for a DIY statement piece. Oversized mirrors, sculptural lighting, and decorative objects can also act as art when styled intentionally.
Could you walk us through your process of harmonizing home, art, and design for a client? Where do you start, and how do you ensure the three elements work together seamlessly?
I always start by understanding the client, their lifestyle, emotions, and what they want their home to feel like. From there, I build a mood board that captures their essence, blending design elements with textures, colors, and cultural references that reflect who they are. Art is never an afterthought. Whether it’s a commissioned piece or a personal item, it’s integrated early so it complements the design, not competes with it. I focus on balance, scale, lighting, and color to ensure everything works together seamlessly. The goal is to create a space that feels personal, intentional, and timeless. When home, art, and design speak the same emotional language, the result is always harmony.
Let’s talk interiors! If you could only pick five magical spots in Nigeria to source pieces that truly make a home come alive, where would you go?
Nigeria is full of incredible places to source soulful, stylish pieces that bring a home to life. If I had to pick my top spots:
Nike Art Gallery Lagos, A haven for art lovers and culture enthusiasts. Beyond paintings, you’ll find handcrafted textiles, sculptures, and woven pieces that infuse depth and identity into any space.
Luxe Demi Lekki Phase 1, Known for its curated, high end décor and furniture, Luxe
Demi offers timeless pieces that feel both luxurious and affordable.
BoConcepts Victoria Island, Perfect for clean, contemporary furniture with a European flair. Their pieces add a sense of calm sophistication and work beautifully when mixed with more textured or organic elements.
Kitchen Accessories Lagos, A go to for elegant homeware and finishing touches that elevate your styling. Their collection includes everything from accent kitchen accessories to refined furniture that completes a room.
Iponri Market Lagos, Ideal for sourcing rich fabrics, curtains, upholstery, and soft furnishings. It’s a place where texture, color, and personality come to life.
If you could give one piece of ultimate advice to a Nigerian looking to build their dream home, what would it be?
If I could give one ultimate piece of advice to a Nigerian looking to build their dream home, it would be this: start with how you want the home to feel, not how you want it to look. So many people begin
with aesthetics, but the most timeless and fulfilling homes are built around emotion and lifestyle. Think about the mood you want to walk into every day. Do you want it to feel calm? Joyful? Inviting? Empowering? Let that emotional direction guide everything from layout to lighting, materials to colors. When the design is rooted in feeling, it becomes personal, functional, and deeply satisfying. And of course, surround yourself with the right professionals, people who understand your vision and can translate it with both creativity and structure. That’s where the real magic happens.
Adeyemo Shokunbi Architect and Co-Founder, PatrickWaheed Design Consultancy
‘‘ I have always seen home as the first architecture we encounter. It is the space that teaches us how to navigate the world.
Meet Adeyemo Shokunbi, a UK-trained architect whose work is deeply embedded in the cultural and environmental context of Lagos, Nigeria. He is the co-founder of the acclaimed firms Patrickwaheed Design Consultancy and NANA Collective. Across a range of residential, public, and cultural projects, his guiding philosophy is to create architecture that is quiet, honest, and intentional. Adeyemo’s design philosophy is centred on deep listening to context, climate, culture, and people, aiming to create architecture that expresses the environment rather than merely impressing. This approach has evolved from a restrained simplicity that emphasised form, light, and material to an intentional use of local materials like laterite for both aesthetic and functional reasons.
What does the ‘home’ mean to you, not just as an architect, but as a Nigerian, a citizen, and a curator of space?
Home, to me, is where identity is nurtured. It is where memory lives and meaning is embedded in the everyday. It is more than a structure. It is a place of belonging, of grounding, of quiet dignity. As a Nigerian, home carries emotional and cultural weight, from the shared rituals of daily life to the deeper need for safety, warmth, and continuity. As an architect, I have always seen home as the first architecture we encounter. It is the space that teaches us how to navigate the world. It shapes our values, our sense of comfort, and our way of seeing. But lately, the idea of home has become even more personal.
I recently designed a home for my mother, a deeply personal collaboration with my siblings, to mark a new chapter in her life as she turned 80. It became a way of honouring her, of creating a place of refuge and quiet for her to live out her later years in comfort and grace. I gave it everything. Not as a project, but as an act of love. A modest haven, curated with care, intention, and memory. As a curator of space, I believe “home” should reflect the spirit of those who inhabit it. It must hold the past gently, serve the present thoughtfully, and stay open to the future. Whether through filtered light, material texture, or spatial rhythm, the home is where architecture becomes most human and most sacred.
As someone who works across public,
residential, and cultural spaces, how does your approach shift depending on the type of project, and what constants always remain?
I try to approach each project with a fresh set of eyes. Public spaces often require more openness in thinking. You are designing for many people, most of whom you will never meet, so the space has to be intuitive and accommodating. It is less about personal taste and more about how people move through it, how it supports gathering, waiting, passing through, or simply being. Residential work is more personal. You are dealing with people’s lives most immediately. It is about understanding how they live, what they value, and how space can support their day-to-day reality. There is often more back and forth, more listening, and more adjusting. That process can be very fulfilling because when it works, it brings real comfort and joy to the people who live in the space.
Across all my work, the guiding principle is a commitment to honesty. I strive to create grounded architecture that serves people and fosters a sense of calm, rather than designing for mere effect. This approach is especially vital for cultural projects, which are layered with profound meaning, memory, and identity. In these sensitive spaces, my role is not to impose, but to listen to find what already exists and can be honoured or reinterpreted. The goal is to allow the building to breathe with its own story, expressed subtly through the texture of a wall, the quality of light, or the way
people are drawn to gather within it.
Many Nigerians still build without architects. Why do you think there’s a disconnect between everyday people and professional architecture? What must the industry do to fix this?
I think people build without architects for many reasons, and not all of them come from a place of disregard. For some, it is about cost. For others, it is about a sense of familiarity. They have seen buildings come up around them and believe they can piece one together too. Building is often seen as something anyone can do, and because people live in spaces every day, they feel they already understand how they should work. It is important to approach the disconnect between the public and architects with empathy. The truth is that the profession can often feel intimidating or overly formal, particularly when the design process is not explained clearly or when designers fail to listen. Understanding this perspective is the first step towards bridging the gap and making thoughtful, professional design feel more accessible to everyone.
The most successful projects are built on a foundation of mutual trust. When a client feels genuinely seen and heard, they are more willing to embrace the full creative process, leading to a richer and more collaborative outcome. This creates a balanced partnership where the architect provides expert guidance while empowering the client, the person who will live in the space, to help shape the final vision. The goal is shared ownership, blending a professional viewpoint with personal reality. Ultimately, the architectural profession has a collective responsibility to become more approachable. This means engaging more openly, speaking plainly, and showing the value of good design
without being defensive. The focus must shift from simply constructing buildings to fostering relationships, because trust is not granted by a title or qualification; it is earned through genuine conversation and a truly collaborative experience.
How can small and mid-scale developers implement high-impact design without high-end budgets? Any non-negotiables you would still insist on?
The truth is that most developers working at scale are under pressure to make the numbers work. I understand that. In this part of the world, the budget often takes precedence over everything else. That is the reality we are working within. But I have also learned that good design is not always about spending more. It is about making better decisions with what is available. We are selective about the projects we undertake, prioritising partnerships where thoughtful design is valued. If a brief is purely profitdriven and overlooks how people will live and interact within the space, it becomes difficult for us to contribute meaningfully. Our commitment is to clients who share our belief that architecture should serve the end user, which requires an approach that goes beyond simply maximising units.
Achieving high-quality design is not necessarily about a large budget, but about making intelligent, cost-effective decisions. We focus on resourceful strategies like optimising spatial layouts, maximising natural light and ventilation, and using durable, locally available materials. By simplifying construction methods and stripping ideas back to their essential purpose, we can deliver exceptional value and quality within realistic financial constraints. Regardless of the budget, there are non-negotiable principles we uphold: clarity of space, decent
airflow, and a fundamental sense of spatial dignity. People should never feel boxed in; they should feel that their well-being has been considered. This is achieved through care and intention, not added expense. When a developer shares this trust and focus, even the most modest projects can successfully blend beauty, comfort, and
minimalism to the adoption of traditional materials like adobe and laterite, how do you perceive the future of home design in Nigeria?
I am optimistic about the growing appreciation for design that is truly of our place. However, this shift must go deeper than just following trends or labels like ‘Afro-minimalism’. My core belief is that an architect’s responsibility in Nigeria is to create work that genuinely responds to our unique cultural, climatic, and social context. The ultimate focus must always remain on serving the people who will inhabit the spaces, not on chasing the latest terminology.
This philosophy demands that architecture in Nigeria be both grounded and practical, reflecting the realities of daily life. For instance, the use of traditional materials like laterite or adobe isn’t an aesthetic statement; it’s a logical decision. These materials are chosen because they make sense on multiple levels, environmentally, financially, and emotionally, offering solutions that are both sustainable and deeply connected to our heritage. By staying rooted in these principles of care and context, I believe the future of home design in Nigeria will become more honest, inclusive, and profoundly meaningful.
Interview
Olaniyi Israel Shina Lead Painter, Olshiz Integrated Concept Limited
M
eet Olaniyi Israel Shina, the lead painter and creative mind behind Olshiz Integrated Concept Limited, widely known as the Abuja Decorative Painter. A highly trained and certified professional based in Abuja, he specialises in providing expert solutions for wall defects to achieve a perfect, lasting finish on any interior or exterior surface. With a meticulous eye for detail and finesse, Olaniyi leads his competent team to deliver reliable, timely, and high-quality painting services, transforming spaces with skill and precision.
‘‘ One thing every tenant should know is that painting can improve their well-being and even their health.
You specialise in wall defect treatment before painting. Can you explain the most common types of wall defects you encounter in Abuja and how you fix them before applying paint?
One of the most common wall defects we encounter in Abuja is hairline cracks and damp issues. Most cases are rising damp, while others are penetrating damp. We have a device called a moisture meter, which we use to diagnose the walls to check the amount of moisture trapped inside and determine the water level. This helps us to select the right materials to provide a solution.
Let’s talk about material properties. What’s the difference between matte, eggshell, satin, and gloss in terms of durability, cleanability, and aesthetics?
These are all quality paint types; the best choice depends on the final feel an individual desires.
Matte: This finish is often described as ‘cool’ and ‘warm’. It can hide imperfections on a surface and can help create a calm space.
Eggshell: This finish is smooth and calm. It requires thorough surface preparation for a perfect result and does not have the ability to hide undulations or imperfections.
Satin: This is a highly shiny and bold finish. It also requires thorough surface preparation for a good result.
Matte and satin finishes are cleanable, but not highly washable. Eggshell is highly washable, and gloss is also wipeable. Overall, matte, eggshell, and satin are excellent choices for both residential and commercial surfaces.
Can mixing different brands of paint affect the final outcome of the job, supposing one finishes halfway through?
Yes, it can affect the outcome of the job. Every paint brand has its own formulations and properties. The pigments are not the same, nor is the expected colour. The quality of raw materials used also differs. Therefore, mixing brands can negatively affect the outcome of a painting job, especially if quality is compromised.
