FACULTY OF ENVIRONMENTAL SCIENCES

LABOUR-RELATED FACTORS AFFECTING CONSTRUCTION PROJECT PERFORMANCE IN EDO STATE

Submitted by Erhabor Harry on
Author(s)
CHIAMAKA ANNASTACIA ACHINAULO
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF QUANTITY SURVEYING
Year of Publication
2025
Keyword
LABOUR-RELATED
FACTORS AFFECTING
CONSTRUCTION PROJECT
PERFORMANCE
upload
FINAL YEAR PROJECT-1.pdf
Publication Type
Undergraduate Project
Abstract
Construction projects are frequently affected by labour-related problems that disrupt project delivery and reduce overall performance. This study examined labour-related factors affecting construction project performance in Edo State. It evaluated the frequency and severity of labourrelated factors, ascertained differences in the severity of labour-related factors on the performance of construction projects and determined the influence of labour-related factors on project cost performance in Edo State. A quantitative research approach was employed through the administration of a structured questionnaire to professionals in contracting firms such as architects, builders, M&E engineers, quantity surveyors, civil and structural engineers. The data collected were analyzed using descriptive statistics and Kruskal Wallis H test to determine, differences in the effects of labour-related factors on project cost performance in Edo State. The findings reveal that, the most frequent and severe labour-related factor affecting project cost performance is time management. The severity of most labour-related factors do not differ for different firm sizes and cost performance levels. However, the severity of occupational education level and experience was observed to be significantly different among micro, small and medium construction firms. While training was observed to be significantly different for different cost performance levels. The study recommends that micro construction firms should employ highly skilled and experienced labourers. The study demonstrated the contribution of labour-related factors to construction cost performance.
Supervisor(s)
C. P. Ogbu
co-supervisor
NIL

COMMEMORATING THE POSTGRADUATE PAINTING STUDIO SPACE IN HONOUR OF PROFESSOR MANASSEH EMAMOKE IMONIKEBE

Submitted by Erhabor Harry on
Author(s)
FLOURISH OSARUMWENSE EWEKA
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2025
Keyword
COMMEMORATING
POSTGRADUATE PAINTING STUDIO
upload
flourish full project.pdf
Publication Type
Undergraduate Project
Abstract
This project titled “Commemorating the Postgraduate Painting Studio Space in honour of Professor Manasseh Emamoke Imonikebe” was conceived as a creative and commemorative design project aimed at honouring the artistic and pedagogical contributions of Professor Imonikebe, a distinguished Nigerian painter and educator. This study’s practical aspect sought to design and produce an illuminated acrylic board signage that would serve both as a functional marker and as a symbolic artefact of institutional memory within the Department of Fine and Applied Arts, University of Benin. The research adopted a practice-based methodology, combining theoretical investigation, material experimentation, and studio production. Various literatures on commemoration, graphic design practice, typography, and material innovations were reviewed to establish a conceptual framework. The practical component involved the design and fabrication of an illuminated acrylic signage integrating laser-cut lettering and LED lighting, chosen for their aesthetic appeal, durability, and contemporary relevance. The outcome demonstrated that acrylic and lighting technologies can effectively enhance commemorative design by improving visibility, durability, and symbolic value. The completed signage achieved a harmonious balance between innovation and tradition, reflecting both the academic spirit of the institution and the creative legacy of Professor Imonikebe. The study concludes that creative experimentation with modern materials in commemorative contexts enriches design pedagogy and expands the boundaries of graphic design practice in Nigerian higher institutions. It recommends that universities adopt innovative and sustainable approaches to commemoration, merging heritage, technology, and design as tools for preserving academic legacies.
Supervisor(s)
Kennette Dikens Nwabuoku
co-supervisor
NIL

Kennedy Jude Eweka

Email Address
[email protected]
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Area Of Specialization
Ceramics
Name Prefix
Dr
Position
Senior Lecturer
ORCID
ORCID Number: 0009-0009-0986-8301

