INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
A research submitted to the Department of Architecture in the School of Architecture and Building Sciences in partial fulfilment of the Degree of Bachelor of Architecture of Jomo Kenyatta University of Agriculture and Technology.
ALLAN KIPLAGAT METTO 2018.
INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
INSPIRATION
“To Modernise is not to Westernise” Unknown. “Words are also a way of exploring new territories, new ideas, new kinds of Architecture…” Iain Borden
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
DECLARATION This proposal/thesis is my original work and has not been presented for a degree in any other university. This work forms part fulfilment of the requirements for the award of the degree of Bachelor of Architecture of the Jomo Kenyatta University of Agriculture and Technology.
Signature (Author) ……………………………………………..……………………… Date………………………………......... Metto Allan, B.Arch. VI, 2018/19
Signature (Supervisor) ……………………………………………..………………….
Date………………………………..........
Arch. Wycliffe Nyachwaya, B.Arch. (Hons.) JKUAT, M.A.A.K. (A), Registered Architect.
Signature (C.O.D) ……………………………………………..…………………..…... Date……………………………….......... Arch. Hashim O. Nadi, M.U.D. (JKUAT), B.Arch. (Hons.) JKUAT, Dip. Arch., M.A.A.K. (A), Registered Architect.
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
DEDICATION
I dedicate this Thesis to:
The Almighty God, without whom life would lose meaning altogether. My beautiful family, especially Mum and Dad: Mr and Mrs Metto, for believing in me, laying principles and praying incessantly. My paternal grandfathers, David Metto and David Cheluget, for recognising the value of education and inculcating the reading culture in their children. The Kenyan People, for the spirit of brotherhood and our underlying philosophy of Peace, Love and Unity.
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
ACKNOWLEDGEMENTS If I have seen far, it is by standing on the shoulders of giants. This thesis would not have come into fruition were it not for a number of very special individuals: Foremost, I am indebted to my supervisor, Arch. Wycliffe Nyachwaya, without whom I’d be like a ship without a rudder. His guidance has been invaluable and his commitment unrivalled. Thank you. The Chairman, Department of Architecture, Arch. Hashim Nadi and the team of dedicated tutors for the advice and critique that shaped my architectural thinking through the years. Special thanks to: my mother, Dr Martha Metto, for reviewing my work and giving invaluable technical input. My father, Joseph Metto, for believing in me and investing in my education. My friends and classmates, with whom there was never a dull moment, always urging each other forward and making memories while at it. To Alexandra, my support system. My heartfelt gratitude. And last but not least, my biggest gratitude goes to The Almighty GOD, for health, for strength and for daily bread. Thank you.
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
ABSTRACT Regionalism treats Architecture as an inseparable part of the region and as such public architecture ought to be a physical representation of its region and the cultural values of the people therein. However, the destructive legacy of colonial rule blurred the terms of reference for new public architecture and in the absence of new architectural language, public designs took two routes: Iconic, signature architecture and Normative, western-inspired architecture. These approaches to design conceived public buildings that lack regional identity and authenticity. Even so, the devolution of Government in 2010 and the birth of County Assemblies set the stage for a move towards the creation of regionally distinct, identifiable, authentic buildings. The overall objective of the research was to establish the influence the concept of Regionalism had on the eventual character of the built form of County Assembly buildings and the specific objectives were: to identify case studies of County Assembly buildings that have been informed by the concept of Regionalism, to document the attributes of Regionalism inherent in the built form and to determine the extent to which Regionalism influenced the eventual character of the built forms of the case samples. The study hypothesized that regional aspects greatly influence the built form. The research is timely as an increasing number of county governments look to put up new structures to meet the accommodation and symbolic needs inadequately addressed by the premises inherited from the defunct town and municipal councils. The review of Regionalism theory and the theory of Form was instrumental in establishing the theoretical and analytical background for the study. The research applied qualitative case study approach; two county assemblies were sampled through cluster sampling and the respondents were selected through stratified proportionate sampling. Data was collected through archival study, structured observation and standard questionnaires and analysed using descriptive and correlation methods. The study findings indicated that regional aspects: site context (r=0.9794) and metaphors & symbolism (r=0.7930) had statistically significant positive effect on the character of the built form. The research concluded that Regionalism is a significant determinant of form derivation and articulation. The studied built forms were deemed to be distinctly regional and had an identifiable architectural image. The study recommends that architects commissioned to design public buildings, particularly County Assembly buildings, take into account concepts of Regionalism if they are to create designs that are authentic and have a unique regional identity, specifically: an emphasis on the tactile just as well as the visual for a multisensory experience (physical properties), incorporation of re-interpreted vernacular elements and symbols (metaphors and symbolism), use of local materials & finishes and structural poetic (tectonics), respect for topography and unique response to the light and thermal conditions (site context).