Some walls in rental homes feel really rough or patchy underneath the paint. Is that a bad paint job, or is it deeper than that?
It is often a deeper issue than just the paint. Surface preparation accounts for about 70% of the final result. This includes everything from the screeding materials and the abrading (sanding) process to priming the wall before applying the topcoat. These are essential steps for any paint job, but they are often ignored by many painters. If the surface preparation is poor, the paint will not adhere or look good, no matter how expensive or high-quality it is.
How important
apartment? For instance, if I’m not staying long-term, maybe six months to a year, should I bother, or is it only worth it for owners?
Screeding is a very important factor for any good painting job, regardless of whether it’s a rented apartment. What matters is the feeling you want to create in your space. The decision also depends on the individual’s budget and the quality of the ambience they wish to enjoy during their tenancy.
What questions should I ask a painter before hiring them, especially as a tenant who may not know all the technical terms? How do I spot a good painter?
To find a good painter, you should ask clear questions to understand their process. You could ask:
1. Can you assess the current condition of the walls and tell me what you see?
2. What treatment do you recommend for any defects you find?
3. What brands and quality of paint do you suggest for this job and why?
4. Can you walk me through the entire process you will follow, from preparation to the final coat?
5. What is the total area in square metres, and how have you calculated the quote?
A good painter will be able to answer these questions clearly and confidently, demonstrating their expertise.
Finally, what’s one thing every tenant should know about painting that most people never think to ask?
One thing every tenant should know is that painting can improve their well-being and even their health. When you live in a wellpainted house, it improves the ambience of the entire space, helping you to feel more comfortable. It is not a waste of money; it is a necessity for creating a pleasant home environment.
Nkechi
‘‘
Cleaning is a job many people look down on, yet it requires significant manpower.
M
eet Okoronkwo Nkechi, the Founder and CEO of Midas Touch Cleaning Services, a premier cleaning company based in Lagos, Nigeria. With four years of dedicated experience in the industry, Nkechi established the company in 2021 and has quickly positioned it as a trusted provider for both residential and commercial clients.
Let’s start at the beginning: what inspired you to launch Midas Touch Cleaning? Was there a moment or experience that sparked it all?
I would say money inspired me. I have always wanted to have my own business, and I sought something that felt personal to me because I knew the entrepreneurial journey would be hectic. I wanted to ensure I was doing something I truly cared about: transforming spaces through cleaning, whilst also owning a successful business in Nigeria. Starting Midas Touch helped me achieve both. Additionally, providing job opportunities and doing my part to help the economy were also major inspirations, among other things.
Running a business isn’t all sparkling floors and scented rooms. What’s been
one of your toughest challenges, and how did you overcome it?
One of my toughest challenges has been recruiting staff. Cleaning is a job many people look down on, yet it requires significant manpower. I have not overcome it completely, but one way I manage it is through networking. It’s about building a community of willing workers. When you meet one person, you build a relationship with them. In turn, they can bring in others, which helps us find people to do the work. So, that is one of the major challenges and how I manage it. Another challenge is logistics, mainly due to the traffic in Lagos, but we are managing to make it work.
What’s one underrated cleaning trick that always blows your clients’ minds? Perhaps the fact that you can use warm Coca-Cola to kill germs in your toilet. Many people are unaware of this, but when a bottle of Coke has been left in a warm room, it has the ability to kill germs on impact. That is one of the underrated tricks out there.
Kitchen stains, bathroom grime, and dusty corners, what’s your best hack for each of these common problem areas? Baking soda works for almost everything. Once you have baking soda in your house mixed with other ingredients, of course, there are very few stains it cannot remove.
It’s the one thing you would need for all three problems.
A lot of people struggle with keeping their homes clean consistently. What are five simple cleaning habits or hacks you recommend that can make a big difference, even for someone with a busy schedule?
(Note: The following answer provides one main habit.)
One thing I would say is to clean in small bits. Do not wait for messes to pile up; clean them right away. This way, you can keep your space relatively clean for a longer period until you have time for a deep clean. Letting dishes pile up, for example, only makes the task harder when you are eventually ready to tackle it. Cleaning in small bits is one thing that can help, despite a busy schedule.
What is something you want to tell the world about Midas Touch?
I want the world to know that our goal is to continue delivering premium cleaning services at affordable rates. We also aim to alleviate some of the stress of daily life in Nigeria. Taking that one task off your plate is something we are dedicated to doing. We will continue to improve and strive to become a force to be reckoned with in the cleaning industry.
Interview Lara Jarmakani Founder, Design Dot
‘‘ In creative industries, it’s easy to get distracted by trends or comparisons. But longevity comes from authenticity.
Take us back to the beginning. What was that “spark” moment when you identified the need for a platform like Design Dot, and what was the journey like bringing that idea to life?
The spark came from a frustration: I couldn’t find interiors in Lagos that felt truly considered or emotionally connected. And I couldn’t find designers from abroad who understood the realities of executing projects in Nigeria, from achieving quality finishes to meeting tough deadlines. So I began dreaming of a design studio that didn’t just decorate spaces, but translated personality and vision into environments that were both thoughtful and rooted in local understanding; a studio that could bridge creativity with practical execution. The journey started small: a sketchpad, a few passionate collaborators, and lots of
Meet Lara Jarmakani, the founder and Creative Director of Design Dot, a boutique interior design firm based in Lagos. Guided by the belief that design should transcend aesthetics, Lara leads her studio in creating spaces that tell a story, reflect identity, and enhance the way people move, live, and work.
bold ideas. But with every project, Design Dot began to take shape as a platform where thoughtful design could flourish, and where we could reimagine what modern design in Lagos looks and feels like.
How would you describe the evolution of the interior design industry in Nigeria, especially with the rise of new technology? What excites you most about how innovation is empowering designers today?
The interior design industry in Nigeria has grown tremendously, evolving from being seen as a luxury to becoming an integral part of how people approach lifestyle, wellness, and brand identity. Technology has been a huge accelerator in this growth, especially with the rise of social media platforms. Today’s clients demand more creativity and
attention to detail than ever before. Tools like virtual walkthroughs, material simulations, and even AI allow us to push creative boundaries while working more efficiently. What excites me most is how design is becoming more accessible, no longer reserved just for the elite. More people are engaging with design, and that’s truly powerful.
Building a business from the ground up is a monumental task. Was there ever a moment early on when you felt overwhelmed by the scale of the problem you were trying to solve? How did you navigate that challenge?
Many moments. Design is deeply personal, and you often carry the weight of your clients’ trust and expectations. In the early days, I felt overwhelmed trying to juggle creativity, logistics, and business management. What helped me was grounding myself in the “why.” Remembering that we’re not just designing pretty spaces, but creating impact, allowed me to keep going. Surrounding myself with a team that believes in the vision made all the difference.
For our audience looking to elevate their own spaces, the world of décor can be overwhelming. Could you share your expert insights on the most important things to note when looking for home décor?
Start with intention. Before buying anything, ask yourself: What mood do I want this space to create? From there, focus on quality over quantity. A few well-chosen pieces, whether it’s artwork, lighting, or a beautiful rug, will always elevate a space more than clutter. Natural materials and good lighting are key to timelessness. And don’t be afraid to layer textures; that’s what brings warmth and personality to a home. You do, after all, spend the most time in your home. Ultimately, your space should reflect you.
Your work empowers so many creative entrepreneurs. What is the single most important piece of advice you would give to someone looking to follow in your footsteps?
Know your voice and trust it. In creative industries, it’s easy to get distracted by trends or comparisons. But longevity comes from authenticity. Stay rooted in what makes your perspective unique, and be consistent with it. Also, don’t underestimate the business side; creativity needs structure to thrive. Surround yourself with people who can complement your strengths, and keep evolving.
Interview
Chukuka Okonjo
BDM, Fine & Country West Africa Founder, Compound
Meet Chukuka Okonjo, a dynamic disruptor at the nexus of real estate, storytelling, and culture in Africa. As the business development executive at Fine & Country West Africa and founder of Compound, he’s expertly reshaping how people discover and invest in African real estate. With a clear vision for the industry’s evolution, Chukuka consistently strives to learn and build better, making real estate feel more human and accessible through innovative digital platforms.
Let’s start with this: What made you take real estate online in such a fresh, fun, and engaging way, particularly on TikTok? Was there a “lightbulb” moment when you realised Nigerians needed a new language around property?
Let’s face it, Nigeria, and honestly, most of Africa, is terribly branded. The way we talk about property, investment, and even lifestyle is painfully outdated, inaccessible, or often, simply false. I’m on a mission to save the industry. TikTok is the fastest platform for growth and idea distribution. It gave me a low-touch way to test ideas, show personality, and start building a real connection and audience. But if I’m honest, my sister Chidi pushed me to start; she’s a marketing genius. She told me last year, “It’s 2025, you can’t make money and hide your genius at the same time.”
But let me be clear: TikTok is just the entry point. We’re going much bigger than that, much bigger. This is about reshaping how people discover, understand, and invest in African real estate at scale.
You show a lot of beautiful homes, but beyond aesthetics, what makes a home truly valuable in today’s market?
A home’s true value comes down to location, price, marketability, and exclusivity. Location is everything. A 20-square-metre box in Ikoyi is more expensive than the same box in Ikate because proximity to high-end environments drives value. It’s not just real estate; that’s how the world works.
A lot of people are still intimidated by the real estate world. What do you think are the biggest myths or fears about land and property ownership in Nigeria, and how would you like to debunk them?
A big myth is that all brokers and agents are clueless or scammers. A lot of them are, but that’s exactly why my company exists: to be the exception.
What cities or secondary markets in Nigeria do you believe are currently under-discussed but hold immense real estate potential, and why?
I don’t think in cities; I think in taste and spaces. I’ve mostly worked on Lagos Island, so I’m excited to explore the Mainland. It has massive untapped potential, with oldmoney homes and developments that just need a slight revamp. They’re significantly undervalued because of the current minimalist modern craze.
What are three pieces of content (videos, books, podcasts) that changed the way you think about real estate or building wealth through property?
1. Bernard Arnault, Chairman and CEO of LVMH, The Brave Ones, YouTube video by CNBC
2. ‘Does Lagos Have An Architectural Identity Crisis?’ article by Tim Ojo-Ibukun in The Republic.
3. Unreasonable Hospitality, a book by Will Guidara.
What’s your vision for property content in Nigeria? Do you think the way we talk about home ownership and land will look completely different five years from now?
I think the real estate market is severely unstructured. However, a lot of the people damaging the industry won’t last. The future of content is built on data, storytelling, personality, and truth. The dream of owning a home is a myth to most people; it’s a luxury most can’t afford. Therefore, content will continue to become more focused on lifestyle and environment, as the majority of people already rent.
Finally, a quick-fire round, just to keep things fun.
Most overrated real estate term? Opulent.
Lagos Island or Mainland? Island. I know it much better.
Land or house?
I’m an aesthetics guy, so homes.
Favourite neighbourhood to shoot content in? Ikoyi.
