OSAKWE URSULA ONYINYE

PG/MSC/07/46962

Nwamarah Uche

IGBO PERFORMING ARTS THEATRE, NGWO, UDI LGA

ENUGU ( A STUDY ON ADEQUATE SPACES FOR IGBO

PERFORMING ARTS THEATRE)

Digitally Signed by

DN : CN = Weabmaster’s name

O= University of Nigeri

OU = Innovation Centre

Faculty of Environmental

Department of Architecture

NYE

IGBO PERFORMING ARTS THEATRE, NGWO, UDI LGA

ENUGU ( A STUDY ON ADEQUATE SPACES FOR IGBO

Digitally Signed by: Content manager’s Name

Weabmaster’s name

O= University of Nigeria, Nsukka

OU = Innovation Centre

nvironmental Studies

Architecture

ii

IGBO PERFORMING ARTS THEATRE,

NGWO, UDI L.G.A., ENUGU

(A STUDY ON ADEQUATE SPACES FOR IGBO

PERFORMING ARTS THEATRE)

M.Sc. (ARCH) PROJECT REPORT

BY

OSAKWE, URSULA ONYINYE

PG/MSC/07/46962

SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE

FACULTY OF ENVIRONMENTAL STUDIES

UNIVERSITY OF NIGERIA, ENUGU CAMPUS

IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE

AWARD OF DEGREE OF MASTER OF SCIENCE (M.Sc.) IN

ARCHITECTURE.

MAY, 2010.

iii

CERTIFICATION

OSAKWE URSULA, O., a post graduate student in the Department of

Architecture and with the registration number PG / MSc. / 07 / 46962 has

satisfactorily completed the requirement for the course and research work for

the degree of Master of Science in Architecture. The work embodied in this

report is original and has not been submitted in part or full for other diploma or

degree of this or any other university.

……………………………………………………………………………….

OSAKWE, U.O. DATE

Author

……………………………………………………………………………….

ARC. ODUM, C.O. DATE

Project Supervisor

………………………………………………………………………………

ARC. UZUEGUNAM DATE

Head of Department

iv

DEDICATION

TO

MY PROVIDER,

THE ANCIENT OF DAYS,

THE ALPHA AND OMEGA,

THE BEGINNING AND END OF THIS GREAT PROGRAM

• TO MY FATHER, LATE MR. BASIL OSAKWE ONYENEMEKA

v

ACKNOWLEDGEMENTS

In the course of completing this Thesis work the author embraced some

formidable challenges, but against all odds thanks to the God Almighty for the

strength to strive and the courage to bear the challenges encountered during this

academic pursuit.

Thanks to my supervisor, Arc. Odum C.O. for his patience and understanding in

fact no other supervisor could have been better.

My mentor Arc. M.O.M. Obi, you have been of immense help to me both

spiritually, morally, academically and otherwise, I pray that God will bless you

and you will continue to grow from strength to strength.

My profound gratitude also goes to Mr. Levi Chinaka Nwodu H.O.D Mass

communication department ANSU who supplied me with materials related to

this work.

My lovely Mummy Mrs. Celina Osakwe; thanks for your prayers, my brothers –

Bishop Frank, Chika, Nnaemeka, Iyke and Chidi, my sisters – Rose, Ngozi,

Patty, and Nneka are all great ones. I owe you a lot.

My course mates in the Department of Architecture has been wonderful and it is

commendable, especially– Chigboa Kelechi, Essien Nsikkak and Alago Joe.

