DOCTRINE AND LAYERS IN SPACE:

A Critique of Stephen Ajadi’s Design for the Anglican Church in Ogidi, Nigeria

Joseph M. Igwe
Department of Architecture
University of Lagos

Abstract

The paper engages Stephen Ajadi’s design for the Anglican Church in Ogidi as a platform and environment to
experience, appraise and study the symbolism and dynamics of doctrine in space. In Ajadi’s proposed church design,
mutations of the Anglican doctrine are expressed and interrogated in the typology of church. Employing the
investigative methodologies of history, architectural theory, and interviews with the architect, the ideas of Ajadi are
appraised, interrogated and expounded. In the development process of the Ogidi church, Ajadi skillfully moves
backward to go forward while still in the present. He has used methods of computation and parametric design to
engage highly abstractive issues of history, space, place and doctrine. He sets up an orchestration strategy that hides
method in plain sight while the issues he intends to address take the foreground, probably only for a keen eye. The
Ogidi project is found to address wider theoretical issues than the architect had initially imagined. In essence, the
church not only engages doctrine in space, but creates layers of other parameters into a parcel of discourse such as
place, chronology and the possibilities of new methods for addressing them in an architectural project.

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1.0 Introduction

The architectural conception and spatiality of the proposed church is studied with a bid to interrogate the
ideas of the architect and theorize the impact of his architecture on the discourse of space and doctrine in
Anglicanism. As a prelude to the issue of space, the idea of doctrine needs to be engaged and established.
Since the project under consideration is of Anglican theological typology, the notion of Anglicanism
becomes indispensable. The doctrine of the Anglican movement is partly embedded in the story of
English monarchy which makes it by default the church that formally represents Christianity in England
(Friedman, 2011; Atkins, 2014). A brief but panoramic survey of the Anglican doctrine throughout
history with respect to various socio-political impacts through time shows the various states and
inclinations of the Anglican movement (Cuming, 1982; Ward, 2006; Hastings, 1991). Stephen Ajadi
reacts to these inclinations in his church project at Ogidi — a town in the eastern state of Anambra,
Nigeria. His project, despite expressing his agenda for the work and his stand in the discourse of
theology, doctrine and place in the context of space, goes further to address other issues. These issues of
architecture and the environment are in some cases within the proven precognition of the architect but in
other cases extend beyond what he could have planned or preconceived. Ajadi employs advanced
methods of computational design and biomimicry to address a brief set in a semi-rural town with a single
predominant culture. The work extends itself to issues it was not initially intended to address or strongly
address, culminating in a project that speaks more and wider than it was intended, as is the case with
many good works of architecture.
2.0 Anglicanism: The Movement in Summary

Christianity arrived in Britain between the 1st or 2nd century, when southern Britain became part of the
Roman Empire (John et al, 1998). The earliest historical evidence of Christianity among the native
Britons is found in the writings of early Christian Fathers, notably, Tertullian and Origen in the first years
of the 3rd century. Three Romano-British bishops, including Restitutus, are known to have been present
at the Council of Arles in 314 (Atkins, 2014; John et al, 1998). Others attended the Council of Sardica in
347 and that of Ariminum in 360, and a number of references to the church in Roman Britain are found in
the writings of 4th century Christian Fathers. The turn of the Anglican movement started with the
renunciation of the papacy by Henry VIII in the 1530’s when he was not allowed to annul a wedding with
the aim of marrying another lady (John et al, 1998). The word Anglican originates from the Latin phrase
ecclesia anglicana that dates as far back to the Magna Carta liberatum or ‘The Great Charter of the
Liberties’ endorsed by King John of England  on the 15th of June, 1215. This document tells of the early
stirrings of the English people and the religious authorities of the time. The etymological root ecclesia
anglicana means ‘English church’. People who adhere to Anglicanism are called Anglicans. Anglicans
base their Christian faith on the  bible and traditions of the apostolic succession and writings of
the Church Fathers. The apostolic succession is the method whereby the Christian Church is held to be
derived from the apostles by a continuous succession through ministry. The succession is made possible
by a leadership of bishops.

