In October 2019, Adjaye Associates was selected to design the Edo Museum of West African Art (EMOWAA). The new museum will house historic artifacts looted by colonial powers in Benin City, modern-day Nigeria.

The project will investigate the archaeology of the Kingdom of Benin, including excavating historical remains of the capital buried below the proposed site of a new museum. This will be the most extensive archaeological excavation ever undertaken in Benin City, Nigeria.

The EMOWAA Archaeology project is set to start in 2021, and has secured the equivalent of €3.35 million of funding to it, involving the Legacy Restoration Trust (LRT) and the British Museum with the local communities, the Benin Royal Court, the Government of Edo State, and the National Commission for Museums and Monuments (NCMM).
The architectural vision by Adjaye Associates and a team of Nigerian professionals, is to use archaeology as a means of connecting the new museum into the surrounding landscape.

The designs will revitalise and incorporate the surviving remains of the walls, moats and gates of the historic city, seen throughout the city today, including through a pedestrianising scheme and linear park that allows visitors to experience the history of the ancient city. The museum project also recognises the huge importance of the archaeological remains still preserved below the ground.
 

Project description by David Adjaye
 

From an initial glance at the preliminary design concept, one might believe this is a traditional museum but, really, what we are proposing is an undoing of the objectification that has happened in the West through full reconstruction.

Applying our research into Benin’s extraordinary ruins, the city’s orthogonal walls and its courtyard networks, the museum design reconstructs the inhabitation of these forms as pavilions that enable the reconceptualization of artefacts. Decoupling from the Western museum model, the EMOWAA will perform as a retouching tool - a place for recalling lost collective memories of the past to instil an understanding of the magnitude and importance of these civilizations and cultures.
David Adjaye.

We are proposing an undoing of the objectification that has happened in the West through full reconstruction. The new museum design reconstructs the inhabitation of these forms as pavilions that enable the recontextualization of artefacts. Decoupling from the Western museum model, this museum will perform as a reteaching tool — a place to instill an understanding of the magnitude and importance of these civilizations and cultures.

Adjacent to the Oba’s Palace, the new EMOWAA draws inspiration from its historical architectural typologies and establishes its own courtyard in the form of a public garden, exhibiting a variety of indigenous flora and a canopy that offers shade – a welcoming green environment suitable for gatherings, ceremonies and events. The galleries float above the gardens and are articulated by a series of elevated volumes – an inversion of the courtyard typology – within each of which sit pavilions which take their form from fragments of reconstructed historic compounds. These fragments allow the objects themselves to be arranged in their pre-colonial context and offer visitors the opportunity to better understand the true significance of these artefacts within the traditions, political economy and rituals enshrined within the culture of Benin City.

A new dedicated space, EMOWAA will contain the rich, regal and sacred objects of Benin’s past, in a way that allows visitors not just the possibility of “looking in” but “looking out” into the visual landscape of imagining the once historic borders of a restored ancient kingdom.
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David Adjaye was born in Dar es Salaam, Tanzania, in 1966. The son of a Ghanaian diplomat who has lived in Tanzania, Egypt, Yemen, and Lebanon before moving to Britain at the age of nine, he led a privileged life and was privately educated. He earned his BA at London South Bank University, before graduating with an MA in 1993 from the Royal College of Art. In 1993, the same year of graduation, Adjaye won the RIBA Bronze Medal, a prize offered for RIBA Part 1 projects, normally won by students who have only completed a bachelor's degree.

Previously a unit tutor at the Architectural Association, he was also a lecturer at the Royal College of Art. After very short terms of work with the architectural studios of David Chipperfield (London) and Eduardo Souto de Moura (Porto), Adjaye established a practice with William Russell in 1994 called Adjaye & Russell, based in North London. This office was disbanded in 2000 and Adjaye established his own eponymous studio at this point.

Recent works include the Museum of Contemporary Art in Denver, the Nobel Peace Centre in Oslo, and the Skolkovo Moscow School of Management completed in 2010. On April 15, 2009, he was selected in a competition to design the $500 million National Museum of African American History and Culture, part of the Smithsonian in Washington, D.C., planned to open in 2015. His design features a crown motif from Yoruba sculpture.

Alongside his international commissions, Adjayes work spans exhibitions, private homes, and artist collaborations. He built homes for the designer Alexander McQueen, artist Jake Chapman, photographer Juergen Teller, actor Ewan McGregor, and artists Tim Noble and Sue Webster. For artist Chris Ofili, he designed a new studio and a beach house in Port of Spain. He worked with Ofili to create an environment for the Upper Room, which was later acquired by Tate Britain and caused a nationwide media debate. He also collaborated with artist Olafur Eliasson to create a light installation, Your black horizon, at the 2005 Venice Biennale. He has also worked on the art project Sankalpa with director Shekhar Kapur. Adjaye coauthored two seasons of BBC's Dreamspaces television series and hosts a BBC radio program. In June 2005, he presented the documentary, Building Africa: Architecture of a Continent. In 2008, he participated in Manifesta 7.

In February 2009, the cancellation or postponement of four projects in Europe and Asia forced the firm to enter into a Company Voluntary Arrangement (CVA), a deal to stave off insolvency proceedings which prevents financial collapse by rescheduling debts – estimated at about £1m – to creditors.

Adjaye currently holds a Visiting Professor post at Princeton University School of Architecture. He was the first Louis Kahn visiting professor at the University of Pennsylvania, and was the Kenzo Tange Professor in Architecture at Harvard Graduate School of Design. In addition, he is a RIBA Chartered Member, an AIA Honorary Fellow, a Foreign Honorary Member of the American Academy of Arts and Letters, and a Senior Fellow of the Design Futures Council. He also serves as member of the Advisory Boards of the Barcelona Institute of Architecture and the London School of Economics Cities programme.

The studio's first solo exhibition: "David Adjaye: Making Public Buildings" was shown at the Whitechapel Gallery in London in January 2006, with Thames and Hudson publishing the catalogue of the same name. This followed their 2005 publication of Adjaye's first book entitled "David Adjaye Houses".

http://www.adjaye.com

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Published on: November 17, 2020
Cite: "Recovering the memory of the city of Benin. New Edo Museum of West African Art by Adjaye Associates" METALOCUS. Accessed
<https://www.metalocus.es/en/news/recovering-memory-city-benin-new-edo-museum-west-african-art-adjaye-associates> ISSN 1139-6415
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