Publications

  • Evaluating the potentials of Ovia clay for sustainable tile production
  • CERAMIC TECHNOLOGY AS A CATALYST FOR ECONOMIC GROWTH AND DIVERSIFICATION IN NIGERIA
  • CLAY AND SPIRIT: ANIMIST VALUES IN TANGIBLE POTTERY ARTWORKS OF BENIN CITY
  • Ceramic Tile Misapplication in Institutional Buildings: Safety, Durability, and Aesthetic Implications
  • THE INNOVATIVE IMPACT OF THE 5TH INDUSTRIAL REVOLUTION ON CERAMIC ARTS
  • . EWEKA K. J. (2018) THE SPILL (Annual Staff Exhibition) DATE: 18th – 22nd June 2018 Auchi Polytechnic, Auchi.
  • Daniel Nosakhare Osariyekemwen., Kennedy Jude Eweka (2016) ‘Contemporary Traditional Pottery of the Okabere, Nigeria’. Published in CPAN: Journal of Ceramics. (Craft Potters Association of Nigeria) Department of Fine and Applied Arts, University of Nigeria, Nsukka, Nigeria. Vol. 6, 2016. Page 86 – 92.
  • EWEKA K. J. (2006) INTERNATIONAL MUSEUM DAY ART EXHIBITION: Date: 18TH - 25TH MAY 2006. Venue: National Museum Benin, Edo State.
  • EWEKA K. J. (2008) IMAGES OF VALUE (An Art Exhibition of the 3rd National Symposium on Art) Date: 29TH- 31ST July 2008. Venue: Department of Fine/Applied Arts, University of Benin.
  • EWEKA K. J. (2011) VISUALS OF THE ANCIENT BENIN KINGDOM Date: 19TH – 30TH DECEMBER, 2011. Venue: Oba Akenzua Cultural Centre, Benin City.
  • EWEKA K. J. (2014) INTERNATIONAL MUSEUM DAY CELEBRATION Date: 19TH -24TH MAY, 2014. Venue: National Museum, Benin City, Edo State, Nigeria.
  • Eweka K. J. ‘My Country, My Culture, My Alma Mata’. Date: 29th - Eweka K. J. 2nd May, 2018. Venue: Department of Fine/Applied Arts, Faculty of Arts, University of Benin, Ekenwan Campus, Benin City.
  • Eweka K. J. ‘CERAMICS: A TOOL FOR SOCIAL INTERFACE’. Date: 4TH – 8TH June, 2015. Venue: Department of Fine/Applied Arts, Faculty of Arts, University of Benin, Ekenwan Campus, Benin City.
  • Eweka K. J. ‘CERAMICS KILN FURNITURE’. Date: 18TH MAY, 2015. Venue: Department of Fine and Applied Arts, Delta State University, Abraka.
  • Eweka K. J. (2009) ‘Fabrication of Waste Engine Oil Burner: Trends and Challenges in Nigeria Pottery Industry’. Published in Ashakwu: Journal of Ceramics. (Professional Association of the Ceramic Researchers Association of Nigeria) Department of Industrial Design, Ahmadu Bello University, Zaria, Nigeria. Vol. 6, 2009. Page 48 – 56.
  • Eweka K. J. (2011) ‘Trends and Development in Policy Implementation in Nigeria: Fresh Ceramic Graduates Any Hope of Survival?’ Published in Ashakwu: Journal of Ceramics. (Professional Association of the Ceramic Researchers Association of Nigeria) Department of Industrial Design, Ahmadu Bello University, Zaria, Nigeria. Vol. 8, 2011. Page 78 – 83.
  • Eweka K. J. (2015) ‘Made in Nigeria Ceramic Kiln Furniture Using Kaolin And Ball Clay From Afowa In Etsako West Local Government Area, Edo State’. Published in Emotan: A Journal of the Arts. (Department of Fine/Applied Arts, Faculty of Arts, University of Benin, Nigeria).Vol. 8 No 1, December 2015. Page 105 – 111.
  • Eweka K. J. (2015) “Made in Nigeria Ceramic Kiln Furniture Using Kaolin And Ball Clay From Afowa In Etsako West Local Government Area, Edo State”. Published in the 1st University of Benin Annual Research Day (UBARD) Conference Book of Proceedings pp. 29 -34.
  • Ikeneri J.O., Ukweku S.O., Eweka K.J., Ebeigbe S.U.: (2012) “Advocacy for Sustainable Environment in Nigeria: Recycling of Ceramic Pottery Shards”. Ashakwu: Journal of Ceramics. (Professional Association of the Ceramic Researchers Association of Nigeria) Department of Industrial Design, Ahmadu Bello University, Zaria, Nigeria. Vol. 9, 2012. Page 10 – 20.
Scopus ID
986-8301
Google Scholar Link
https://scholar.google.com/citations?hl=en&user=r8jBYMMAAAAJ&view_op=list_works…
Office Address
Department of Fine and Applied Arts, Faculty of Environmental Sciences, Ekenwan Campus, University of Benin.