TABLE OF CONTENTS

PAGES

vi

TITLE PAGE i

CERTIFICATION ii

DEDICATION iii

ACKNOWLEDGEMENTS iv

TABLE OF CONTENTS v

LIST OF TABLES xi

LIST OF FIGURES xii

LIST OF PLATES xvi

ABSTRACT xviii

CITATIONS xx

1.0 CHAPTER ONE: GENERAL INTRODUCTION

1.1 BACKGROUND INFORMATION 1

1.2 STATEMENT OF ARCHITECTURAL PROBLEM 5

1.3 AIMS AND OBJECTIVES 6

1.4 MOTIVATION 7

1.5 SIGNIFICANCE OF THE PROJECT 8

1.6 SCOPE OF THE PROJECT 9

1.7 RESEARCH METHODOLOGY 11

2.0 CHAPTERS TWO: LITERATURE REVIEW

2.1 HISTORICAL EVOLUTION OF PERFORMING ART THEATRES 12

vii

2.1.1 RENAISSANCE 12

2.1.2 MODERN ERA 12

2.1.3 POST-WAR PERFORMANCE 14

2.1.4 MIDDLE EAST 14

2.2. HISTORICAL OVERVIEW OF BUILDING TYPE 15

2.2.1 HISTORY OF THEATRE 15

2.2.2. HISTORY OF THEATRE CONSTRUCTION 16

2.2.3 ANCIENT GREECE 17

2.2.4 ANCIENT ROME 18

2.3. EPIC THEATRE 20

2.4. CONTEMPORARY THEATRES 21

2.5. AMPHITHEATRE 22

2.5.1 ROMAN AMPHITHEATRES 23

2.5.2. CONTEMPORARY AMPHITHEATRES 25

2.5.3. NATURAL AMPHITHEATRES 25

2.6. BASIC ELEMENTS OF A THEATRE STRUCTURE 26

2.6.1 ON AND OFF STAGE 26

2.6.2. SEATING AND AUDIENCE 27

2.7. THEATER ARCHITECTURE 28

2.8. THEATRE STAGE DESIGNS 31

2.8.1 STYLES OF THEATRE 33

viii

2.9. HISTORICAL DEVELOPMENT OF PERFORMING ARTS

THEATRE IN AFRICA 34

2.9.1 TRADITIONAL DRAMA 35

2.9.2. THEATRE OF THE COLONIAL PERIOD 36

2.9.3. THEATRE OF THE INDEPENDENCE PERIOD 37

2.9.4. FRANCOPHONE AFRICAN THEATRE 38

2.9.5. POPULAR, POLITICAL, AND DEVELOPMENT THEATRE IN AFRICA 39

2.10. EVOLUTION OF PERFORMANCE IN IGBO LAND 41

2.10.1 ARTS OF THE IGBO PEOPLE 44

2.10.2. IGBO ARCHITECTURE 48

2.10.3. IGBO TRADITIONAL ATTIRE 51

2.10.4 FESTIVALS IN IGBO LAND 53

2.10.5. THE NEW YAM FESTIVAL OF THE IGBO (IGBO: IRI JI) 55

2.11. CALENDAR AND TIME 59

3.0 CHAPTER THREE: CASE STUDIES

3.1. THE NATIONAL THEATRE, LAGOS 60

3.1.1. APPRAISAL 70

3.2. SCOTTISH EXHIBITION AND CONFERENCE CENTRE 71

3.2.1. APPRAISAL 76

4.0. CHAPTER FOUR: GENERAL PLANNING AND

ix

DESIGN PRINCIPLES

4.1. THEATER STAGE DESIGNS 77

4.1.1 AUDITORIUM DESIGN 77

4.2. SOUND INSULATION FROM OUTSIDE NOISE SOURCES 87

4.3. THEATRE 91

4.4. STUDIO THEATRES 100

4.5. FORMATS 101

4.5.1 FUNCTIONAL REQUIREMENTS 102

4.6 SIMULTANEOUS TRANSLATION SYSTEMS IN THE AUDITORIUM 106

4.6.1 AUDIOVISUAL FACILITIES 107

4.7 MULTI-PURPOSE AUDITORIA 110

4.8. ACOUSTICS: THEORY AND APPLICATIONS 111

4.8.1. REVERBERATION TIME 120

4.9. APPLICATIONS

121

4.9.1 ROOM SHAPE AND QUALITY 125

4.10. LEGISLATION 146

5.0 CHAPTER FIVE: SPACE REQUIREMENT FOR IGBO

PERFORMING ARTS THEATRE 147

5.1. THE RELATIONSHIP FUNCTION 148

5.2. ZONES 149

5.3. SPACE CONFIGURATION AND ANALYSIS 150

5.4. FURNITURE AND EQUIPMENT- ANTHROPOMETRICS 154

5.5. PLANNING FACTS AND DATA 154

x

5.6 REFERENCE DATA 158

5.6.1 SPACES ASSOCIATED WITH THE AUDIENCE AREA 164

5.6.2 STAGE-RELATED SPACES 166

5.6.3 SPACES FOR ACTORS, SINGERS AND DANCERS 167

5.6.4 PLATFORM: ASSOCIATED SPACES 171

5.7. CONFERENCE ORGANIZATION OFFICES 171

5.7.1 PRESS ROOM 171

5.8. SUPPORT FACILITIES 172

5.9 MANAGERIAL SPACES 174

5.10 FACILITIES FOR PEOPLE WITH A DISABILITY 177

5.11. SPACE PROGRAMME/SPACE ALLOCATION SCHEDULE 178

5.12. SPACE ALLOCATION SCHEDULE 180

6.0. CHAPTER SIX: PROJECT LOCATION AND

ENVIRONMENTAL ANALYSIS 183

6.1. OVERVIEW OF ENUGU STATE 183

6.1.1. ENUGU STATE - THE PLACE AND THE PEOPLE 185

6.1.2 HISTORICAL PERSPECTIVE OF ENUGU STATE 185

6.1.3. GEOGRAPHICAL AND TOPOGRAPHICAL FEATURES 185

6.2. ENUGU STATE VITAL STATISTICS 186

6.3. CLIMATIC CONDITIONS

191

6.4. CLIMATIC CONTROL MEASURES 198

6.4.1. SOLAR CONTROL MEASURES 200

xi

6.5 LOCATION MAP 201

6.6 SITE SELECTION CRITERIA 203

7.0. CHAPTER SEVEN: DETAILED SITE STUDY AND ANALYSIS 205

7.1 THE SITE 205

7.1.1 PHYSICAL CHARACTERISTICS OF THE SITE 206

7.2. SITE ANALYSIS 208

7.3. DESIGN CONSIDERATIONS 211

