In the landscape of African architecture, design and cultural preservation, few figures demonstrate the kind of multidimensional impact embodied by Babatunde Olufon. He is not only an architect with award-winning projects but a longstanding patron whose influence extends into art collecting, design innovation, and the safeguarding of artistic heritage. For over two decades, Babatunde has quietly built a legacy rooted in preservation, access, and the amplification of African creative voices across continents. His career matured from early exposure to the built environment to professional excellence shaped by curiosity, discipline, and cultural consciousness. Today, his work is recognized not only for architectural artistry but for the profound role he plays in creating platforms that empower artists to thrive. Babatunde’s philosophy sits at the intersection of creativity, memory and identity — a belief that cultural work must serve people, history, and the future simultaneously. Every decision, whether in building, collecting or curating, is grounded in a sense of responsibility to heritage. His architectural projects such as the il Bagno showroom in Lekki and Oaken, which gained popular recognition after appearing in the Nollywood film Lockdown, demonstrate his immersive approach to spatial storytelling. What he constructs is not simply functional space — but atmosphere, narrative and experience. He operates as a connector, pairing material with meaning, architecture with culture, and design with emotional resonance. Beyond buildings, he has contributed to artistic visibility by supporting projects, exhibitions and experiences that foreground African voices. Through this, Babatunde reinforces the truth that architecture and art do not stand alone; they breathe together, shaping how people see themselves and their histories.
His story is not a conventional one — it is layered in migration of thought, discipline and advocacy. Babatunde studied architecture at the University of Lagos, driven by a childhood surrounded by real estate developments and model-making that held his fascination. He remembers discovering technical drawing in school and realizing instantly that he had found his path. That spark matured into practice, into built structures, and eventually into design thinking that extended beyond construction to product, furniture and spatial curation. What began as professional growth evolved into cultural responsibility as he recognized the power of art to archive memory, preserve knowledge and reflect evolving identities. His journey into collecting started casually, like many collectors — with curiosity, with an object, with a moment — but soon expanded into purpose. Over two decades later, this purpose matured into The FonB Collection, one of the most dynamic privately built collections focused on African and diaspora voices. Today, he stands not only as a collector but as a cultural steward, project pioneer and thought leader in conversations around heritage. Babatunde’s work shows that architecture cultivates the eye to see form, materiality and history, allowing him to collect with awareness rather than impulse. This awareness is what makes his work resonant: he collects not just for possession, but for preservation, education and legacy. His life is a testament to the belief that creativity becomes powerful when it is shared with communities.
As part of his cultural engagement, Babatunde carries a strong commitment to education and social development. He serves as a trustee of the Seed of the True Vine Foundation, where he supports visual and performance art learning for children in Lagos’s Makoko community — one of the most culturally rich yet underserved urban settlements in Nigeria. Beyond this, he sits on multiple boards including Cirble and the School of Creative Leadership, working at the intersection of youth empowerment, knowledge exchange and leadership growth. His recognition as a Hall of Fame Awardee by the Most Influential People of African Descent during the 2025 UN General Assembly signals how deeply rooted his impact is within global African arts networks. In 2017, he introduced an innovative art program pilot at the International Monetary Fund, reinforcing his dedication to pushing African narratives into global institutional spaces. Whether he is creating architecture, developing exhibitions, or curating cultural programs, his work reflects endurance, generosity and movement. He believes artists must create freely, without constraint or exploitation, and that ecosystems must be built where young voices and master artists coexist. To him, history is not something to archive quietly — it is something to activate. This is why his collection grows not only in number but in story — now exceeding 600 works spanning 18 African countries and the wider global Black diaspora. His support ranges from renowned names such as Ben Enwonwu, Bruce Onobrakpeya, Albert Mawere Opoku, Gerard Sekoto and Esther Mahlangu to emerging voices like Lateef Olajumoke, Selena Noir Jackson and Ishmael Armah. The FonB Collection is alive — responsive, growing, reflective — and built to last.