One of the early and most distinct turning points of doctrine occurred in the first half of the 17th century
(John et al, 1998). The new doctrine embodied theologies, structures and forms of worship representing a
different kind of middle ground, between reformed Protestantism and Roman Catholicism. This concept
became highly influential in later theories of Anglican identity based on which Anglicanism is referred to
as “Catholic and Reformed". Following this, Anglicanism proliferated through the regions of America,
Canada, Africa and Australia and each region had modular leadership systems in the status of bishop
(Ward, 2006; John et al, 1998). This happened as the British Empire expanded and Christian missions
were gradually accepted as a model for expanding the movement of Anglicanism. Anglican churches do
not have bespoke judicial authority and jurisdiction. This is because each national church has full
autonomy. The whole system is called the Anglican Communion, bounded by common loyalty and love.
All the regions and nationalities converge in the See of Canterbury. The archbishop of Canterbury calls
the Lambeth conference once a decade and chairs it. This conference brings together all the regions and
nationalities in the world.

2.1 Anglicanism and the evolution of its doctrine

On a closer look, the Anglican history reveals its very beginning as a shift from the ‘norm’. The
renouncement of the papal parent (Roman Catholic) church by the English church triggered a fluctuating
turn of events that will later culminate in the founding and development of the Anglican Communion.
Henry VIII renounced papal authority on the English church to secure an annulment of marriage from
Catherine of Aragon in order to marry Lady Anne Boleyn in the 1530s (John et al, 1998). In the time of
Henry VIII, it was agreed that national churches should be autonomous instead of the usual state of
theological disharmony that was ensuing among them. The argument of the Anglican Church to be
catholic or protestant in operation and doctrine can be described as one of the oldest doctrinal tensions in
Anglicanism. The doctrine system of the Anglican Church differs from the eponym base Calvinism
(protestant) or the system of the magisterium of the catholic which establishes the teachings of
Catholicism. The holistic guiding principles of the doctrine are fully expressed through the Anglican
Book of Common Prayer (Podmore, 2005). The Book of Common Prayer contains the fundamentals of
Anglican doctrine. This includes the scriptures (through the lectionary), the sacraments, daily prayer,
the Apostles' and Nicene creeds, the Athanasian Creed , the catechism and apostolic succession in the
context of the historic threefold ministry (Podmore, 2005; Skyes et al, 1998).

2.2 Development and Tensions of the Anglican Doctrine

The Anglican identity and movement in the first place exists as a result of a deviation from a ‘norm’. This
is one of the arguments of Stephen Ajadi and forms the basis for his design of the Anglican Church
project at Ogidi. One critical characteristic in the evolution of Anglicanism is the flexibility of the
movement in responding to radical changes in contemporary society. The Lambeth conference which
holds every decade exhibits scenarios of the Anglican movement interrogating itself with the aim of
finding proactive ways and conditions of continuity while trying as much as possible to keep constant,
foundational doctrines (Sachs, 2014; Robert, 2014). A rather significant development in this regard is the
formal entry of homosexuality into Anglicanism. In 2003, the early case of Jeffery John, an openly gay
priest, who was appointed to become the Suffrajan bishop of Reading came to the fore. This raised a lot
of eyebrows and Jeffery was forced to step down by a fear that the church may split as a result of his
appointment (O’Donovan, 2008). The issue climaxed when the Episcopal diocese of Hampshire chose an
openly gay and partnered priest called Gene Robison as bishop. This was just five years after the 1998
Lambeth conference that specifically took a stand against same sex marriages. In 2009, an openly lesbian
priest, Mary Douglas Glasspool, was elected as a suffrajan bishop in the Diocese of Los Angeles (Sachs,
2014). These opposing tensions to the established doctrine of the communion clearly reveal how the
Anglican movement has been shifting against itself. The corresponding Lambeth conferences, the
Windsor report and the 2005, 2007 and 2016 Primates’ meetings lend credence to the fact that forces
within the communion are in opposition to the ‘new introductions’ (O’Donovan, 2008; Groves, 2008;
Sachs, 2014; Brittain, 2015).

