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$1.$ Introduction African creative tradition as noted by Appiah $($Appiah$,1996)$ is both various and particular, reflecting the cultural setting of its origin. What is common, however, is that art played a very important role in the everyday life of traditional African people. Many of what is known of Africa$$s rich heritage today can be attributed to information gathered from archaeological findings traceable to Africa. One major medium of such artistic expressions are the dwellings which housed the people. Unlike other media of expression which have received wide publicity, buildings are fixed to location and therefore not very mobile. Due to their construction materials and level of maintenance over the years, many of these buildings have deteriorated and been destroyed. Today, it is very rare to see traditional buildings in Africa. Thus a rich component of the African rich creative tradition and cultural heritage is at the brink of extinction as the African identity is seriously threatened. This paper thus examines the artistic expression in domestic buildings of the people of South West Nigeria.

$2.$ Literature Review It was initially believed that Africa had no art. Thus, whatever was considered African art was termed $$primitive$($Gates$,1996).$ However, archaeological discoveries and existing traditional communities have proved such assumptions untrue. Today, many museums all over the world are enriched with art works of African origin. Ample evidence suggests that the life of the traditional African is intrinsically interwoven with art. It played a vital role in the political, social, economic and religious life of the people $($Appiah$,1996).$ Aside from its aesthetic value, art was also a medium of communication of values, events, status, aspirations and allegiance to tribal roots. African art is highly symbolic and the meanings were tenaciously passed from generation to generation. Media of artistic expression included the human body, textiles, artefacts and buildings. Though less reported, traditional domestic houses were rich examples of traditional African art. The interiors were often richly adorned with elaborately finished and furnishings, fittings and artefacts. These included furniture, mats, fabrics, decorations, cooking utensils and cutleries. Aside from meeting their functional requirements, these items were aesthetically formed and decorated in pleasing colours. The walls $($both external and internal$)$ perhaps provided more elaborate media for artistic expression in traditional homes. The elaborateness however varied depending on the socioeconomic class of the house owner. Elements of decorative designs found in traditional African homes include form, colour, lines, texture, shape and space. These constitute the motifs which were repeated to produce rhythm and flow. In many traditional African societies, house decoration was done by women. Domestic African art has metamorphosised over the years under the influence of several forces. These forces include trade including slavery, colonisation, religion, returning slaves and globalisation. Urbanisation resulting from these forces has created $$a distinct urban class of consumers whose tastes and aspirations are different from those in the rural areas and are often shaped by ideas and goods from the West$$ as observed by $($Kasfir$,1999).$ He argues that such situation has undermined local industry and made $$global consumers$$ of Africans. Contemporary buildings thus have very little regard to local context. Such architecture and resulting built environment have been described as $$bland$,$anonymous$$ and devoid of symbolism $($Crowe$,2000).$