One property you WISH you bought three years ago?
I wasn’t looking in the market then, so I’m not sure.
Interview
Clement Tolulope
Architect
Founder, Penak Limited
Co-founder, PMPS consultancy
IG: @tolu.fell
C‘‘
lement Tolulope, founder and MD of Penak Limited and co-owner of PMPS, is a visionary in the design, architecture, and build consultancy space, specialising in translating client dreams into tangible realities while upholding strict structural and budgetary integrity. His profound passion for creating spaces that breathe, driven by the philosophy that beauty must meet function, began at age eight and solidified into a lifelong pursuit. Recognising the costly pitfalls of reactive consultation, Clement proactively empowers clients with crucial educational guidance, challenging the status quo to prevent poor outcomes and foster a legacy of smarter construction in Nigeria. With a diverse background encompassing architecture, electrical engineering, and an MBA, he navigates operational complexities as both a designer and an astute businessman. Clement’s unwavering commitment to challenging egoand fear-driven designs ensures clients build scalable ventures, not just structures, delivering a powerful blend of aesthetics and practicality.
For every five good projects, you see fifteen to twenty bad ones.
Over the years, what shifts have you observed in how Nigerians relate to architecture and space, especially with the rise of social media, Pinterest culture, and “fast-fashion” aesthetics?
I would say we are designing louder. There are many loud designs out there. I have seen some better designs recently, but for every five good projects, you see fifteen to twenty bad ones. And the budget for the bad projects may be higher than that of the good ones. The main shift I have seen over the years is the emergence of interior design as a popular skilled service, especially for commercial spaces, short-let apartments, and so on. But as I said, it is louder, not better. Because if it were truly getting better, our educational system would have formally integrated interior design into the curriculum over the last five years. You should be able to study it for five years here, not have to go to the Florence Institute of Interior Design or another
specialised school abroad.
We cannot just copy an interior design from the U.S., Turkey, or a restaurant in Dubai and replicate it here. We have a different climate, different weather, and different people. You have to understand what your environment needs. It is crazy because if you are going to shift, you have to do it correctly. The shift I have observed, driven by the emergence of interior design, often feels more abstract than grounded.
Every creative studio has growing pains. Was there ever a project that tested your values or pushed your practice to evolve? How did you move through that phase?
Workforce reliability is a primary operational challenge for us, impacting both internal staff and external artisans. To mitigate risks like fund theft, we’ve replaced direct artisan hires with vetted, accountable subcontractors. Internally, a difficult hiring market creates a frequent gap between employees’ stated skills and actual performance, leading to significant project delays. Consequently, we must continuously adapt our talent management processes to maintain efficiency in a fast-paced, competitive market.
These challenges and shortcomings affect us, but we have been able to navigate them and find a better system. The issue of theft has also
been a factor. When running an organisation like this, there is money flowing for procurement and logistics. We once had a new staff member steal a significant portion of project funds. We have learned from that and have put systems in place to prevent it from ever happening again in our next hundred years of existence, because we plan to exist long after we are gone.
Our commitment to Design Audits was solidified after a pivotal experience taking over a project that was already 60% complete. Upon conducting a thorough audit of the structure, mechanical and electrical plans, building flow, and zoning, we discovered significant loopholes that necessitated extensive remodelling. This project taught us the critical importance of insisting on comprehensive design audits from the outset to ensure a project’s structural integrity and overall success.
Finally, logistics is another significant problem. We are based in Lagos but handle projects all over Nigeria, from Enugu to Port Harcourt. Logistics is a significant challenge for our nationwide projects. While based in Lagos, we operate in over fourteen states, relying on thirdparty trucking for deliveries outside the South-West. This dependency creates substantial risks, as we recently experienced when a partner’s truck carrying 40 million in goods was seized due to the driver’s actions. Such incidents directly impact our delivery timelines and client trust, making it a critical problem we are still working to solve.
For emerging designers trying to find their voice or clients who want to collaborate more thoughtfully, what is the one piece of advice you think people overlook but is crucial to building
My advice is to hire professionals early, right from the beginning of the project. I am glad that more people are now reaching out from the conceptual stage. For the last two years, people have been telling us what they want: a 50-room hotel, a laboratory, etc., from the very conception of the idea. They should consult professionals early, ask questions, pay for consultation, listen more, and plan for long-term use, not just for Instagram photos. They should think ahead: if there is a plumbing issue, where do we trace it? If there is an electrical fault, how do we find the source? So many buildings lack this foresight. They cannot track the source of a problem. Professional consultation is crucial from start to finish. The consultant doesn’t need to execute the project, but they must be involved in managing everyone on site. That is how you get results.
Looking ahead, what are your hopes for the industry in the future? And more broadly, how do you see your work affecting the entire architectural landscape of Nigeria?
I want people to see architecture in Nigeria as a reflection of real innovation, not imported inspiration. I want the government to invest in vocational schools. This will bring out talent in people and help us designers achieve a lot because when I design a concept and give the model to a skilled person for execution, it helps us scale. People who did not study in Nigeria often cannot design well here, so it is left to us. For the industry, I want architecture to help manage life, how we wait in hospitals, learn in schools, and build our communities.
Interview Osa Seven Multidisciplinary Artist
What does “home” mean to you, not just physically, but emotionally and artistically? And how has this definition evolved over the course of your career as your work moved from galleries to streets and large-scale installations?
“Home” is layered. It’s where I belong, where I remember, and where I create from. Emotionally, home is where I feel rooted, where my identity isn’t questioned. Artistically, it’s the context: the textures of Lagos, the sounds of traffic, the stories of Benin, all of that shapes the way I create. When I started, home was a concept I was trying to define for myself. I spent a lot of time in gallery spaces where art sometimes felt distant from the people it was made for. My art wasn’t accepted in galleries at the time because they didn’t understand it. But the streets taught me that art belongs to the people. That realisation shifted everything. Home, now, is wherever I can tell stories that live with the community, not just in front of them.
Your work often transforms neglected or overlooked urban spaces into something living, breathing, and meaningful. What do you consider when choosing a space to intervene with your art?
Meet Osa Seven, a multidisciplinary artist known for his work in urban art, including graffiti, murals, and large-scale public installations. His art masterfully fuses contemporary African identity with community consciousness, serving as a bridge between personal expression and collective memory. Working across diverse platforms such as walls, canvas, clothing, and digital media, Osa Seven’s ultimate goal is to shift perception and reflect people back to themselves with pride, colour, and meaning, encouraging them to feel, remember, and reimagine their world.
I pay attention to the energy of the space. What’s the story that space is already telling? Who walks past it every day? What memories or emotions might already be tied to it? I like spaces that have been forgotten because they hold the most potential to surprise and remind people that beauty can grow in overlooked places. I also think about accessibility: can people engage with the work up close? Will children see it on their way to school? Will someone who has never been in a gallery experience something that shifts how they see themselves? For me, art is dialogue, so the space has to invite that.
Nigeria’s urban design often leaves little room for public artistic expression. If
‘‘ We need ecosystems, not just workshops. Young artists need mentorship, access to tools, safe spaces to create, and platforms to be seen and commissioned.
you had a say in the national or state urban development plan, what would you change about how Nigerian cities are built to make space for art and artists?
First, I’d make intentional space for public art not as an afterthought, but as a design principle. Every city should have walls meant for expression, playgrounds infused with storytelling, and transit spaces that reflect the spirit of the people who use them. Second, I’d advocate for community-inclusive planning. Let local artists be involved in designing markets, parks, and bus terminals. We know how to reflect our people, their dreams, and their frustrations. Why not let that shape the city’s character? Finally, I’d push for funding structures that see art as infrastructure. Just like roads and bridges, art helps people move emotionally, psychologically, and even socially.
In a country where formal arts education and creative funding are still underdeveloped, how can we better support the next generation of street artists and muralists who want to make a living shaping the city?
We need ecosystems, not just workshops. Young artists need mentorship, access to tools, safe spaces to create, and platforms to be seen and commissioned. There should be residency programmes, art incubators, and local artist collectives that help creators move from raw talent to sustainable practice. And most importantly, we need to change the narrative to show that being an artist goes beyond passion; it’s a profession. That means funding, policy support, and cultural respect. I also think older artists like myself have a responsibility to reach back; to share our wins, but also our scars, the times we failed, pivoted, and started over. That transparency builds bridges. I’m trying to do all of this with my company, Inscribe.
What advice would you give young Nigerian artists trying to root their creativity in local culture while striving for global relevance?
Don’t dilute your identity. Your “local” is your superpower. The world doesn’t need another version of someone else; it needs your unique point of view as a Nigerian, as an African, as a creative person who understands both chaos and structure. But while you stay rooted, stay open. Study the craft and learn how global systems work: distribution, storytelling, branding, partnerships. It’s not selling out to understand structure. That knowledge gives you the power to share your culture on your terms. I’m a lifelong learner.
Finally, if you were to design a city-wide mural campaign titled “Nigeria Is Home,” what stories or symbols would you feature? And where would you paint the first wall?
“Nigeria Is Home” would be a love letter to the beauty of our culture and also its complexity. I’d feature symbols like the talking drum, the danfo bus, a Jollof rice pot on a Sunday, and fabric patterns and motifs, but also the faces of ordinary people, the woman selling boli, the boy carrying water, the elder who greets you with “my pikin.” I
would also include phrases and words that are distinctively Nigerian. While it’s tempting to include elements specific to every ethnic group, I think I would focus on the things that unite us. The first wall? If it’s in the City of Lagos, then Oshodi. Because it’s chaotic, alive, and unfiltered, just like Nigeria. Also, for many people coming to Lagos from other parts of Nigeria, their bus journey often ends at Jibowu or Oshodi. Besides, if we can put beauty on a wall in Oshodi and have it live, breathe, and inspire people there, it can live anywhere.
Interview
Richard Vedelago
Founder, Windsor Gallery & Nahous
Meet Richard Vedelago, a cultural architect whose work is a testament to a singular, powerful idea: Africa’s creativity is not emerging, it is leading. A Nigerian-Italian polymath, he moves seamlessly between art, design, architecture, and gastronomy to build institutions that are both rigorous and romantic. He is the founder of Windsor Gallery, a leading voice in contemporary African art, and the visionary behind Nahous, the bold cultural hub resurrected from Lagos’s iconic Old Federal Palace. From award-winning restaurants to landmark publications, every project he undertakes is designed to craft a new narrative for the continent, creating enduring symbols of African excellence for a global audience.
‘‘ My goal is always to create space for reflection for people to think freely and connect with the work in their own way.
You speak passionately about bridging the insularity of African cities through art galleries. What does a truly connected panAfrican creative ecosystem look like to you, and what must we dismantle or build to achieve it?
It is a space where ideas circulate freely, where collaboration replaces competition, and where creativity is understood as a form of public infrastructure, just as essential as roads, education, or healthcare.
But for this to be possible, we need more than ambition; we need presence. We need a deeper, more intentional spread of galleries, cultural institutions, creative hubs, and public art initiatives across the continent. We need spaces that don’t just cater to the initiated few but actively invite new audiences into spaces that reimagine what a gallery or art experience can be. Spaces that blend art with food, music, technology, and everyday life, so that creativity becomes something
people live with, not something they visit occasionally.