EBIRA VERTICAL LOOM TECHNOLOGY: A PRACTICAL APPLICATION FOR 1 COMMERCIAL ABILITY IN NIGERIA

Submitted by Prudence on
Author(s)
BERNADETTE IFUEMI OLUYOLE
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2026
Keyword
EBIRA VERTICAL LOOM TECHNOLOGY
upload
Unconfirmed 545519.pdf
Publication Type
Master Dissertation
Abstract
The Nigerian indigenous loom has always been a vehicle for cultural preservation. The indigenous weaving techniques are passed down through generations. Despite the enormous commercial viability of loom technology in Nigeria, this traditional technology faces several challenges. Some of these challenges include heavy weight of the fabric, inadequate knowledge of the commercial potential of the fabrics, lack of adequate access to modern weaving equipment, poor or little understanding of the traditional weaving equipment. Thus, there seems to be gradual loss of intricate techniques as a result of improper documentation. Consequently, the aim of the study was to explore the possibility of reducing the weight of this traditional woven fabric and to examine the equipment, materials, and techniques used in the Ebira fabric production with a focus on the looms used in the production of the fabrics. The research methods used in carrying out the study is exploratory method. Materials used in carrying out the research include yarns, loom and its different accessories. Efforts were made to produce modified traditional hand-woven fabrics with reduced weight. Thereafter, the modified hand-woven fabrics were used to produce different end uses for fashionable purposes. The study found out that it is possible to use the same traditional loom and its accessories that produced heavy weight fabrics to achieve lighter or reduced weight fabrics for contemporary uses. It was recommended that the Ebira woven fabrics should be explored so as to curb the unemployment menace happening in the country. It was also recommended that the Ebira people should commemorate their ceremonies with their traditional fabric (Ita-Inochi) for a better patronage and in turn, boost the state economy in particular and Nigeria in general.
Supervisor(s)
Paul B. Aihionbare
co-supervisor
NIL

E-INVENTING THE OSOGBO ART STYLE IN CONTEMPORARY TIME

Submitted by Nosa Igho-Osagie on
Author(s)
ABIODUN NAFIU AZEEZ
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2026
Keyword
RE-INVENTING
CONTEMPORARY
STYLE
upload
Abiodun Azeez 2025 final correction External.pdf
Publication Type
PGD Project
Abstract
Osogbo art, which previously stood at the forefront of Nigeria artistic heritage, has gradually been relegated to the background. These is, however, a pressing need to re-project it within present and contemporary artistic practice. Despite the rich artistic and cultural significance of Osogbo art style, there exists a notable gap in research regarding the specific intersection of the elements of impasto technique in painting. While impasto techniques have been extensively studied in Western art traditions, their application within the context of Osogbo art style remains largely unaccessed. The aim of the study was to produce paintings that depict the interplay of texture and alternative display of the Osogbo art style in contemporary painting. The design of the study was exploratory and studio-based to produce paintings in Osogbo art style in a contemporary format using impasto texture to be display on alternative diagonal placement using oil colour as medium painted on canvas. The materials used include oil colour, palette knives, canvas, and linseed oil using studio procedures. The procedure involved six main stages include: stretching, sizing, priming, sketching, painting, and finishing. Impasto technique. executed primarily with palette knives, was applied to create texture and are visually analyzed. The finding of the study are the following: Use of Impasto: Impasto introduced tactile qualities to Osogbo inspired paintings, adding depth, rhythm, and material presence that enhanced their symbolic and narrative strength, Cultural Relevance: The paintings successfully expressed themes rooted in Yoruba culture, such as maternal love (Donkeys in the Groove), social reflection (Sober Reflection), and memory of the past (In the 90s), while simultaneously addressing contemporary concerns, Aesthetic Enrichment: The interplay of texture expanded the expressive vocabulary of Osogbo art, allowing it to remain vibrant and adaptable to modern artistic practice. Therefore, it has established that impasto can be effectively integrated into Osogbo art, enhancing its tactile and expressive qualities, thus adding dynamism and novelty to art appreciation.
Supervisor(s)
Manasseh Emamoke Imonikebe
co-supervisor
NIL