What makes Babatunde Olufon’s story even more compelling is that we recently had the unique opportunity to sit down with him and hear directly from the man behind the FonB Collection and his multifaceted creative practice. Through our conversation, Babatunde generously shared insights into how his early passion for architecture evolved into a lifelong commitment to culture and preservation, how his architectural and design sensibilities inform his approach to collecting and curating, and the philosophy that underpins the remarkable collection he has built. We discussed the stories behind some of his most celebrated architectural projects, his journey into design beyond buildings, and the deep purpose driving his patronage of African and diaspora artists. This interview goes beyond surface details, inviting readers into a dialogue about heritage, innovation, and legacy, while shining a light on the role of cultural custodianship in today’s world. As you read further, you’ll discover how Babatunde’s work not only preserves history but activates it — creating spaces and platforms where art can thrive, inspire, and connect generations. This is more than a profile; it’s a window into the mind of a visionary whose impact ripples across disciplines, continents, and communities. The conversation that follows offers an intimate view into his creative world, the values that guide him, and the exciting future he envisions for African art and architecture.
1. For readers discovering you for the first time — could you briefly introduce yourself and share how your creative involvement in culture, architecture, and design began?
I am Babatunde Olufon, an architect and cultural custodian whose practice spans architecture, design, and art patronage. My architectural work includes award-winning projects such as the il Bagno showroom in Lekki and Oaken, a residential project that gained wider recognition after appearing in the Nollywood film Lockdown.
Over the past two decades, I have built a significant art collection focused on amplifying voices from the African diaspora. As a patron, I believe in championing artistic freedom and creating spaces where artists can express their ideas without constraint. Beyond collecting, I curate exhibitions and collaborate with artists across different geographies to expand the visibility of African and diaspora narratives.
I also hold leadership roles that reflect my commitment to cultural advancement. I serve as a trustee of the Seed of the True Vine Foundation, which empowers children in Lagos’s Makoko community through visual and performance arts education. I also sit on the boards of Cirble and the School of Creative Leadership, and in 2017, I pioneered an innovative art program pilot at the International Monetary Fund.
I was honored as a Hall of Fame awardee by the Most Influential People of African Descent during the UN General Assembly, recognizing my work in advancing arts and culture within African diaspora communities. Through architecture, patronage, and community engagement, I aim to create meaningful opportunities for artistic expression and cultural preservation.
2. How did your journey into architecture start — where did you train or study, and what led you into professional practice?
I studied architecture at the University of Lagos. As a child, I was always drawn to building things. My father worked in real estate, so I grew up around architects and other professionals within the built environment. A family friend who was studying architecture often brought his model-making projects home, and I was fascinated by them. When I discovered technical drawing in secondary school, I fell in love with the precision and creativity it required. From that point, I never looked back.
3. Could you highlight one or two notable architectural projects you have worked on (personal, commercial, or collaborative)?
Two projects stand out in particular. The first is the il Bagno showroom in Lekki, an award-winning design that explores materiality and spatial experience within a commercial context. The second is Oaken, a residential project that unexpectedly reached a wider audience after being featured in the Nollywood film Lockdown. Both projects reflect my interest in creating spaces that are not only functional, but also tell a story — whether through form, material, or the cultural moments they become part of.
4. At what point did design enter your practice, and what type of design work do you specialize in today?
Design entered my practice as a natural response to challenges I encountered in daily life. Whether in furniture, product, or even fashion design, I was essentially solving problems. Today, I focus primarily on product design and the curation of experiential spaces. I design around themes — whether for exhibitions, cultural initiatives, or immersive environments — bringing together objects, narratives, and atmospheres that form a cohesive story.
5. When did you begin collecting art, and what inspired the foundation of what is now the FonB Collection?
I began collecting art over two decades ago, initially out of personal and touristic interest. Over time, it evolved into something much deeper — a platform for promoting African diaspora artists and preserving cultural narratives that are often overlooked. The FonB Collection was born from a desire to champion artistic freedom and amplify voices across Africa and its diaspora, ensuring these stories are not only preserved, but actively celebrated and shared.
6. Roughly how many artworks are currently in the collection, and which countries or regions are most represented?
The collection currently includes over 600 artworks across various media. Africa is the most represented region, reflecting my core mission of amplifying African art and narratives. Artists from 18 African countries are represented, alongside works from the wider African diaspora and other parts of the world.