Lagos should not feel worlds apart from Abidjan, or Nairobi from Dakar. We must reject the outdated idea that access to art is for the elite. Creativity belongs to everyone, and our institutions must reflect that.
Places like Windsor Gallery and Nahous are built with this ethos in mind: to serve as bridges, not walls. To create entry points for people of all backgrounds and interests, whether they come to see an exhibition, attend a music session, take a workshop, or simply experience a space where art and life meet. These are the kinds of ecosystems we need across the continent: inclusive, multi-layered, and rooted in dialogue.
Ultimately, we must believe in the power of our shared imagination. We must fund it, protect it, and expand it with the same urgency and seriousness we apply to other forms of nation-building. Because culture is not a by-product of development, it is the foundation of identity, unity, and possibility.
Nahous is not just a space; it’s a multi-sensory, multidisciplinary expression of African excellence. What does this space represent to you on a philosophical level? What void is it filling, and what kind of audience or community are you hoping to build through it?
Nahous isn’t just a space; it’s a response to a deeper need I see in the cultural landscape today. Right now, we’re at a turning point. So many creative spaces look good on the surface but lack originality and emotional depth. They feel like copies of each other, disconnected from our reality and from the people they are meant to serve.
Nahous was created to challenge that. It’s about building a space that feels alive where art, design, music, food, and fashion all come together to create something that moves you. For me, it’s about rethinking how we experience culture. It’s about creating an atmosphere that resonates, that lingers, that sparks something in you, whether you’re an artist, a collector, or someone who has never stepped into a gallery before.
On a deeper level, Nahous fills a void. It offers a new kind of space that reflects our complexity, creativity, and ambition as Africans. It’s not trying to copy what’s done elsewhere, it’s about defining our own standard. I want to build a community that’s curious, open, and willing to explore new ideas. A place that makes people feel seen, heard, and inspired.
Ultimately, Nahous is about creating space for connection for people, for ideas, for emotion. Because that’s what I believe we’re missing right now. And that’s what I think can truly move culture forward.
One of the most compelling parts of your vision is building infrastructure to keep artists on the continent. What are the three most important pillars that must be put in place to enable African artists to thrive locally while being globally relevant?
For artists to thrive here and still be globally relevant, we need to fix how they move, how they are supported, and how we as galleries work together.
First, we need to make it easier for artists to travel and exhibit their work across the continent. Right now, it’s harder and more expensive to get from Lagos to Abidjan than to London. We should have multi-city gallery networks that give artists multiple shows a year across Africa, not just one-off opportunities.
Second, governments need to understand that art is infrastructure. Moving artworks shouldn’t be treated like importing luxury goods. We need policies that support mobility and treat artists as cultural ambassadors.
And third, galleries need to collaborate more, share ideas, co-represent artists, and work together to push talent forward. We are stronger when we act like a network, not as competitors.
Cross-border gallery conversations are rare but increasingly necessary. What has been the biggest surprise for you, good or bad, about curating shows in Abidjan, Abuja, and Lagos? What have these cities taught you about creative differences and cultural connections?
What has surprised me most is how each city brings a different energy to art. In Abidjan, the work often feels more introspective and layered, there’s a deeper focus on concept and philosophy, which I think comes from the Francophone education system. Lagos, on the other hand, is bold and emotional; there’s an urgency to how people create and respond. Abuja is quieter and more measured, but there’s a growing curiosity and appetite for
engagement.
These differences have shaped how I curate. My goal is always to create space for reflection for people to think freely and connect with the work in their own way. I’m not trying to give answers. I want the viewer to feel that their response is valid, whatever it is. Art is subjective, and I see the exhibition as a conversation, not a lecture.
What is your perspective on the business of art, and how do you personally think about sustainability, especially when building something as ambitious and legacy-driven as Windsor Group?
For me, the business of art in Africa can’t just be about selling works; it has to be about building real economic infrastructure around creativity. If we want sustainability and legacy, we need to bring more financial institutions into the conversation. Banks, asset managers, and investors need to start seeing art not just as culture, but as capital, something that holds and grows value.
Right now, one of the biggest challenges is the lack of proper valuation systems across the continent. We don’t yet have widely accepted structures to quantify value, track provenance, or benchmark growth the way you would with other assets. Until we build those systems, supported by data, trust, and liquidity, African art will always be undervalued within its own market.
I believe the future lies in creating financial products that support the art economy: artbacked loans, collector funds, insurance products, and investment vehicles that help to diversify portfolios. But that can only happen when access to capital becomes a reality for artists, galleries, and collectors alike. The more we institutionalise the business side of art, the more confidence we build, both for local players and global investors.
That’s part of what I’m working toward with Windsor Group, not just curating shows, but building the financial and cultural architecture to support art as a serious, long-term asset class in Africa.
Tell us about your architectural and curatorial sensibilities, especially your love for brutalism. How do those influences show up in your projects, and what’s the most challenging part of reimagining old spaces into something living and modern?
I’ve always been drawn to brutalism for its honesty and strength. It doesn’t try to charm you, it confronts you. That rawness is something I also bring into my curatorial practice. I like to break codes, challenge expectations, and brutalist spaces give me the freedom to be bold. They allow me to place works in ways that feel direct, unfiltered, and sometimes even uncomfortable, and that’s where the most meaningful conversations happen.
Architecturally, I’m interested in reimagining existing spaces, especially ones with history and texture. With projects like Nahous at the Federal Palace, it’s about working with decay, not against it. These buildings weren’t made for today’s uses, so the challenge is always how
to make them functional without losing their character or having them collapse on you. It is a delicate balance between preserving the past and engineering a present that works.
But I’ve found that it’s in that tension between old and new, structure and spontaneity, that truly powerful spaces emerge. Spaces that aren’t just beautiful, but alive. To me, architecture and curation are part of the same process: shaping environments that invite people to feel, question, and remember.
As someone deeply involved in creative infrastructure, what three practical systems or frameworks does Nigeria’s cultural economy urgently need to invest in to truly compete on a global level?
Less talk, more doing.
Is the investment in other multi-sensory spaces designed to grow artists’ capital and foster cultural exchanges across Nigeria something you’re interested in? Absolutely, it’s something we’re deeply committed to. At Windsor, we’re not short on ambition. Our vision is to continue investing in multi-sensory, artist-led spaces across Nigeria that not only grow artists’ capital but also foster meaningful cultural exchange.
We believe in the power of accessibility and are working towards having a Windsor Gallery in every state in Nigeria. It’s about democratising art, creating spaces where people from all walks of life can engage, be inspired, and feel part of a broader cultural movement. That kind of nationwide footprint can only be a force for good.
Lastly, what excites you most about the future of African creativity? And what keeps you up at night as someone at the forefront of building that future?
What excites me most is witnessing a generational shift where African creatives are no longer waiting for permission. People are taking ownership of their narratives, building on their own terms, and refusing to be limited by outdated expectations, especially the idea that government or external institutions must be the primary enablers of progress. There’s a boldness and self-determination in the air that feels truly transformative.
And of course, I’m deeply excited about what we’re building at Windsor. It’s bigger than me, it’s a movement. Every time we create something that genuinely shifts the needle, that challenges the status quo or brings people together in a new way, I feel inspired all over again.
As for what keeps me up at night, it’s the weight of responsibility. When you’re building something this ambitious, especially in a context as complex as ours, you’re constantly thinking about sustainability, about protecting the integrity of the vision, and about creating structures that can outlast you. It’s not always easy, but it’s always worth it. To finish with a quote, “The future doesn’t wait, it belongs to the brave, to those bold enough to imagine it and relentless enough to build it.”
Interview
Femi Adeleke
Founder, Murals.ng
A muralist must understand, interpret, and uplift. That is the calling.
Your style blends African heritage with a fresh, contemporary feel. For homeowners who love that look, what are some easy ways to bring Pan-African design into their space through colour, texture, or décor?
Form and function go hand in hand. When designing a space, I start by asking: Who is this for? What do they believe, and how do they see the world and themselves? Interior design, like fashion, is personal. It is a reflection of values and identity, so I filter that understanding through my creative lens. I think about how the space should feel and what emotions or values it should express through layout, colour, and materials. It is intuitive and rooted in empathy because great design begins with understanding people and their stories.
In terms of incorporating Pan-African design into your home, our culture is rich with visual cues such as motifs, symbols, fabrics, and architecture. For example, I might modernise it with subtle upgrades: gradients instead of solid colours, intricate patterns, or traditional forms in gold foil or stainless steel. Earth tones, carved wood, and woven textures reimagined with a contemporary edge create spaces that feel grounded, elevated, and unapologetically African.
For clients who want custom design work, how do you strike the balance between honouring their personal taste and staying true to your creative style? Any tips for making collaborations smoother?
You know how Orishas serve as conduits to the divine? That is how I see our role. Clients come to us with ideas, visions, and stories they cannot always express, and our job is to guide that into form through a lens shaped by progressive African ideology. It all begins with intention. Just like someone seeking clarity through an Orisha, clients come to us not just for decoration but for meaning. The process becomes sacred. We channel
From circuits to canvases, Femi Adeleke founded Murals. ng, transforming spaces with vibrant art after a spark ignited in Brazil. He masterfully blends ancestral heritage with modern aesthetics, creating powerful visual narratives that celebrate African identity. His murals are not just art; they are a visionary testament to Africa’s past, present, and a progressive future.
beauty and insight, shaping their vision into something greater.
Coming from an engineering background, I approach each project with structure and purpose. We listen deeply to lifestyle, taste, heritage, and spirit, then translate that into something visually powerful. At Murals.ng, it is not about imposing a style but about elevating the brief and transforming it into something emotionally and culturally resonant. A muralist must understand, interpret, and uplift. That is the calling.
You often draw from Nigerian culture… Fela, Yoruba symbols, ancestral memory. How can homeowners bring cultural storytelling into their space in a way that still feels modern and easy to live in? Any do’s or don’ts?
Absolutely. Nigerian culture is rich with symbolism and history, offering endless inspiration for storytelling in interior spaces. The key is to treat it like a language; something you can speak fluently or subtly reference, depending on the mood you want. Start with elements that mean something to you. It could be a textile from your tribe, a colour that reminds you of home, or a lyric that speaks to your soul. These personal anchors make the story feel genuine. From there, elevate them with contemporary forms or materials. A traditional drum, for example, can become a sculptural table base. That is how you honour culture without turning the space into a museum.
The most important thing is intentionality.
Know what story you are telling and why it matters. And do not overload the space. One thoughtful piece can say more than many scattered ones. I am a Yoruba man from Osun State, but I draw from Nigeria’s and Africa’s full cultural landscape with respect and joy. Cultural storytelling at home should feel light and lived-in. When done well, it brings pride, warmth, and identity into everyday life. That is the goal: to live with beauty and meaning.
How can homeowners use murals more intentionally in their space? Any advice on placement, scale, or themes that help the mural feel like a natural part of the room rather than just decoration?