Critics have inferred that the issue of homosexuality represents Anglicanism’s most severe test of unity
(Sachs, 2014, Ward 2002). Anglicans from the Global south do not uphold the new development of the
inclusion of homosexuality. The Church of Nigeria remains sharply in opposition to the development and
it has publicly made its point on this at various platforms including the Lambeth conferences (Coleman,
1992; Sachs, 2014). The position of a church within a larger community that is in tension is one of the
primary issues that Stephen Ajadi addresses in his design for the Anglican Church at Ogidi. He creates
something with conventional methods with regards to the church movement and does away with almost
all architectural elements save for the traditions like the cross. Despite this, he manages to keep intact the
Anglican worship system which he acknowledges as most important. The Church of Nigerian has played
a major role in this contention of sexuality as it has helped spearhead series of decisions and activities that
has led to a new communion in the USA, the Anglican Church in North America (ACNA). This
communion now grows with other episcopal churches joining in. The Church of Nigerian however has
since amended its constitution to show a detachment from the general Anglican Communion 1. It has

1
See the church of Nigeria website: http://anglican-nig.org/constitution/ (as at August 8, 2016)
declared full communion with the ACNA, a church that remains conservative with respect to the issue of
homosexuality.

3.0 Methodological Approach

The interrogation of an architectural case, such as this, for the purpose of developing opinions and
theories requires a hybrid methodological approach. This is because theoretical and technical appraisals
are likely to ensue

3.1 History as an interrogator of Architecture in Anglicanism

Kipnis (2013) suggests that expositions of architectural theory as manifestations in built work show
connections both forward and backwards in time. Discourses of theorists who explain architecture based
on incremental commentaries relating to the holistic or localized aspects of a building's architecture are
relatively common. Buitendag (2004) holds the view that when two ideologies are to be compared, related
or overlapped, the nature of each ideology matters. This nature can best be seen through the development
of the phases of both ideologies (doctrine and space) in the project of Stephen Ajadi, which is not just a
localized look at either. History is engaged in this study context as a tool for observing the changes of the
Anglican Church architecture through time. It is not just a mere review of literature but a historical
synthesis, having also chronological character to investigate a trajectory. This is done with the aim of
seeing - in juxtaposition - how Stephen Ajadi approaches this issue of doctrine in his design of the
Anglican Church for Ogidi.

3.2 The Project as Method

The Project is partly a means to an end in this case. Stephen Ajadi’s Church as a building is not the
primary subject of discussion. The significance of what Ajadi’s church for Ogidi brings to the table of
architecture is the area of interest. In other words, his project as a building is suppressed in favour of the
idea of his project as architecture. His project, though a subject of the discourse, is used as a platform for
the interrogation of broader issues of theology and architecture, some of which the architect himself is
unaware of.

3.3 Dialogue as Method

Dialogue has always been a catalyst for interrogating architectural theory. The activity, which is often
more of a ritual than a process brings about the dissection of an idea by the interrogation of another
opinion. A dialogue is different from an interview in the sense that an interview only seeks to take and not
give. In an interview, information is taken from one party and handed over to the other. The inquirer
rarely engages critically what is being transferred. Instead, the opinion/information given is documented
and transferred. Dialogue, through the ages, has been very useful in the development of philosophical
thought (Van Der Leeuw, 2014; Guthrie W.K., 1975). The fact that it is a process of philosophical thought
makes it a sacred social activity, consciously or unconsciously by culture. For the purpose of engaging his
work, this author had an interview session with Stephen Ajadi followed with a dialogue. The plan was to
gather enough uncontested information from the architect in order to formulate a discourse. The dialogue 2
and the interview produced important avenues for critically engaging Ajadi’s Project.

2
4.0 Ogidi Anglican Church: The Architect’s Conception

In carrying out a critique of an art work, it is imperative for the critic to have a clear understanding of the
meaning of the particular art work from the perspective of the artist himself. In this regard, a celebrated
British art critic is quoted as follows: “But whether thus submissively or not, at least be sure that you go
to the author to get at his meaning, not to find yours” (Ruskin, 1865). The usual misconception of
criticism in architecture is that a critic decides if a work is good or bad based on certain criteria which are
usually subjective. The truth of the matter is that the usefulness and probably the significance of criticism
is to explain a work, leaping off the opinion of the maker and revealing a wider understanding of the work
in the light of what the architecture expresses. While some works of architecture are driven by single idea,
in the case of the Ogidi Anglican Church, the architect combines a number of ideas which he
contemplates as a collective. He describes the conceptual development as the outcome of “a quest to say
some things that have probably never been heard before through a Nigerian Church Building”.