SANGO! VENGEANCE AND FIRE IN THE AGE OF BETRAYAL

Submitted by Erhabor Harry on
Author(s)
SEUN JOHN DANIEL
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2025
Keyword
SANGO
VENGEANCE
AGE OF BETRAYAL
upload
Daniel seun's art projectsfinal.pdf
Publication Type
Undergraduate Project
Abstract
This research explored the concept of vengeance and justice through the cultural and spiritual representation of Sango, the Yoruba god of thunder and fire. The study addressed the problem of increasing moral decline, betrayal, and the erosion of integrity in today’s society, which have contributed to the breakdown of traditional values and social harmony. The study aimed to reinterpret Sango as a symbol of justice, power, and moral equilibrium, using visual art to illustrate the effects of betrayal and the importance of restoring truth and righteousness within human relationships and the larger community. The project was developed through a series of creative stages. It commenced with a conceptual and contextual study of Yoruba mythology, symbolism, and the spiritual significance of Sango as a divine figure of strength and retribution. This was followed by the creation of sketches and compositional designs to establish visual rhythm, balance, and narrative expression. The painting process utilized the realistic technique, involving meticulous layering, blending, and tonal gradation to produce naturalistic forms and dynamic energy that embody Sango’s fiery presence. The final phase included refinement, critical evaluation, and presentation to ensure both visual unity and thematic clarity. The study discovered that traditional deities like Sango remain relevant as symbolic channels for confronting moral, social, and political challenges in modern times. It concluded that visual art serves as an effective means of cultural preservation, ethical reflection, and social commentary. The study therefore recommends that artists continue to draw inspiration from indigenous myths and symbols to interpret contemporary realities, foster moral awareness, and promote cultural identity through creative expression
Supervisor(s)
Esther Esosa Esizimetor
co-supervisor
NIL

EXPLORATION OF CAMEL AND COW BONES AS AN ALTERNATIVE MEDIUM OF EXPRESSION IN SCULPTURE

Submitted by Prudence on
Author(s)
OLUWASEUN OPEYEMI OSIBOYE
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2026
Keyword
EXPLORATION OF CAMEL AND COW BONES
upload
Jesusheunfunmi.pdf
Publication Type
Thesis
Abstract
Material exploration has become a fixture in art production, particularly in sculpture. Artist derives academic and research satisfaction from the intentional pursuit of novel materials for sculptural piece, drawing inspiration from diverse philosophical perspectives within their immediate environment. However, the researcher has observed that much exploration seems not be observed in animal bone assemblage. In effect the study was an attempt to adopt a procedure for maceration of skull and techniques for modeling the skull into low relief, high relief, and sculpture in the round, and mix-media sculptures. Methods used in this study is studio exploration methodology. The creative use of animal skulls specifically camel and cow skull and components employed to produce variety sculpture images. The woks are both in the round and relief forms. It focused on the use of the unique anatomical structures, textural characteristics and inherent aesthetic potentials of these skulls. The study revealed that animal skull can be clinically treated and used as a medium of expression in sculpture through carving techniques such as cutting/slicing, engraving drilling and assemblage. It was observed that during the study technique and method employed were able to produce sculptural works like “Motherhood passion”, “Exodus”, “Political Thieves”, “Awon
Amuludun”. It was therefore recommended that other animal skull bones and bone parts should be explored to produce sculptural artworks based on the unique inherent qualities observed in the skull of camel and cow. It was also envisaged that this study would serve as a source of references to scholars and a source of inspiration to other artists and art critics.
Supervisor(s)
EFEMENA I. ONONEME
co-supervisor
NIL

SURFACE FINISHING OF OUTDOOR POLYSTYRENE SCULPTURES; EXPLORATION OF INTEGRAL COLOURING AND WAX PROTOCOL.

Submitted by Prudence on
Author(s)
JOHN OSHOKE ANABUI
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2026
Keyword
EXPLORATION OF INTEGRAL COLOURING AND WAX PROTOCOL
upload
My Final THESIS 115 (Dr. John Oshoke).pdf
Publication Type
Thesis
Abstract
Over time, outdoor sculptures have often succumbed to the harsh weather conditions. Hence, the dire need to safeguard these sculptures from continued degradation. This research is premised on the observed deterioration of the outdoor polystyrene sculptures on Ekenhuan Campus, executed by John Oshoke Anabui in 2014. After nine years of exposure to harsh weather conditions, the sculpture has shown significant signs of wear. The paint coating originally applied to enhance its appearance and protect it from damage has begun to peel, and the surface texture has progressively degraded, despite a restoration effort carried out in 2015 and 2023. This research explored the use of integral colour and wax finishing techniques as an alternative to conventional surface finishing methods. The process involves mixing water-based paints with sawdust, which is then sun-dried. Additionally, natural materials such as charcoal, eggshells, and wood ash were experimented with and utilized as integral pigments in combination with sawdust. The coloured sawdust was mixed thoroughly with polystyrene that was dissolved in PMS (Premium Motor Spirit) resulting in a sticky, paste-like consistency. This mixture was then transformed into a solid form using the modelling and casting technique. The initial layer of cast carried the colour, design, and patterns that defined the final appearance. The entire cast had a thickness of approximately half a centimeter. To enhance durability and to preserve both the colour and surface texture, a protective polish using beeswax and paraffin wax was applied, serving as a barrier against humidity and surface abrasion. However, after eight months of simulated outdoor exposure, it was observed that the treated samples exhibited significantly greater colour retention than painted controls and there was no abrasion on the surface texture. In addition, the liquid soap used as a release agent between the cast and the mould was found to react with PMS and visible stains on the surface of the cast in the special project, making the surface look dull and faded but after applying the wax polish, the final outlook was enhanced with no tract of the liquid soap stain.
Supervisor(s)
Efemena Isaiah Ononeme
co-supervisor
NIL

