Materials that are used for exterior finishes of buildings are their last line of defence against the elements of climate. The compliance of the materials with the environment will determine their performance and consequent repainting. A high percentage of buildings? exterior surfaces are finished with paint in Lagos in the south-western region of Nigeria that has additional climatic stress of saline air from the Atlantic Ocean. This research examines the factors that influence the use of paint and the occurrence of salt impact indicators as parameters for measuring its performance in Lagos, Nigeria, in order to determine the repainting requirement when applied as exterior finish. A mixed approach of qualitative and quantitative methods was used. Survey was done to collect data for the analysis. The study area was bifurcated into two zones (Zone A & B) in order to compare the performance of painted exterior of the buildings along the coast with the hinterland. After exhaustive literature search, variables identified were used to investigate the phenomenon. While some variables were measured using Likert?s scale, some were simply measured through categorical and continuous scales. A total of 317 questionnaires were returned out of the 384 sample size of the first target population. Guided interview was conducted on sixteen (16) architects and six (6) paint manufacturers provided information on salt resistant paint of the second and third target population respectively. Various appropriate statistical models were used with the significance level set at p<0.05 in processing the data to obtain results for inferences. Findings show that the choice and usage of paint as exterior finish for buildings in the study area depend on experience, professional advice, availability, cost, societal influence and cultural values. The performance and climatic compliance are jettisoned because of cultural attachment to colour that paints make available with relative ease. All salt impact indicators appeared earlier in Zone A than Zone B. These also necessitate earlier and frequent repainting in Zone A. The number of years required for repainting in Zone A and Zone B are 2 and 4 years respectively compared with 5-7 years established in past researches as required for repainting in other parts of the tropical region. The outcome of the research facilitates maintenance forecast and schedule for painted exterior in the tropics.

Building exterior paint performance in tropical salty environment of Lagos

The paper highlights the adoption of paint to achieve colour decoration among the Yoruba people of Southwest Nigeria with particular emphasis on the city of Lagos. The city is predominantly inhabited by the Yoruba people who also are the natives. All cities, towns and villages within the Southwest are adequately represented within the area. It traces the historical advent of this material in achieving varieties of colour among the people. The use was pronounced in ornamentation at the initial stage before it was adopted on buildings as an extension of cultural value. Appreciation of aesthetic value is high among the people. This lays credence to the practice of the use of varieties of colour on attires and buildings of prominent persons. The method applied involved a survey approach which adopts qualitative and quantitative methods. The paper includes a critical review of existing literature, personal observation and the administration of questionnaires on 180 respondents that were randomly selected across the area. The results from the recovered questionnaires form a database for the quantitative analysis. The result shows that the adoption, choice and use of paint are predicated on a subsisting culture of colour appreciation.

https://textroad.com/pdf/JBASR/J.%20Basic.%20Appl.%20Sci.%20Res.,%203(5)78-82,%202013.pdf

Colour Utilization among the Yorubas of Southwest Nigeria: An Empirical Analysis

| african arts SUMMER 2018 VOL. 51, NO. 2 Stephen Adéyẹmí Fọlárànmí is a Senior Lecturer and artist in the Department of Fine and Applied Arts Ọbáfémi Awólówò University, Ilé-Ifè̀, Nigeria. He has published scholarly articles on Yorùbá murals and architecture in many journals and chapters in ve books. He has also exhibited his paintings both in Nigeria and overseas. He is the recipient of the rst Ho man Dozent for Intercultural Competence at the University of Vechta Germany, 2008/2009 session, and currently a Postdoctoral Fellow at Rhodes University, SA. folasteve@oauife.edu.ng, folasteve@gmail.com This Is Our Story Iconography of Carved Doors and Panels in Ọ̀yọ́ Palace

This Is Our Story: Iconography of Carved Doors and Panels in Òyó Palace

In visual art, inspiration and concept are the driving forces in the execution of a particular art piece, be it in the Fine or industrial Art. Yoruba traditional mural has been executed in most cases in veneration of the and most of the products are for the Oba as well as for rich or influential individuals. Despite the painters claim to have been moved or inspired by the spiritual powers of the in the execution of such murals, Or cognomen has been discovered to be a very important driving force in these paintings. This paper tries to examine the importance and impact of orgin the execution and interpretation of selected Yoruba traditional murals.

The Importance of Oriki Yoruba Mural Art

Abstract The outbreak of COVID-19 in late 2019 in Wuhan, China claimed over six million lives globally, according to the report of World Health Organization (WHO), by 27 July 2022. The pandemic necessitated public health protocols such as social distancing and face mask-wearing, among others, in the absence of a proven cure. However, the degree of compliance to the face mask rule appears significantly low in many African countries on account of low state capacity, poor governance and the consequent public distrust. Drawing on analysis of text items such as Facebook conversations, interview quotes and photographic images, this study explores public responses to the COVID-19 face mask rule that exemplify public distrust and the concept of social responsibility. Utilizing Taro Yamane formula, we determined a sample size of 278, selected systematically from 912 Facebook comments on an official post by Nigeria Centre for Disease Control (NCDC). Personal observation and in-depth interviews with six purposively selected artists were conducted in Nsukka, Nigeria. The study argues that the apathy towards the COVID-19 face mask rule was a product of public distrust while the rule was a source of inspiration to the artists.

https://www.tandfonline.com/doi/pdf/10.1080/23311983.2022.2111828?needAccess=true

Stephen Folaranmi

Papers

The Importance of Oriki Yoruba Mural Art

COVID-19 facemask rule, public distrust and artistic interventions in Nsukka, Nigeria