Murals are like a cheat code in interior design. Few things can transform a room as quickly or powerfully. They add emotion, depth, and personality. If you have a blank wall or an awkward corner with no plan, a mural can cover flaws, set a mood, and become the room’s soul. Murals shift energy. Whether you want calm, vibrancy, or luxury, they create an atmosphere and feel like part of the architecture.
My advice is to be intentional with placement. Feature walls in living rooms, bedrooms, hallways, or dining areas work best. Scale matters; do not be afraid to go big. Murals are meant to transform, not whisper. Most importantly, choose a theme that reflects your story, values, or culture. It should mean something to you because you will live with it every day. A well-placed mural defines the space.
By Josh Ike Egesi Designer & Artist
In this piece, Josh Egesi advises creatives to avoid tying one’s identity to a single medium or style, encouraging fluidity and open-mindedness, while providing a list of ten items he believes every home should have.
The evolution of design arts in Nigeria is something I’ve experienced not just as a witness but as an active participant. When I coined the term “design artist” in 2023, it was my way of responding to a recurring tension: the idea that one must be either a fine artist or a designer, but never both. That binary thinking was limiting, especially in a place like Nigeria, where creativity naturally exists in layers, blending function, form, culture, and emotion.
Today, I’m proud to say that more young creatives are adopting
Josh Ike Egesi, an artist by training, masterfully blends art and design, infusing soul and cultural resonance into his creations. He explores the profound intersection of aesthetics and ethics, tradition and innovation, bridging the past with boundless possibilities.
this hybrid mindset. They no longer feel the need to stay in predefined boxes. You see photographers exploring sculpture, product designers referencing indigenous crafts, and graphic designers collaborating on architectural installations. The creative landscape is becoming more porous, and I find that incredibly exciting. Institutions are also beginning to catch up. Programmes like the Art X Residency are now recognising design as an integral part of contemporary artistic expression. You can feel the shift, not just in exhibitions and showcases, but in conversations, curricula, and the way collectors and
curators are starting to engage with design.
Personally, my journey reflects this evolution. I started with painting, moved into graphic design, and then into product and industrial design, bringing each discipline along with me. That’s how I’ve developed a body of work that’s emotional, functional, and deeply rooted in cultural memory. I’m also proud to be part of a wider movement. Designers like Nifemi MarcusBello are reimagining what mass production could mean in the African context, marrying innovation with accessibility. Tejumola Butler Adenuga is creating emotionally charged objects that sit between sculpture and product, bringing poetry into form. Lani Adeoye, too, is weaving tradition into future-facing furniture design, balancing material honesty with spiritual depth. All of us, in our own way, are contributing to a new language of design that’s distinctly Nigerian, yet globally relevant.
What excites me the most is that we are no longer trying to fit into global frameworks; we’re shaping our own. We’re designing from a place of cultural intimacy and exporting ideas that are both deeply local and globally impactful. That’s the direction I believe we need to keep pushing towards: a design culture that is fluid, rooted, and fearless.
To be honest, I didn’t get into design because of a piece that had a magical effect on me. My journey was driven by a sense of need to solve problems with local solutions. This has been my approach to creating ever since I was a kid. For example, my early bottle-cap portrait project was more about giving new life to this plastic waste I collected from different parts of the country. These life forms were intended to be on an industrial scale, but approaching it from an artistic point of view was more to create a discussion around the endless possibilities that can be created with what we consider waste. Later, with the surf community at Tarkwa Bay, I realised that instead of relying on foreign aid for surfboards, we could teach the kids to craft their own. That way, they not only become self-reliant but also export their stories through the boards they create. So, if I had to offer advice to designers, especially in Africa, I’d say: look deeply at the pressing problems around you. There’s a design emergency right here, and we need solutions that come from within.
Let me take you behind the curtain of my favourite pieces? One of them is mine. The Ikeoku Floor Lamp, designed in 2021. It came as a follow-up to my Tripod Fan, which I had originally created for a cultural hub project for Mr Obi Asika in Onitsha.
The fan became popular, and soon people began asking for a matching lighting piece. That gave birth to Ikeoku. What’s special about the lamp is how personal it is. I named it “Ikeoku” without realising that it echoed my late father’s title, “Onyeikeoku,” which loosely translates to “one with the strength of fire.” This discovery connected the piece to my family lineage and our identity as the ‘Ndi Oku,’ which translates to the fire tribe. The design is inspired by childhood memories of kerosene lanterns: their delicate glass, the glow, the warmth. It’s not just a functional light source; it carries memory, lineage, and an emotional story. That’s why it remains one of my most meaningful works.
Here are 10 items from some of my favourite artists that prove the porosity of design that I feel every home should have.
• Ikeoku Floor Lamp by me – A tribute to memory and light.
• Ayo Bench by Josh Egesi – Blends play and function with its integrated African board game.
• Omi Stool by Olorunfemi Adewuyi – A modular, sculptural stool that fits seamlessly into any space.
• Jakuta Chair by Olamide Jinadu – A sturdy, elegant dining chair with cultural undertones.
• Adala Vase by Marizu Onwu – A decorative piece that adds rhythm and softness to a room.
• Selah Lamp by Nifemi Marcus-Bello – A study lamp perfect for focus and introspection.
• Jesmonite Arch Lamp by Tejumola Butler Adenuga – A playful desk lamp that brings character to workspaces.
• Patewo Chair by Yinka Ilori – A bold, inviting piece for welcoming guests.
• IO Stool by Zoe Chinonso Ene – Minimal, versatile, and rooted in culture.
• The Ike Tripod Fan by me – A functional and sculptural item for tropical Africa.
The biggest lesson I’ve learned is: don’t tie your identity to a single medium or style. Be open to evolution. Your creative path doesn’t need to be linear or boxed in by definitions. The more fluid you allow your practice to be, the more connected and resonant your work will become. As Nigerian creatives, we’re in a space where our stories are shaping global narratives. So don’t limit yourself, explore different disciplines, ask difficult questions, and stay open to growth. That’s how we build something that’s not just relevant, but lasting.
By: Matildah
Digital Marketing Executive, Lost in Lagos
Lagos’s hospitality scene has evolved into a showcase of cutting-edge architecture and local flair, crafting unforgettable experiences at every turn. Sleek urban sanctuaries and art-infused retreats alike promise Instagram-worthy backdrops and warm Lagosian welcomes. Ten standout properties blend minimalist elegance, bold Afrocentric accents, and industrial chic to deliver memorable stays. Your next stylish escape awaits.
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Set in the heart of Lagos, The Delborough is a design-driven boutique hotel on Victoria Island. Conceived by architects and designers for ‘ultimate sophistication’, it boasts sleek, modern interiors and curated artworks. Each suite features plush furnishings and decorative accents, creating a refined ambience. The hotel’s DANI restaurant and rooftop lounge use clean lines and panoramic city views, reinforcing the urban-chic design ethos.
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In Lagos’s Eko Atlantic City enclave, Heliconia Park marries coastal luxury with sleek modern style. Interiors boast sun-drenched open layouts with floor-to-ceiling windows and soaring domed ceilings, framing sweeping Atlantic views. Crisp white walls meet warm woods and muted blues, punctuated by plush sofas, sculptural lighting, curated art, and lush greenery for an effortlessly chic yet organic design ethos throughout.
The Hendon House is an intimate boutique hotel in Ikoyi, steps from Lagos’s Ogirikan Art Gallery. Its décor is soft and contemporary, with vibrant, eclectic palettes and plush seating creating a visually appealing atmosphere. Rooms include a cosy lounge area and a work desk, and many open onto balconies or terraces surrounding the pool, creating a serene, gallery-like atmosphere. Suites feature plush carpets and curated artworks.
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S.EA Experience are boutique serviced apartments and showroom by designer Anderson Edewor. It’s set in the centre of Lagos and conceived as a living narrative of Nigerian craftsmanship. Interiors combine local art, heirloom textiles, and upcycled décor with modern furnishings, creating a layered aesthetic. Everything is curated, from furniture to lighting to artwork, resulting in a dynamic, gallery-like space celebrating African creativity.
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Victoria Island’s Eko Signature is the luxury wing of the Eko Hotels group. Suites feature bold contemporary style with vibrant furnishings. Rich fabrics and accent walls of colour enliven each space. Each suite is arranged with artful lighting and polished wood finishes. Floor-to-ceiling windows frame ocean or city views, reinforcing the bright, open feel of the rooms.
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Ikeja’s Lagos Marriott is a five-star hotel showcasing inspiring, contemporary décor in every space. Guest rooms and suites are modern and carefully designed, with sleek furniture and neutral tones. Even the lobby and restaurants follow this aesthetic. Overall, the hotel has a polished, international vibe tailored for both leisure and business travellers.
Art Hotel Lagos is a 5-star boutique hotel with an art-centric design. The reception features a ‘feather-light’ glass sculpture and curated works by local artists. A central atrium soars five storeys under a skylight, flooding the lobby with natural light. Even the Cloud Terrace bar and Mist Restaurant are adorned with murals and art installations, reinforcing the creative theme.
Nordic Hotel Lagos is a boutique hotel inspired by Scandinavian minimalism. Guest rooms are elegantly decorated with clean-lined furnishings, warm lighting, and large picture windows. The colour scheme is neutral with occasional accents. A landscaped courtyard and a Balinese-tiled pool add a tropical touch, blending Nordic calm with Lagos’s tropical setting.
White Orchid is a 20-room boutique hotel at EbonyLife Place, blending modern luxury with African art. Each room is named after an African concept and furnished with original contemporary artworks and custom pieces. The design fuses sleek, curving lines with traditional accents, creating an intimate, culturally rich ambience.
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Boardroom Apartments offers serviced apartments on Lagos’s Lekki Peninsula. Set in an upscale area, it offers urban convenience. The décor is modern and minimalist, with open-plan layouts and floor-to-ceiling windows. Interiors feature neutral tones and polished materials for a clean, refined look. Each apartment feels like a designer suite, combining comfort with high-end finishes. From sacred groves to royal palaces, these ten sites weave the tapestry of Nigeria’s collective memory. As Nigeria’s story unfolds, let these places ground us in traditions that continue to shape our present and inspire our future.
By Chef Linda Ajala (Chef Lin) Culinary Entrepreneur and Educator
Ingredients:
4 medium cocoyams (Ede)
Water yam 100g
5–6 small tender cocoyam leaves (or substitute with ugwu or spinach if unavailable)
1 tablespoon palm oil
1 tablespoon ground crayfish
3–4 pieces of periwinkle (in shell or shelled)
1 small piece of smoked fish or dried fish (shredded)
1 seasoning cube (beef or chicken)
Ground pepper (to taste)
Salt to taste
½ cup water or enough to just cover the wrap
½ small onion (finely chopped)
Instructions:
1. Prep the cocoyam and water yam: Peel and grate the cocoyams and water yam into a smooth, sticky paste using a fine grater. Do not add water. Season lightly with a pinch of salt.
2. Prepare the leaves: Wash and cut the cocoyam leaves into medium-sized square pieces (about palm-size). Use each piece to wrap a small ball (teaspoon size) of grated cocoyam.