8.0 CHAPTER EIGHT: DESIGN

8.1 DESIGN CONCEPT 219

8.2 DESIGN SYNTHESIS 221

8.3. DESIGN GOALS 222

8.4. CONSTRUCTION METHODOLOGY, MATERIALS AND FINISHES 222

8.5. SUSTAINABILITY 222

8.6. ENVIRONMENTAL ARCHITECTURE 224

CONCLUSION 226

REFERENCES 227

BIBLIOGRAPHY 233

PROJECT DESIGN 238

LIST OF TABLES

xii

1. Table 3.1 Material Appraisal 69

2. Table 4.1 Total exit widths required by legislation 86

3. Table 4.2 Widths of proscenium opening in metres for various

types of Performance 95

5. Table 4.3 Absorption coefficients 131

4. Table 4.4 Common acoustical acronyms and their definitions 142

6. Table 4.5 Top ten acoustical myths/misconceptions 144

LIST OF FIGURES

xiii

1. Figure: 2.0. Marcellus Theatre, Rome: 11,500 seats, 11 BC 18

2. Figure: 2.1. Swan Theatre, Southwark, London 19

2. Figure : 2.2. Profile of the Colosseum. 24

4. Figure 2.3 Longitudinal section, Paris Opéra, France 29

5 Figure2.4 Theatre Stage Designs. 31

6. Figure2.5 Map of Nigeria showing Igbo 45

7. figure 2.6 Straw Masquerades in Umunko 54

8. Figure 2.7 An Igbo man with Ichi marks, a sign of rank as an Ozo 58

9. Figure 3.1 Site plan, National Theatre 63

10. Figure 3.2 Level 8 Plan 64

11. Figure 3.3 Level 17 Plan 65

12. Figure 3.4 Section 66

13. Figure 3.5 Section 66

14. Figure 3.7 Ground floor plan of Scottish Exhibition 71

15. Figure 3.10 Site Plan of Scottish Exhibition 72

16. Figure 4.1 Visual and aural limitations 78

17. Figure, 4.2 (a &b) Row to row dimension and clearway 80

18. Figure 4.3 Graphic representation of vertical sightlines 82

19. Figure, 4.4 Position of eye in relation to seat and stepped floor. 82

20. Figure 4.4 Sightlines at transverse gangway 83

21. Figure 4.5 The angle of horizontal vision 83

22. Figure 4.6. Where the head angle would exceed 30° 83

23. Figure 4.7 Horizontal sightlines of the performer 84

24. Figure, 4.8 Designated wheelchair area, required dimensions 85

25. Figure 4.9 Auditorium formats for opera, dance and musicals on

proscenium stages 92

26. Figure.4.9a Auditorium formats for drama on open stages 92

27. Figure 4.10 a Vertical sightlines for proscenium stage 93

xiv

28. Figure 4.10 b Vertical sightlines for proscenium stage 93

29. Figure 4.11 Stage layout and dimensions for a medium-size

theatre without flytower 94

30. Figure 4.5.1 Conference hall formats for lectures requiring

projection facilities 101

31. Figure 4.5.2 Conference hall formats for debating 102

32. Figure 4.5.3 Lady Mitchell Hall, Cambridge 103

33. Figure: 4.5.4 Section through lecture theatre showing platform and

front wall arrangements 105

34. Figure.4.8.1 Wavelength in air from a vibrating tuning fork 112

35. Figure. 4.8.2 Wavelength scales 114

36. Figure 4.8. 3 Human audible sound level and frequency 117

37. Figure 4.8. 4 Inverse-square law 118

38. Figure 4.8.5 Common sounds in decibels 118

39. Figure 4.8.6 Noise exposure limits 119

40. Fig.4.9.1 Possible direct and flanking paths for sound transmission 121

41. Figure.4.9. 2 Using buffer zones for acoustic isolation 129

42. Figure.4.9.3 Basic types and relative efficiencies of

sound-absorbing materials 129

43. Figure 4.9.4 Common shape that promote sound diffusion 135

44. Figure. 4.9.5 Possible paths for early sound reflection 136

45. Figure.4.9. 6 Relationship between construction cost and

level of sound isolation 137

46. Figure, 5.1 The Relationship of Functions 148

47. Figure 5.2 Alternative auditorium seating arrangements 152

48. Figure 5.3 Alternative auditorium seating arrangements 153

49. Figure. 5.6.1 Minimum dimensions and clearances 158

50. Figure 5.6.2 Minimum dimensions and clearances 159

51. Figure 5.6.3 Representative dimensions for maintenance access 160

xv

52. Figure 5.6.5 Reach factors for the differently abled 161

53. Figure 5.6.6 Dimensions for accessibility 162