The architect describes the site of the project as a place where many forces seem to be at play. His initial
attempt was to look at the people of Ogidi and overlap them with these forces. The project reached what
he calls a ‘less self-malleable’ state when he felt he was able to unravel current relationships with the
people and the forces of the site. The project is actually an ensemble of three buildings and a cross (see
fig. 1). Focus however will be on the church and the cross. The eastern part of the site holds two very
potent platforms of Ogidi culture: the market square and the town hall. These typologies embody a large
part of the Ogidi culture. This gave the architect a peek into the philosophy and ritual of human
‘gathering’ in Ogidi. He also deliberately concerned himself with the safety of the church to the point of
thinking out the project as being resilient to attacks based on religious crisis. The complexity of the
Anglican issue had to be collectively resolved with the forces at play without over tweaking anything. He
wanted to comment on Anglicanism in Nigeria, its changes at the church’s constitution level, its new
membership in the ACNA and what it may mean for Nigeria and of course Ogidi. These are rather steep
issues.
 Fig.1: site plan of Ajadi’s Ogidi Anglican Church (Stephen Ajadi, 2013)

Among the issues considered in the conceptual development are: the changing Anglican doctrine; human activity
and the Ogidi cultural outlook of ‘gathering’ as well as the phenomenon of insecurity occasioned by incessant mod
attacks on religious places of worship. The combined effects of these issues propelled the architect to assume a sense
of ‘moral responsibility’ which led him to seek a technical solution to the design of a church building resilient to
extreme vandalism. Nevertheless, the design of the interior space of the church conforms to the requirement for
traditional Anglican Church worship. The positions of the choir, the lectern, pulpit and the alter conform to expected
Anglican Church layout.
 Fig.3: ground floor plan of Ajadi’s Ogidi Anglican Church (Stephen Ajadi, 2013)

Fig.4: upper floor plan of Ajadi’s Ogidi Anglican Church (Stephen Ajadi, 2013)

4.1 The Development Process: Meanings and Turnings

The design development process of the Ogidi Anglican Church encompasses at least two types of issues,
namely: Meanings and Turnings. Meanings are effects that exhume architecture in relation to doctrine and
are described here as a near-antithesis to Turnings, which are intentions that are not architectural but
could be antagonistic to the project.

4.1.1 Turnings

A critical issue in the design development process is that of making the project resilient to attack. The
architect argues that the concern for the likelihood of attack is encapsulated in the narrative of the
architecture, with the hope that it will describe the times in ‘future history’. The issue of safety in these
times of religious infrastructure is a political engrave on chronology. Another critical issue is the concern
for appropriate materials. The physical ‘shell’ of the project dictates a kind of ambiguity. The architect
interprets the shell as flexibility achieved through a parametric grid of galvanized steel which leaves gaps
to be filled with panels. While the architect favours a completely new material labelled ETFE as his
“romantic choice”, he actually made provision for alternative materials to fill the voids between the
structural grids. In terms of the figuration of the architectural form, the apparent lightness of the building
which the architect envisioned has been thoroughly orchestrated in the geometry of the church.

4.1.2 Meanings

The meanings of a work of architecture are embedded in the intentions of the architect, which sometimes
spring from a developmental process. The most striking thing in the design development of the Ogidi
Anglican Church project is the ordering of the forces to the sight, in the site and the design parameters. It
is difficult to determine what the intentions of an architect really are, but the stirrings of thought that
ricochet off what might most likely be his intentions can be noticed. In the particular case of this project,
the first noticeable thing about the development process is the architect’s deliberate attempt to avoid a
conventional formal aesthetics. This is contrary to the usually conservative aesthetic treatment of
Anglican Churches over the years. Ajadi’s timeline study of seven Anglican Church buildings across the
world shows that even when the movement experienced changes, the architectural style remained
virtually the same except for very few recent developments (Plate 2).