AN EXPLORATION OF THE CULTURAL INFLUENCES OF THE WORKS OF PIUS WARITIMI

Submitted by Prudence on
Author(s)
FAMOZOR, PEREKEBINA JEREMIAH
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF FINE AND APPLIED ARTS
Year of Publication
2025
Keyword
EXPLORATION OF THE CULTURAL INFLUENCES
upload
BRO JEREMIAH PROJECT WORK.pdf
Publication Type
Undergraduate Project
Abstract
This project delves into the rich cultural influences that shape the artistic expressions of Pius Waritimi, a prominent sculptor from the Niger Delta region of Nigeria. Waritimi, often referred to as "The Master Carver of the Niger Delta," has made significant contributions to the field of sculpture, blending traditional techniques with contemporary themes. This exploration focuses on seven of his notable works, each reflecting distinct cultural narratives and artistic philosophies.As an academic, Waritimi has influenced a generation of artists, integrating cultural narratives into art education, thereby ensuring the continuity of cultural practices. The first chapter talks about the background, statement of problem, research problem, aims and objectives and the scope of the study. The second is a review of literature text of Waritimi. The methodology used in this research project which was a one-on-one interaction with artist Waritimi as regards to his works. The findings talks about exposition of some of his works such as; The Fisherman's Palour, Executive Stool, (S)hell, The Lumbering Man, Traditional War Canoe, Traditional Couple and The Seat of Activism. Conclusively, through this exploration, the project aims to illuminate how Waritimi's works not only serve as artistic expressions but also as cultural commentaries that engage with themes of identity, tradition, and innovation. By analyzing these seven works, the study will contribute to a deeper understanding of the role of cultural influences in shaping contemporary African art
Supervisor(s)
JOHN OGENE
co-supervisor
NIL

TIMBER FOR SUSTAINABLE AND AFFORDABLE HOUSING AND BUILDING CONSTRUCTION IN BENIN CITY, EDO STATE, NIGERIA.

Submitted by Williams on
Author(s)
MAYONE ANSELM OSHEHOR
Faculty
FACULTY OF ENVIRONMENTAL SCIENCES
Department
DEPARTMENT OF ARCHITECTURE
Year of Publication
2025
Keyword
Timber
Sustainable Housing
AFFORDABLE HOUSING
Building Construction
Edo State
NIGERIA
BENIN CITY
upload
ANSLEM'S PROJECT_2025.pdf
Publication Type
Undergraduate Project
Abstract
The rising demand for sustainable and affordable housing in Nigeria has drawn attention to the use of environmentally friendly and cost-effective building materials. This study explores the potential of timber as a construction material for sustainable and affordable housing and building development in Benin City, Edo State. Timber, being a renewable and locally available resource, offers significant advantages in terms of energy efficiency, reduced environmental impact, and economic viability. The research assesses the level of timber adoption in the local construction industry, evaluates its suitability in terms of structural performance, cost, and sustainability, and examines the challenges hindering its widespread use. Findings indicate that while timber is perceived positively for its aesthetic and thermal qualities, concerns regarding durability, fire resistance, and regulatory gaps remain key obstacles. The study concludes that with proper treatment, policy support, and awareness campaigns, timber can play a critical role in addressing Nigeria's housing deficit sustainably and affordably. Recommendations are made for policymakers, architects, and developers on strategies to promote timber adoption in future building projects.
Supervisor(s)
G.E.O. Ekpu
co-supervisor
NIL
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