7. Could you mention a few key artists featured in your collection — both established figures and emerging voices?
The collection spans generations and geographies. It includes works by Gerard Sekoto, Ben Enwonwu, Bruce Onobrakpeya, Esther Mahlangu, Albert Mawere Opoku, Ablade Glover, Jacob Lawrence, Sam Gilliam, Romare Bearden, Susanne Wenger, Victor Ekpuk, Nnena Kalu, Victor Ehikhamenor, Rashid Johnson, Harmonia Rosales, Amoako Boafo, Lateef Olajumoke, KH Bamba, Ishmael Armah, and Selena “Noir” Jackson, among others.
8. What themes, mediums, or artistic qualities guide your selection when acquiring artworks?
There is no preset formula. Art speaks to me in different ways and for different reasons. Sometimes I acquire a work to mark a significant moment; other times, it is a distinctive expression that evokes a particular feeling — whether immediate or nostalgic. The work must possess a strong visual language and also fit within the broader thematic narrative of the collection. I am guided by both intuition and intellectual curiosity, among other factors.
9. How would you describe the philosophy behind the FonB Collection and your broader work as a cultural custodian?
The philosophy centers on preservation, amplification, and freedom. I believe in safeguarding African heritage while actively creating platforms for contemporary voices to thrive. The collection functions as a bridge between historical context and present-day innovation, linking African and diaspora narratives across geographies. As a cultural custodian, my role is to ensure artists can create without limitation and that their work remains accessible to audiences who can learn from, engage with, and be inspired by it.
10. In your experience, what role do collectors and stewards play in preserving African heritage?
Both master artists and emerging creatives are equally vital. Master artists carry deep historical knowledge and cultural memory. Emerging artists experiment, challenge norms, and document contemporary realities while building upon the foundations laid by their predecessors. Supporting both ensures continuity — honoring the past while actively shaping the future of African artistic expression.
11. How does your architectural and design background influence how you collect and curate culture?
My architectural training has fundamentally shaped how I approach collecting and curation. I think about space, materiality, and narrative as interconnected elements. The genealogy and origin of materials are just as important as their aesthetic value. African heritage shows up not only in the artworks themselves, but in how experiences around them are designed — through texture, provenance, cultural resonance, and storytelling. Architecture taught me to see objects as part of larger systems, and that perspective informs every curatorial decision I make.
12. Looking ahead, what legacy do you envision for the FonB Collection, and what projects are you hoping to develop in 2026 and beyond?
I envision the FonB Collection as a platform that opens windows of learning and opportunity for wider audiences engaging with art of African descent. I want it to build bridges across cultures, using art as a shared language that transcends difference.
In 2026, I am excited to release a book I have been working on with a close collaborator for the past two years. I am also focused on institutionalizing the collection’s cultural exchange program, creating structured opportunities for artists to develop their practice while engaging deeply with the collection.
Babatunde Olufon stands as an example of how culture evolves when individuals choose to preserve, support and expand it with purpose. His journey demonstrates the power of creativity when matched with stewardship, vision and humanity. Through architecture, he builds spaces. Through design, he solves problems. Through collecting, he preserves memory. Through patronage, he builds opportunity. Through community work, he seeds change. The FonB Collection is not simply an archive — it is a living ecosystem that connects the past, the present and the future of African art. With over 600 works across several generations and geographies, it forms a cultural library that ensures history does not fade, but continues speaking. Babatunde’s commitment to emerging artists reveals his dedication to continuity — ensuring creativity is not a moment, but a lineage. His future plans reflect expansion — a book, a residency program and global engagement that deepens the collection’s reach. As Africa and its diaspora continue shaping global creative conversations, voices like Babatunde’s become vital in ensuring preservation is paired with innovation. His work reminds us that culture is built in layers — through people, places, stories and time. And as we conclude this feature, one truth stands clear: Babatunde Olufon is not just observing history — he is helping write it.
Editor’s Note:
This feature is based on an interview conducted by Africans Column. Project details, timelines, and collection information are presented as shared by the subject at the time of publication.