54. Figure 5.6.7 Handrails and grab bars 163

55. Figure5.6.8 Control room with direct view of the stage 164

56. Figure 5.6.9a Single dressing rooms 167

57. Figure 5.6.9b Single dressing room with en-suite WC and shower 168

58. Figure. 5.9. Relationship diagram for buildings for performing arts 169

59. Figure 5.10 shows the relationships between the parts of a

conference suite 170

60. Figure 5.11 Relationship diagram for a rehearsal room or studio 174

61. Figure 6.1 Map of Nigeria Showing Enugu State 183

62. Figure 6.2 Map Of Enugu Showing Udi L.G.A. 184

63. Figure 6.3 The Six (6) Geo-Political Zones and Ethnic Groups 187

64. Figure 6.4 Map Of Nigeria Showing The Climatic Pattern 192

65. Figure 6.5 Map of Nigeria Showing the Temperature Pattern 193

66. Figure 6.5.1 Mean Temperature Values for Enugu State 193

67. Figure 6.6 Map of Nigeria Showing the Rainfall Pattern 194

68. Figure 6.6.1 Mean Monthly Rainfall Values for Enugu State 195

69. Figure 6.6.2 Mean Relative Humidity Values for Enugu State 195

70. Figure 6.7 Mean Wind Force Values In Enugu State 196

71. Figure 6.8 Map of Nigeria Showing the Vegetation Belt 197

72. Figure 6.8 Map of Nigeria Showing the Soils 197

73. Figure 6.9 Orientation of Building 199

74. Figure 6.10 Tourist Guide Map of Enugu and Environs 201

75. Figure 6.11 Location Map Showing the Site, Ngwo and Environs 202

76. Figure 7.1 The Site Showing the Slope Gradient 208

77. Figure 7.2 Section A – A 208

78. Figure 7.3 Comprehensive Site Analysis 209

xvi

79. Figure 7.4 The Site Showing Its Neighbourhood 209

80. Figure 7.5 The Site Showing Views From The Site 210

81. Figure 7.6 The Site Showing Vehicular Circulation 211

82. Figure 7.7 Orientation of Buildings 214

83. Figure 7.8 Shading A Buildings Against Solar Radiation 215

84. Figure 7.9 Solar Radiation 216

85. Figure 7.10 Flow Diagram 217

86. Figure 7.11 Zoning 218

87. Figure. 8.1 Conceptual Diagram of the proposed Igbo Performing

Arts theatre 220

LIST OF PLATES

1. Plate 1.0 Performing art at the centre of a street 5

xvii

2. Plate: 2.1 Panoramic view of the Hellenic theatre at Epidaurus. 15

3. Plate: 2.2 The ancient theatre at Delphi, Greece. 16

4. Plate: 2.4 Roman Theatre, Orange, France. 18

5. Plate: 2.5 Roman arena at Arles, inside view 22

6. Plate: 2.6. The Colosseum. 23

7. Plate: 2.7 The Hollywood Bowl, Hollywood, California. 24

8. Plate: 2.8 Garnier Opera House, Paris: Stalls 27

9. Plate: 2.9 Igbo ceramic altar for the new yam festival. 42

10. Plate: 2.10 Ulo Akrika 50

11. Plate: 2.11a,b Showing Igbo traditional Attire 52

12. Plate: 2.12 Masquerades 54

13. Plate: 3.1 The National Theatre, Lagos. Nigeria 60

14. Plate: 3.2 Showing car park at the theatre 62

15. Plate: 3.3 Auditorium National Theatre, Lagos. 62

16. Plate: 3.4. Aerial site view of National Theatre 63

17. Plate: 3.5 Art Exhibition hall Source 67

18. Plate: 3.6 Parking (basement) 67

19. Plate: 3.7 Art Exhibition hall 67

20. Plate: 3.8 Executive Conference Hall 67

21. Plate: 3.8 Workshop 67

22. Plate: 3.9 The façade of the theatre 68

23. Plate: 3.10 Outdoor relaxation area 68

24. Plate: 3.11 The National Theatre at Night 68

25. Plate: 3.6 Perspective view of Scottish Exhibition 71

26. Plate: 3.7 Ground floor plan of Scottish Exhibition 71

27. Plate: 3.8 Interior View 76

28. Plate: 7.1 View of the Proposed Site 205

29. Plate: 7.2 View from the Southwest, Ozougwu Secondary School 207

xviii

30. Plate: 7.3 View from the Southeast, Office Building 207

ABSTRACT

xix

This project – Igbo Performing Art Theatre depicts the significant of culture to Igbos,

and tend to proffer a more modern and organized space in “theatre respects” to

showcase its activities. The major problem that had and is presently facing performing