3. Layer the pot: Line the bottom of a small pot with some periwinkles (if using). Place the wrapped cocoyam gently over the periwinkles. Add bits of
fish, prawns, and crayfish in layers as you go.
4. Add seasoning: Sprinkle in the chopped onions (if using), remaining crayfish, seasoning cube, pepper, and salt.
5. Cook: Cover and cook on medium-low heat for about 20–25 minutes. Avoid stirring initially to allow the cocoyam to set. Once the cocoyam is firm and cooked through, add palm oil and gently stir once or twice to combine. Allow it to simmer for an additional 5–7 minutes.
6. Serve: Serve hot as a full meal, rich, earthy, and deeply comforting.
Chef Linda Ajala, professionally known as Chef Lin, is a Nigerian culinary artist and food entrepreneur renowned for her innovative Afro-fusion cuisine that seamlessly blends West African traditions with contemporary global techniques. Formally trained at Reddish Culinary School, she is the creative force and Head Chef behind “Odun by ChefLin,” where she curates bespoke dining experiences rooted in Nigerian heritage. A dedicated educator and mentor, she serves as an Instructor at Reddish Chronicles and contributes to food safety education through partnerships with institutions like The Food Court by DSG.
By Damilola Christiana Olukole (Chef D) Chef and Consultant
Want something to treat yourself after getting that new apartment? Cleaning or redecorating your home? Say hello to Agbalumo Baileys, a sweet, tangy twist on the creamy indulgence you love. It is the perfect blend of childhood nostalgia and adult pleasure.
Ingredients
Agbalumo (African Star Apple) - 500g
Whiskey of choice - as required
Cooking cream - 80ml
Condensed milk - 100ml
Evaporated milk - 80ml
Water - as required
Sugar or sweetener of choice - as required
Method
1. Wash the Agbalumo very well and remove the seeds (since you won’t be needing this part, nicely suck on them as you like).
2. With the help of a spoon, remove the inside flesh of the fruit and discard the skin.
3. Add the Agbalumo flesh into the blender with the water, half of the evaporated milk, half of the sweetener of choice, then whiskey and cooking cream, and condensed milk.
4. Whizz until it becomes smooth.
5. Using a muslin cloth or fine sieve, carefully strain the mixture well into a clean bowl.
6. Then chill the mixture in the fridge until ready to indulge. If the mixture is too thick, add the reserved milk, water, and sweetener, then whisk well.
Note: evaporated milk, water and sweetener are reserved in case the drink is too thick. Also, the quantity of whiskey depends on how strong you desire it. Be careful with the sweetener, as the condensed milk is also sweet.
Damilola Christiana Olukole, fondly known as Chef D, is a passionate management consultant dedicated to helping food businesses succeed. With over 20 years of experience in the hospitality industry, she specialises in ventures ranging from cafés and food trucks to restaurants and bakeries. She distinguishes herself through a deeply analytical and practical approach rooted in lived experience. Chef D excels at uncovering hidden challenges by asking the right questions, allowing her to craft tailored solutions that bring clarity, creativity, and a trusted sense of confidence to both new and established brands.
By King Jesse Uranta IG: @kingurantatata
Ibelieve digital art is in a strong position right now. Artists are starting to gain the confidence to step into spaces that didn’t originally welcome them. There’s a kind of bold, almost aggressive push from the community to take up space and be seen. What excites me is where this could lead. Some artists are really leading the charge, and the hope is that this momentum continues until digital art is no longer looked down on by the traditional art world. I’d love to see a future where showcasing and exhibiting digital work becomes easier and more accessible.
In 2019, I got pulled into the digital world. I was going through a period of deep uncertainty, wondering where to channel my creativity. I was no longer finding fulfilment solely in graphic design anymore and needed something new. I wanted to be more free creatively. I thought I’d try making posters, which led me to finding this tutorial requiring the use of Cinema 4D. The moment I made the render, I knew this was what I had been searching for; I could see all the possibilities.
I can’t always explain why I’m drawn to certain themes, but my main focus is sincerity. I try to stay honest with how I feel and with the topics I explore. I’m deeply interested in the human experience and in finding stories within it. My work leans into metaphor and often takes a surreal approach. I avoid being too direct because I want the viewer to bring their own meaning. For me, the work should feel more like a conversation than a conclusion.
In the Nigerian art space right now, I think we’re seeing a strong focus on cultural heritage, reconnecting with identity, self-expression, bad governance, sexuality, religion, trauma, and the desire to be free of it.
For someone who has designed a lot of album cover art, here are your top 5 dos and don’ts when visually interpreting an artist’s sound or essence into a single image:
DOs
1. Listen deeply. Not just to the music, but to the artist’s intentions, influences, and emotional tone. The cover should be in service to the music and the artist’s vision.
2. Ask questions. The more you understand the story behind the music, the better you can reflect it visually.
3. Think in metaphors. Try to capture the mood or essence of the sound in symbolic or abstract ways. It doesn’t always need to be literal.
4. Make sure you create a moodboard that everyone agrees with, so you’re all on the same page and can refer to it if you get lost in the sauce.
5. Be vocal and flexible. If your idea shifts from the original plan but feels right, suggest it. Clients sometimes appreciate that.
1. Don’t chase trends. A cover shouldn’t feel like it’s chasing what’s hot. It should feel like a natural extension of the artist and their music.
2. Don’t overlook typography, it is part of the art. A bad font choice can kill the vibe instantly.
3. Don’t forget the possibility that different dimensions will be needed for social media.
4. Don’t forget to be weird with it.
5. Lastly, not every project requires a title on the cover. Don’t think everyone should.
I’ve learned everything I know through countless hours of research, YouTube tutorials, and hands-on practice. My biggest advice would be to start with Blender, since it’s free, and spend as much time as you can learning, practising, and figuring things out by doing the work. Everything you need to get started is online, and most of it is free. I’d also recommend immersing yourself in all kinds of media, films, art, games, photography, so you can build a mental library of great work to pull from when it’s time to create, and it also helps build your taste level. Finally, instead of doom scrolling on Instagram, doom scroll on Pinterest and Cosmos.
By Jenny Onibode Creative Strategist IG: @jennyinlagos
“Just one or two finishing touches remaining sister; so, if you pay now, you can move in by next week.”
That was what an agent said to me after showing me around an unfinished building. Mind you, I had overheard this man talking about the actual timeframe with the builders in Yoruba on our way in.
Oh! There was also casual talk about ‘ejo’ (Yoruba word for snake), and this man expected a sweet girl like me to be cohabiting with snakes ehn?
Welcome to Lagos real estate, where the agents have your ‘spec’ until you’ve paid the mandatory inspection fees, then your suffer-sorry, and character building begins. You’ll encounter every emotion from betrayal to questioning your eyesight, sense of smell, budget and mental stability all in one day.
It started when I texted an agent that I was looking for a clean one-bedroom apartment on the mainland. Nothing crazy. I had a budget, I had hopes. I
had dreams. Mistake number one. Within two hours, I had been added to a WhatsApp group chat with listings dropping every minute.
“Direct To The Mandate In Charge Gangan. Executive, very decent, standard and spacious, clean, self-con at ... Fastest fingers oo”
So as a sharp babe now, I rushed it and texted the agent. Tell me why I got to the location, paid a 5k inspection fee, only to find a self-con that could barely contain me, the ‘self’. It was so ridiculous, we had to climb into the bathroom. The kitchen? It was placed in a tiny corner at the back, almost like an afterthought. I asked, “How is this spacious? How do I
live here?” This man said I was slim, so I could manage, and shebi other people lived there. Oga, they are survivors o. Abeg o.
Another time, this agent told me that he had finally found the perfect place, only for us to get there and we had to peep through the windows because the current tenant wasn’t moving out till month end? And I still had to buy “mineral” for him and the original agent in charge of that house o.
By the end of the week, nobody told me to start loving my current place. My sanity and stamina were shaky, and I was affirming things like “Jenny, you are not always home nah”, “And the house is not even bad o. No need to move out jare. You can just touch up the paint… and move the bed”. I had had enough of the ‘’Agents of Confusion”.
And these are just a few, from the many experiences I had house hunting. So, I’m calling dibs when the revolution comes, please leave those guys for me.
By Jenny Onibode Writer and Creative Strategist IG: @jenny.koko
In a high-energy city like Lagos, a refreshing pocket of stillness and meaning is always welcome, so when I got the chance to visit the John Randle Centre for Yoruba Culture & History, I took it. Located in Onikan, just opposite the National Museum, the architecture is clean, warm and contemporary with earthy tones and traditional motifs that pay homage to Yoruba aesthetics.
I visited on a weekday afternoon, and although I had seen pictures online, nothing quite prepared me for the beauty of the space when I stepped in. It was deeply immersive and I felt invited to just slow down, lean in and listen not just with my ears, but my spirit too (yes, I’m deep like that).
From ancient artefacts to digital story telling screens and futuristic simulations, the exhibitions intricately explore Yoruba identity from multiple angles like Culture and Craftmanship, The Beginning of The Modern Yoruba Era,
Resettlement and Religion, Politics, Music, Fashion, Movies and Arts with every signage in both Yoruba and English making it easy for anyone to read and understand. I got to see beautiful artworks and still be educated on the history behind each and every one of them. I saw old magazine titles that made me laugh, like “Ikebe Super”, old theatre posters, etc. It felt good to see things I had only ever heard elders reminiscing about. It was like walking through time.
The beauty of this space is in its representation and inclusion of every generation’s contribution to Yoruba culture. I was especially drawn to the ‘Egúngún Masquerade’ installation that invited guests to participate by standing on a footprint and dancing to the beat. Talk about a collaboration of the past and the future! The only thing missing? A gift shop. A place to get souvenirs and mementoes as keepsakes would have been a perfect ending.
Altogether, the John Randle Centre for Yoruba Culture & History remains one of the most intentionally executed spaces I’ve ever been to. It was a beautiful experience. I spent a little over 2 hours here, and I didn’t even realise until I was signing out. I’ll definitely be visiting again.
John Randle Centre for Yoruba Culture & History Onikan Roundabout, Lagos Island, Lagos Opening Hours: 10 am – 6 pm, Wednesday to Monday
Average price for the experience: N5,000 (Single person entry fee)
Value for money: Excellent: rich, immersive, and well worth it.
Comfort: Serene and well-ventilated
Service 5/5: Courteous and helpful staff, although tour guides were unavailable during my visit.
Overall Rating: ������
Good for:
Solo explorers
Dates
Culture and history lovers
Family friendly
By Tola Akerele
GM/CEO of the National Arts Theatre Founder, iDesign & Soto Gallery Foundation Convener, +234 Art Fair
Author, Orishirishi Cookbook
Lagos is becoming a major cultural hub comparable to any global city. Just last week, we had the Mayor of London in town. We’re seeing more international visitors, more interest. And while we must understand how a megacity functions, it’s critical that we design from a place of context. We don’t value our heritage and culture enough. That’s actually why people are coming here, they recognise the depth of what we have, sometimes more than we do ourselves. So we need to start appreciating our own content and context more deeply; that’s what makes us who we are. That’s our uniqueness. That’s what makes us Nigerian. We’re one of the oldest civilisations, the Benin Kingdom, for instance, has a legacy that goes back centuries. And in today’s market, heritage is value.