Plate 2. Ajadi’s Timeline case study of 7 churches (6 Anglican and 1 control/random case), 2013

The treatment of form in the developmental process of the work is a joint consideration of a number of
forces which are engaged as parameters through digital and biological methodologies. The collective
aggregative management of parameters through his chosen methods of design development clearly
implies an initial neutrality of the architect at the initial stage of the work. The idea of the project starts
with the biomimetic appraisal of the behavior of a nucleosome as a micro-mechanical and bio-chemical
binder at level of the DNA. He seeks this performative metaphor from nature because of the distinct
characteristics of the nucleosome. Nucleosomes are folded through a series of structures to come about a
chromosome which compacts and regulates DNA (Luger et al, 1997). Nucleosomes fold, compact,
structurally stabilize and regulate (Luger et al, 1997). These are the initial reactions of the architect
towards the management of forces such as light, structure, programatization, and view. His attempt to see
if the digital can help generate geometry by treating these parameters as a nucleosome and the DNA as
space in a biomimetic effort can be said to be a key strategy in the making of the architecture. The digital
strategy comes in line with making spaces that generate direct implications of contextual, theoretical and
historical forces. He uses digital algorithms to generate a set of spline configuration which evolve into a
set of seven primary structural components (see fig. 5).

Fig.5: Digital spline configuration (Stephen Ajadi, 2013)

The architect then varies the spline configurations as the splines are converted to pipes in what he calls
‘digital allotropy’ (see fig. 5).

The lateral integration of the splines breaks the geometry into a network of surfaces. The pipes carry
service elements like air conditioning and water services thus regulating the space like a nucleosome (see
fig. 6). These splines-turned-pipes end up in symmetrical arrangement even though the resulting geometry
is not. This geometrical oxymoron creates an allusion between the form-figural and religious doctrines in
the context of space. Symmetry which has characterized the architecture of Anglicanism for centuries is
tugged and bent in this project using digital means. This is in response to the effect of other forces that are
suddenly brought at par with Anglicanism building customs.
 Fig.6: primary pipe structure as building support and as conduit for HVAC (Stephen Ajadi, 2013)

4.2 Ogidi Anglican Church Cross: Layers of layers

Moving outside the church building to the CROSS, which is a figural extension to the church, a special
kind of tension is experienced. This cross easily broaches a statement of profound architecture in the
context of religion. The issues and forces that this cross juggles, begs the possibility of it arguably being
more architecturally significant than the church building itself. In this fusion of sculpture, landscape and
architecture the architect addresses two main issues with three doctrinal parameters. The two main
characters of the cross are Jesus and the devil. However, the orchestration is anything but simple. The
complexity of the issue lies in the situation of representation which is symbolism. The idea of symbolism
in what Ajadi attempts to explain is in layers. Salvation which is a component of ‘making heaven’ and
getting to God is symbolized by the death of Jesus the Christ on the cross (see plate 4). Jesus therefore
plays a character in the symbolization of salvation using the crux immissia (cross with a horizontal beam
leaving an upright extension) as the object. In the book of Genesis, the devil possesses a serpent to have
an earthly physical identity in the garden of Eden. The serpent therefore becomes the devil by
embodiment at the garden of Eden but remains the devil in most Christian doctrinal expressions by
symbolism. The literal functional task was to design a cross at the site of the church, a tradition also in
Anglican architecture. The cross usually holds high, a bell rung by a rope attached to it in a mechanism
that tilts the bell back and forth to cause it to ring. This ritual alone has strong architectural underpinnings
but rather than simply replay it, the architect uses the cross to explain and possibly reveal new dimensions
and philosophies of symbolism in Christian context. His intention is to show through the symbolism of
the cross how man relates to God. He engages three parameters which he posits are the stages in the
process of man-induced divine encounter. He breaks this down to three basic stages: Hope; Humility; and
Divine Encounter. The diagrams in Fig. 7 show how these stages play into the ritual of divine encounter.
The crest of the gentle arch can be called a confluence of humility and hope; this opens up the pedestrian
entrance towards the path that leads to the church.
 Fig7. Diagrams of the OAC cross (Stephen Ajadi, 2013)