arts in Igbo land is the problem of space. Incidentally, most Igbo Performing Arts are

often done in tight corners where space tends to limit their potentials as well as their

appreciation by their audiences. Hence, the thesis primarily studied on adequate spaces

for Igbo Performing Arts theatres.

The following research methods were adopted; on site surveys – interviews, statically

survey – charts and case studies to enable the research study the respondents in their

natural habitat. Samples (interviewees) were selected using purposive sampling method

because the researcher was interested in obtaining information from individuals who

understand in depth the Igbo performing arts. Some of the findings were: An ideal site

and environment for the location of the proposed Igbo Performing Arts theatres,

problems in the existing nature of similar developments and how to solve them,

facilities to be provided, feasibility and viability of the project, requirement peculiar to

such a project and Factors that affect the planning process.

From the findings therefore, the author recommends that, The Igbos need a special

place for viewing their performing arts, Enugu state as the Head quarter of the south-

east states of Nigeria will be the best state to locate it, The site at Ngwo in Udi L.G.A

has an advantageous location along the Enugu – Onitsha Express road and is the most

central place to situate the theatre with its good road networks to the targeted audience

and with large expanse of land to accommodate the facilities to be provided.

CITATIONS

xx

“Culture should be associated with development and indeed influence it because it is

borne of and devoted to the enhancement of qualities of life of man within his

environment. Development is more meaningful when it enhances culture or at least

does not run counter to it.”

- Okafor and Emeka, 1998

:…all over the world familiarity with the architectural achievements of one’s country,

an understanding and appreciation of its traditions and development through the ages,

it now almost universal considered to be an elementary means towards the formation

of national consciousness and self assertion.”

Dmochowski Z.R. (1906-1982)

Poland Architect

“Architecture is life, or at least it is life itself taking form and therefore it is the truest

record of life as it was lived in the world yesterday, as it is lived today or ever will be

lived.”

Frank Lloyd Wright (1867 - 1959)

U.S. Architect.

An Organic Architecture

“Architecture only exists when there is a poetic emotion.”

Le Corbusier (1887 - 1965)

Swiss-born French Architect.

Towards a New Architecture (Frederick Etchells, tr.)

”Good architects nurture the psychological, mental, and spiritual needs of the people

who will inhabit their structures.”

Craig R. Hickman U.S. Author.

The Future 500 (co-written with Michael A. Silva)

“My job is to create an environment that relaxes morality.”

xxi

Robert DiLeonardo U.S. Architect.

Referring to casinos in Atlantic City, New Jersey.

Wall Street Journal

“A modern, harmonic and lively architecture is the visible sign of an authentic

democracy.”

Walter Gropius (1883 - 1969)

German-born U.S. architect.

The Observer (London), "Sayings of the Week"

“Functions may change rapidly and a neutral form can be adopted to many purposes.”

Ludwig Mies van der Rohe (1886 - 1969)

German-born U.S. Architect.

“Architecture completes nature.”

Giorgio De Chirico (1888 - 1978)

Italian painter.

The Sense of Architecture

“….a building is not an end in itself, but rather a means to an end, which is to satisfy

the material and spiritual needs of the people for which it is created”

Dmochowski Z.R. (1906-1982)

Poland Architect

“Practical as well as attractive, useful on one hand and beautiful on the other is what

Architecture has to be.”

Patrick Nutgens