When I look at buildings from the 1970s, like the National Theatre where I work, there was a clear artistic expression embedded in architecture. The art and
stories within those walls have endured for almost 50 years. So as Lagos modernises, urban designers, architects, and interior designers must balance modernity with meaning. Yes, buildings must work for a growing, fast-paced city but they should also reflect who we are and where we come from. Cultural continuity must be part of the design brief. That’s how we tell our stories. That’s how we document our time. That’s what art is about, the documentation of the current times.
For small and mid-scale developers implementing high-impact design without high-end budgets, here are the nonnegotiables I would still insist on:
We have to be very resourceful, and thankfully, as Nigerians, that’s something we’re naturally good at. In fact, I believe that limited budgets often push you to be even more creative. You start to think more intentionally about materials, reuse, layout, all of it. For small and
mid-scale developers, it’s about being thoughtful with what you have. You don’t always need the most expensive finish to create impact, but you must know your audience and design for functionality and experience.
Another non-negotiable is quality. Regardless of budget, you must always strive to deliver a quality job in the execution, in the detailing, and in how the space is finished. It’s what gives your work longevity and credibility. But it’s not just about the quality of the output it’s also about the quality of the experience. Your client should have a good experience working with you throughout the project. The quality of the conversations, the quality of your 3Ds, your process, your responsiveness, all of it matters. Everything has to be of high quality, because that’s how you get referred. And to be honest, pretty much all iDesign’s work comes from referrals.
In the heart of Freedom Park, a moment of pure serendipity unfolded, capturing more than just an image but the very feeling of home. A young boy, vibrant in an orange shirt, paused before a mural and in that instant, ceased to be just a bystander, becoming a living piece of the art itself, as if the wall had breathed him into existence.
Godiva Omoruyi is a versatile artist from Edo State, Nigeria, now based in Lagos. With a camera as his voice and a deep love for his roots, he crafts visual poetry. His art is a passionate quest to understand himself and connect with others, transforming the streets of Lagos and the quiet moments of life into profound stories. Each frame is a celebration of African heritage and a powerful reminder that our stories are what unite us.
IG: @godivaomoruyi_
X: @gdvomo
Volume 9.9 August 2025
Interview William Chechet Multidisciplinary Artist
Meet William Chechet, the pop art alchemist who masterfully collides Nigeria’s rich heritage with the electric cool of Western pop. Born in Kano and raised in Kaduna, the Ahmadu Bello University alumnus channels the spirits of Warhol and Basquiat to create a visual dialect that is unapologetically Nigerian, transforming historical figures and cultural icons into vibrant, contemporary statements. Through groundbreaking series like the celebratory “We Are The North” and the provocative “Royal Niger series.
Beyond the galleries, where is the most inspiring place in Nigeria for you to soak up pure, unfiltered artistic energy?
Beyond the galleries, the most inspiring place in Nigeria for me is back home in Kaduna. I was born in Kano and grew up in Kaduna, and these two locations have deeply impacted my journey and style as an artist. Here in Lagos, it would also be any of the beaches where I can put my feet in the sand and stare at the ocean. I would also mention musical concerts; music is fundamental to me.
‘‘
I believe the next frontier for integrating art into the daily fabric of Nigerian life will be fascinating.
Considering the economic realities for many Nigerians, art is often seen as a luxury. How can artists and city planners collaborate to make meaningful art a fundamental part of our urban and rural landscapes, rather than an afterthought?
I feel there needs to be close collaboration between artists and city planners for our urban landscapes to flourish. The environment in which we artists grow up affects us from childhood to adulthood. I think plans for public art should be included from the outset when developing urban landscapes, rather than being treated as an afterthought.
If you could choose any place in Nigeria to create a mural, where would you choose and what would you create?
Interesting. I would choose to create a massive mural on Zuma Rock, located in Madalla, Niger State. To me, it is a humongous canvas.
Lagos is a city of constant hustle. In your experience, what role can accessible public art play in shaping the mood,
identity, and mental well-being of people living and working in such a high-energy environment?
In my experience, public art has a significant role to play in shaping the mood, identity, and well-being of people living in Lagos. In my opinion, we need far more public art, as it is a vital form of expression for the Lagos identity.
Looking forward, what do you believe is the next frontier for integrating art into the daily fabric of Nigerian life? Is it more interactive digital art in public squares, more sculptures, or something else entirely?
Looking forward, I believe the next frontier for integrating art into the daily fabric of Nigerian life will be fascinating. I think we will see a lot more interactive digital art, digital projections used for marketing, augmented reality, and more physical sculptures. The pace of technological change, accelerated by Artificial Intelligence (AI), will make it much more possible.
Lost in Nigeria? No worries, as we’ve got you covered. Explore the diverse and captivating points of interest scattered across the country, curated just for you. Whether you’re seeking cultural immersion, outdoor escapades or culinary delights, we handpick a selection of upcoming experiences for you to discover and indulge in every month.
ConNovate International Conference on Technology and Computing 2025
Join visionaries, policymakers, innovators, and industry leaders at ConNovate 2025. In an era defined by rapid technological shifts and global interconnectivity, ConNovate serves as a critical platform for exploring intelligent solutions, secure frameworks, and sustainable innovation—tools essential for tackling the world’s most complex challenges. Are you ready to listen to the problem-solvers shaping our society? Then this event is for you.
11th - 14th August 2025 | Kano
This August, the city of Lagos opens its doors to the International Conference on Textile Design Practice and Research, Nigeria’s leading hub for showcasing and discussing all recent developments, new technology, and trends in textiles, design, manufacturing, and use. From traditional craftsmanship to smart textiles, and from heritage weaving to futuristic fabric innovation, the conference brings together designers, researchers, artists, educators, industry experts, and cultural curators under one roof to explore how textiles shape the way we live, dress, build, and tell our stories.
12th - 13th August 2025 | Lagos
Africa International Housing Show
In a decade defined by climate urgency, exploding urban populations, and rising inequality, housing is no longer just a conversation about real estate; it’s a moral, economic, and cultural imperative. This August, the continent’s most urgent voices will gather in Abuja to ask: how do we build Africa’s tomorrow, and who gets to belong in it? Architects, developers, city-makers, policymakers, artists, and investors will converge to blueprint new ideas around shelter, ownership, sustainability, and urban equity, with Africa at the centre of the conversation.
1st August 2025 | Abuja
Osun-Oshogbo Festival
Nigeria’s most mystical and enduring cultural festival takes place in Oshogbo, Osun State. This is a two-week communion of ritual, celebration, art, and spirituality, held in honour of Osun, the Yoruba goddess of fertility, love, and freshwater. It is a combination of drums, white fabric, bare feet, and thousands of people gathering not just to witness a ritual, but to walk into one.
28th July - 8th August 2025 | Oshogbo, Osun State
Naija Food Niche Fair 2025 (NFNF)
Naija Food Niche Fair (NFNF) is back—bigger, bolder, and more delicious than ever! This three-day powerhouse event is Nigeria’s largest food-related exhibition, created to bridge the gap between top-tier food brands and the consumers, retailers, and bulk buyers who matter most. Whether you’re a food producer, processor, importer/ exporter, gadget-maker, or packaging brand, NFNF is where your visibility multiplies and your sales scale. Don’t miss this opportunity.
8th - 10th August 2025 | Abuja
By Clement Tolulope Architect Founder, Penak Limited Co-founder, PMPS consultancy IG: @tolu.fell
People often over-design. For example, A space is only about 8 by 25 feet. But the client will insist on having a pool, a water tank, a play area for children, etc. This is simply not feasible. Another issue is clients requesting features that their budget cannot accommodate. For instance, a project should cost about 400 million Naira. After communicating, the client reveals they only budgeted 200 million. This creates problems, as we cannot magically make up the difference.
Professionals ask clients, “What’s your budget?” but most clients refuse to disclose. This points to a gap in education. When architecture is taught, students are more aware of the business side of it. Making sure fewer architects are left shortchanged by their clients and colleagues. When clients communicate their budget, designing becomes more accurate. Unfortunately, transparent clients are rare. Two quotations are proposed: a high-end and a mid-range option. Clients want high-end results with mid-range pricing.
Poor ventilation is an issue that occurs mostly in commercial spaces. For instance, an industrial design for a restaurant with walls 25 to 30 feet high must have a central air conditioning system. Standard splitunit air conditioners will not be effective enough. Effective building design must proactively manage predictable thermal loads from sources like solar gain and human occupancy. Buildings require integrated solutions, like proper ventilation and scalable cooling systems.
Bad lighting is another design flaw. While the situation is improving, particularly in commercial premises, it remains a significant problem in residential homes. We often see inappropriate lighting fixtures in houses. For example, using high-intensity lights, such as track lighting intended for commercial displays, in a child’s room or a hallway. You can feel significant heat radiating from them.
Circulation flow, which is the movement of people through a space, is often ignored. You should not get lost in a house after visiting someone upstairs. The excuse, “The house is so big, I can’t find my way around,” indicates a design flaw. I have seen this happen a lot. To get to the outdoor seating area, you have to squeeze and struggle. This is poor design.
Using residential concepts for commercial buildings or converting residential properties for commercial use is an idea I do not support. While some houses can be renovated for commercial purposes, they are fundamentally two different types of structures designed for different functions, and people should understand this.
People say, “Speed kills.” Imagine rushing an expensive project and not yielding results. The finishing of a building that took four months to construct can easily take another four to six months to execute properly, depending on the project’s scale. Finishing
is the most critical part of a building. The structure is merely the shell. The finishing requires craftsmanship. This critical phase is crucial for a safe, properly executed handover and the prevention of future complaints.
You cannot have champagne taste on a beer budget. For example, a client wants a lounge, a cinema, and a grill area, but has a 150 million Naira budget. This is unrealistic, especially because we are an importdependent country. Clients must understand the impact of inflation, noting that $100,000 has surged from approximately 50 million to over 160 million Naira in recent years. Establishing a realistic budget is critical.
Some clients watch YouTube videos and think they have become experts. An experienced professional cannot be replicated by watching a video. While some people may be talented enough for small DIY tasks, this does not extend to entire construction projects. Relying on online videos instead of a consultant is a recipe for disaster.
People often fail to future-proof their properties. As mentioned earlier, residential and commercial properties are different. If you know that you might have plans for your building, you must future-proof them. Future-proofing is also for personal growth. Perhaps in five years, you will want to upgrade the house, and if a house is properly future-proofed, renovations should be minor. This will save you significant time and money in the long run.
By Daniel Ochuko Culinary Expert and Influencer
Ofada pasta is one interesting dish that combines the force of Yoruba culture with an Italian twist, all in one pot. Think broth, flavour, richness. This is one dish that has got all pasta lovers running for the kitchen. Whether you like to cook or not, a minimalist or Owambe enjoyment minister! This recipe is for you.