The next layer of symbolism is the most interesting as it portrays the Serpent on rare occasions switching
representation to symbolize quite the opposite. The book of Numbers in the Bible presents accounts of
how God instructed Moses to make a serpent and raise it up for it to serve as a source of salvation for
those who were bitten by snakes (Numbers 21:8). On this occasion, the serpent which ordinarily
symbolized Satan now symbolizes God and Salvation. In the account of John, a stronger reference is
made when the crucifixion of the ‘son of man’, that is, Jesus the saviour, on a cross is likened to the
lifting up of the fiery serpent by Moses (John 3:14). The architect delicately but gracefully merges these
two symbols into a piece of public architecture using sculpture as a language. The cross starts from a long
concrete bench that morphs almost smoothly into a hollow pipe that undulates its way up to being a cross
at the other end. Angles of view of the cross is taken into consideration as those who view from the bench
get a more ‘robust’ cross in their line of sight.

Furthermore, the architect creates a visual play with the structure. When viewed or approached from the
northern and southern parts of the site, the cross stands as a straight crux immissia with a snake at its feet.
This strong visual expression puts the snake at the feet of the cross which is the ultimate symbolic
hierarchical delineation of the Serpent (the Devil) relative to Christ (the Saviour). Holistically, the cross
reveals a number of terminal issues of faith, identity and doctrine. The cross expresses the relationship
between man and God, and the place of man and of course the church in the ever-continuing tension
between both extremities.
 Plate3: Church site showing an angle of the cross (Stephen Ajadi, 2013)

4.3 Wider Implications of the Ogidi Anglican Church Project

The design of the Ogidi Anglican Church is a reaction to schisms in Anglicanism in recent times. Even
though Anglicanism in Nigeria has proven unshaken by the apparent cultural schisms, it has mutated to
some extent. Constitutions have changed leading to the emergence of new bodies, but it is the opinion of
this young architect that the faith is still sustained. In the Ogidi Anglican Church project, the architect
attempts to make one underlining point: that interaction between doctrines of Anglicanism, culture and
architecture are inevitable but they do not have to be hostile or debilitating. With contemporary methods
and technology he rips off the traditional cosmetology of aesthetics and form associated with the
conservatism that characterized orthodox Christian architecture. He insists that the single doctrine that is
the hardest to be altered by influences of culture and technology through time is the recognition,
acceptance and worship of God. He asserts that if all the laws, constitutions, and practices are taken away
or eroded, the recognition, acceptance and the worship of God and what He stands for will still remain.

The seven giant pipes that structurally hold the church building brings into visual memory the seven
Ecumenical Councils between the first and second councils Nicaea (from 325 to 787 AD0. These are the
councils that laid the foundations of orthodoxy by formalizing doctrines of the church. While the Ogidi
Anglican Church stands out as a project that recognizes this, the architect creates a porosity and
transparency in the project that opens up the engagement of the social environment. Thus, he creates a
deep argument of the longevity of some doctrines, thereby revealing the presence of hierarchy in the
doctrinal framework of Anglicanism buttressed by history. His retention of basic Anglican worship
processions shows the relentless hermetic character of the act of worship and submission to God.

4.4 Concluding Remarks

In the development process, the architect employed methods of Computation and Parametric Design with
control to engage highly abstractive issues of history, space, place and doctrine. The Ogidi project is
found to address wider theoretical issues than the architect had initially imagined. In essence, the Ogidi
Anglican Church design while engaging doctrine in space, also creates layers of other parameters into a
parcel of discourse such as place, chronology and the possibilities of new methods for addressing them in
a religious architectural project. This project raised a lot of contention among the panel of jurors and it
was also criticized for the high construction budget that is likely to come with it. The fact that it broaches
some wide debate makes it expectantly interesting as that is one of the traits of significant architecture.
Though some of the criticisms are germane, it is pertinent to point out that the intention of the architect is
to express “meaning.” The church project for Ogidi defines his propensities for critical thought and a
development of what Peter Eisenman calls a project in contrast to a practice, the latter being a non-
theoretically conscious approach to providing architecture.

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