The advent of colonialism in the 1800s was one of the key factors in the drastic, irreversible alteration of 'indigenous' Lagosian architecture. The desire of the English Crown for inexpensive colonialism in humid, tropical West Africa, coupled with the construction of the C.M.S building in
Badagry by European missionaries set the precedent for the mass importation of cheap building materials, in particular: Cement, and corrugated iron sheeting. These two materials continue to dominate the building industry to the present day. From the British standpoint, adobe structures were out of the question, so standard colonial-issue tropical houses characterized by deep verandahs, overhanging eaves and classical forms were introduced particularly in planned European quarters like the central areas of Yaba, Surulere and Lagos island. This inevitably led to emulation by the resident natives who immediately took to the foreign building materials to indicate their progressiveness. The other significant factor that impacted upon Lagos's architectural landscape was the slave abolition act, passed on 25 May 1807, which saw the repatriation of thousands of Yoruba ex-slaves and freemen (known as
Agudas from Cuba or
Saros from Brazil) from all over the Americas but particularly Brazil, and Cuba to the country of their roots. Most of these were skilled artisans and masons and brought with them a much grander style of architecture: Brazilian Baroque architecture and
sobrado styles. This style incorporated mostly Portuguese architecture with a few trademark motifs of their own like floral motifs and chunky concrete columns. The refinement of Brazilian Baroque quickly found it acceptance among the local elite who before long, made
Afro-Brazilian architects much in demand. Many of these buildings have since been pulled down to make room for newer building projects and calls for conservation have not been heeded by authorities. Examples of Brazilian Baroque include
Ilojo Bar, Lagos island, which was designed in 1856 by Afro-Brazilian architect Victor Olaiya and
Shitta-Bey mosque with its Ottoman influences by João Baptista Da Costa in 1894. These homes are now mostly historical museums. ==Post-Colonial==