Ingredients
Bleached palm oil
Onions
Locust beans
Roughly blended peppers ( Tatashe, green bell peppers & scotch bonnet)
Ground crayfish
Knorr seasoning cubes
Salt
Dried prawns
Boiled eggs
Fried beef & chicken
Offals ( optional )
Fresh prawns
Pasta ( spaghetti )
Procedure
1. Add bleached palm oil into a pot and heat up
2. Proceed to add sliced onions and locust beans until fragrant ( around 1-2 minutes on medium heat )
3. Then add the roughly blended peppers, ground crayfish, salt, Knorr seasoning cubes, dried prawns and stir to combine before frying for about 5-7 minutes or until you see the oil float on top.
4. Start to cook your spaghetti until al dente
5. Add the fresh prawns, chicken, beef and any other protein of choice before stirring again to combine.
6. Add your cooked pasta and mix thoroughly, then allow to simmer for a few minutes (not more than 5)
7. Serve and enjoy!
Daniel Ochuko is a Nigerian food and lifestyle content creator, culinary professional, and digital storyteller. With a background in Food Science and Technology, he blends deep culinary knowledge with modern media to share authentic Nigerian recipes, food education, and vibrant lifestyle content. As the official brand ambassador for Knorr Nigeria, Daniel creates with intentionality, purpose, and a strong voice for representation, community, and impact, both online and offline.
Jemima Arayela Interior Designer and Architect
Meet Jemima Arayela, an architect and entrepreneur at the intersection of design and digital media. With a first-class degree in Architecture, her journey began not in a traditional firm, but online. As a popular lifestyle influencer, she documented her first interior design project, which captivated audiences across Nigeria and the diaspora. This organic demand led to the founding of Castle and Casa Ltd., a company committed to building beautiful, functional environments that enhance how we live and work.
We need to break away from the stereotypes and design for us and our climate.
How does Lagos’ climate and lifestyle influence your choice of tiles for kitchens and bathrooms?
When designing for a tropical region such as ours, you must consider that it is typically warmer during the day and cooler at night. As an interior designer, our role is to select materials that factor in environmental compatibility as well as the occupant’s lifestyle.
In designing spaces that produce heat and moisture, such as the kitchen and bathroom, it is best to use ceramic tiles to cover a significant portion of the space. This ensures moisture does not seep into the walls and cultivate mould. Ceramic tiles also have heat-resistant properties that regulate the temperature of the room. Non-slip tiles for the kitchen and bathroom floors are nonnegotiable!
Lighting can make or break a room. What should Lagos homeowners keep in mind when choosing lights or arranging them?
Lighting is one of those things that can enhance or impair a space. You’ll be surprised to know that lighting is also one of the things that can affect your mood negatively or positively. I am of the belief that lighting should be unique to each room, depending on its function. The way you light a bedroom is quite different from how you would light a bathroom.
For cosier and more intimate spaces like the bedroom, it is best to avoid ambient lighting. - especially around the bed area. For a moody feel, accent lighting works best. In the bathroom, however, it is best to have direct and ambient lighting, especially around the mirror vanity. This ensures one can clearly see all the details of their face and body, to avoid cuts when shaving or you know… other bathroom activities. Although these are common guidelines, interior design is not a one-size-fits-all. Each space is unique to its occupant, and not everyone uses each space the same way. It is our job as interior designers to understand our clients’ needs, as well as factor in design policies and environmental factors when curating spaces
If someone has a limited budget but wants a beautiful space, where should they focus first? What are smart investments versus what can wait?
Interior design is a premium service. It is a holistic way of expressing oneself through the spaces they occupy. It is also deeply personal and should embody its occupants’ needs and enhance their lifestyle. That said, when working with a limited budget, I prioritise functionality. Decorations and embellishments can come much later, but let the space be practical first.
This is where we ask the prospective client, “How can we be of service to you?” If the answer is “Oh, we are unexpectedly moving from our current house and we need to move into the new space immediately…” Asking about artwork, mirrors, throw pillows, and decorations can come much later. The immediate course of action will be to make sure the house is habitable.
Depending on the state of the new place, this could mean prioritising technical work. Namely, plumbing, electrical, painting, general repairs and appliances. Then for furniture, it will be the basics: couches, beds and curtains. You do not need to
start discussing art placements when you have a leaking roof, chipped tiles and no furniture.
What practical tips would you give Lagos homeowners looking to refresh their space through paint, furniture layout, lighting, etc, without full renovation?
Little things here and there could really elevate the look of a space. There are different elements that take up 60%, 30% and 10% of a room. 60% being the most visual elements, can consist of the wall colour, flooring and ceiling. Altering these will transform a room significantly. 30% could be the furniture. Switching this up will make a few noticeable changes to a room
However, if you have gotten the basics of your space right and you are looking to give it some personality, introduce floorto-ceiling curtains, artwork, plants, decor pieces, an accent wall and lamps. These few items, strategically placed, are sure to give your space a facelift
What small design choices can instantly elevate a home, things most people overlook? Maybe it’s a certain type of fabric, finish, or how you hang your curtains?
When designing a space, during the
preliminary stage, we like to establish a design style that we use as a template. This style typically has a colour scheme, textures, fabrics and decor items unique to that style. Nonetheless, there are a few things you could do to elevate a space, regardless of the style. Things that, if they were overlooked, could cheapen the overall look and feel.
Starting with curtains. Floor-to-ceiling curtains, especially in a room with a low headroom, floor-to-ceiling curtains have a way of making a room feel “taller”. Pleated curtains drape beautifully as well. Especially if the fabric is made of cotton, silk or linen and has been steamed or ironed to remove wrinkles.
Depending on the design style, the addition of crown moulding, wall panels or wainscoting can elevate the space. Especially if you want a traditional or neoclassical look and feel. I also like to emphasise the addition of plants. Live plants quite literally give life to a space and take away the rigidity that could come from the basic components of a room. Apart from these elements, the addition of moody lighting, artwork, mirrors and feature walls, as previously mentioned, will elevate any basic space.
By Adeyemo Shokunbi Architect and Co-Founder, PatrickWaheed Design Consultancy
As an architect, I have always seen home as the first architecture we encounter. For renovations, start by asking what can be kept. That is always my first instinct. Not everything old is outdated. Sometimes, what people rush to remove is exactly what gives a place its soul. There is a tendency in this part of the world to equate age with irrelevance. We have lost so many beautiful buildings that held real architectural value, simply
because they were not shiny or fashionable any more. The old Brazilian houses, the tropical modernist structures with their deep overhangs and thoughtful proportions, many of these have been replaced with buildings that do not speak to our climate, our culture, or our way of life. It is not just a loss of aesthetics. It is a loss of knowledge, of atmosphere, of memory.
This mindset ties back to a wider issue. A number of people still approach building and renovation with a do-it-yourself attitude. And sometimes, even when they engage architects, the conversation does not go deep enough. There is also the silence within the profession. Many architects who understand the value of preservation are not passing that understanding on. The younger generation needs to hear it. They hold the future in their hands, and they need to be shown how to look back to move forward.
For homeowners who are thinking of renovating, I would say look carefully at what already exists. There may be a wall, a rhythm in the layout, a detail in the ceiling, or a quiet generosity in how the space was arranged. Rather than replace everything, find ways to build on what is already there. Blend the old with the new in a way that feels respectful, not forced. Luckily for me, I have had the opportunity to work on projects that involved careful restoration and reinterpretation. These experiences have taught me that architecture can evolve without erasing. That is the message we need to keep sharing. Renovation is not just about making things new. It is about finding continuity and carrying the story forward with care.
Ule Iyabo, Ikorodu. 2023
A heartfelt remodelling of an existing bungalow, transformed into a modest and serene home for our mother as she entered her eighth decade. This project was a collaborative effort with my siblings, guided by care and gratitude. Every element was considered to bring ease, dignity, and quiet beauty to her daily life. It stands as one of the most personal works I have done, a space shaped not by ambition, but by love.
MAD House, University of Lagos. 2022
An innovation lab and creative hub designed using repurposed shipping containers and
laterite-based textures. The MAD House is a living experiment in adaptive reuse, youth empowerment, and sustainable design. Set within the campus of the University of Lagos, it serves as a platform for collaboration, expression, and handson learning, embodying a new vision for creative infrastructure in Nigeria.
Makanjuola House, Lagos Island. 2021
A sensitive restoration and adaptation of a 70-year-old family house located in the heart of the Brazilian Quarters. This project preserves the character of a fading architectural heritage while introducing new life through subtle interventions. Designed to remain true to its historic streetscape, the house now serves as a quiet testament to the value of conservation, memory, and continuity in contemporary Lagos.
Abijo Mosque, Lagos. 2020
A contemporary expression of faith and form, the Abijo Mosque reimagines traditional mosque architecture using laterite-infused Tyrolean textures. Its clean geometry and filtered light evoke a sense of calm and spiritual clarity. Designed to serve both present needs and future growth, the building reflects a quiet confidence in material, scale, and community presence.
Aderemi Makanjuola Lecture Theatre, Lagos State University. 2018
A compact and climate-conscious learning environment designed to encourage focus and flow. The architecture balances simplicity with function, using scale, light, and material to quietly support the academic rhythm of the university. Thoughtfully integrated into its context, the building reflects a restrained but intentional approach to institutional design in Nigeria.
RMKJ Yoyinsola, Victoria Garden City. 2016
One of four distinct four-bedroom villas, each with its own swimming pool, is designed to offer privacy, calm, and spatial clarity within a secure residential enclave. The building’s restrained material palette and crisp form create a quiet presence, while the internal organisation allows for flow, light, and a strong connection between indoor and outdoor living. This project reflects a refined simplicity that prioritises experience over excess.
By William Ukoh Artist Founder, WILLYVERSE
Your space is a reflection of you. So it’s always a question of what do you want to say? What feeling(s) do you want to live in? What do you want to come back to? These are some of the questions to consider when navigating a space. The first question for me is always, “what is the space for?”. Next comes, “the feeling”. What do you want to feel in this space? The answer to that opens the door for me to explore the shapes, colors, and textures that will be used. There are staple items that are ubiquitous in spaces; tables, chairs, cushions (beds, pillows, etc). The purpose and feeling of the space allow you to navigate these staple items in a coherent
way.
In interior design, to creatively experiment with the interplay of different materials to craft a multi-sensory experience within a room, you must, firstly, learn about them. Knowledge about what a material contributes to a space allows you to navigate the balance between various types of materiality.
When it comes to creatively infusing the energy and textures into a modern interior design without resorting to clichés, personally, I rely on the intersection of my historical codes and modern reality to inform my approach to design.
My advice for cultivating an authentic and unique design voice to aspiring designers who want to build a career defined by creativity rather than imitation is this. Research, research, research. Expose yourself to as much information as possible. From there, begin to take stock of where your eyes and interests lean. Then have the courage to speak about/do the things you like. Enjoy that you have a unique perspective on everything that’s been done before. Human ingenuity is always going to be our superpower. It’s our responsibility to develop our unique perspective and taste.