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
TABLE OF CONTENTS Inspiration ………………………………………………………………………………………………………………………………………………ii Declaration……………………………………………………………………………………………………………………………………………...iii Dedication………………………………………………………………………………………………………………………………………………iv Acknowledgements……………………………………………………………………………………………………………………………………...v Abstract…………………………………………………………………………………………………………………………………………………vi Table of Contents………………………………………………………………………………………………………………………………………vii List of Plates……………………………………………………………………………………………………………………………………………..x List of Figures…………………………………………………………………………………………………………………………………………xii List of Graphs…………………………………………………………………………………………………………………………………………xiii List of Tables………………………………………………………………………………………………………………………………………….xiv Abbreviations…………………………………………………………………………………………………………………………………………xiv
CHAPTER 1: INTRODUCTION 1.0
Background ............................................................................................................................................................................................... 2
1.1
Problem Statement ..................................................................................................................................................................................... 3
1.2
Study Objectives ........................................................................................................................................................................................ 5
1.3
Hypothesis ................................................................................................................................................................................................. 5
1.4
Definition Of Terms................................................................................................................................................................................... 6
1.5
Variables ................................................................................................................................................................................................... 7
1.6
Study Assumptions .................................................................................................................................................................................... 7 vii | P a g e
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
1.7
Study Justification ..................................................................................................................................................................................... 7
1.8
Study Scope ............................................................................................................................................................................................... 8
1.9
Study Limitations ...................................................................................................................................................................................... 8
1.10
Study Organization .................................................................................................................................................................................... 9
CHAPTER TWO: LITERATURE REVIEW 2.0
Theory Of Form (Ching, 2010) ................................................................................................................................................................. 11
2.1
Derivation Of Architectural Form ............................................................................................................................................................. 23
2.2
Regionalism In Architecture ..................................................................................................................................................................... 25
2.3
Critical Regionalism: A New Approach .................................................................................................................................................... 28
2.4
Kenneth Frampton’s Theory On Critical Regionalism ............................................................................................................................... 29
2.5
Design Interventions: How The Concept Of Regionalism Influences Form Derivation .............................................................................. 31
2.6
A Study Of The Mpumalanga Provincial Legislature, South Africa ........................................................................................................... 42
2.7
Conceptual Framework ............................................................................................................................................................................. 54
CHAPTER THREE: RESEARCH METHODOLOGY 3.0
Introduction ............................................................................................................................................................................................. 56
3.1
Research Design ...................................................................................................................................................................................... 57
3.2
Research Methods .................................................................................................................................................................................... 57
3.3
Data Collection Tools & Techniques ........................................................................................................................................................ 58
3.4
Data Analysis And Presentation ............................................................................................................................................................... 59
3.5
Sampling Procedures ............................................................................................................................................................................... 62
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
CHAPTER FOUR: CASE STUDIES AND DATA ANALYSIS 4.0
Case Study One: The County Assembly Of Kilifi ..................................................................................................................................... 64
4.1
Case Study Two: The County Assembly Of Homa Bay ............................................................................................................................ 68
4.2
Comparative Analysis: ............................................................................................................................................................................. 72
4.3
Questionnaire Response Analysis ............................................................................................................................................................. 75
4.4
Correlational Analysis ............................................................................................................................................................................. 88
CHAPTER FIVE: FINDINGS, CONCLUSIONS AND RECOMMENDATIONS 5.0
Summary .................................................................................................................................................................................................. 91
5.1
Findings.................................................................................................................................................................................................... 91
5.2
Conclusions & Recommendations ............................................................................................................................................................. 94
LIST OF APPENDICES References …………………………………………………………………………………………………………………..………………………..xvii Observation Checklist……………………………...…………………………………………………………………………………………………..xx Sample Questionnaire……………………………………………………………………………………………………………………………...…xxii
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
LIST OF PLATES
PLATE 1-1 FRONT FACADE OF THEN CITY HALL, NAIROBI ................................................................................................................................................................ 2 PLATE 1-2 FRONT FACADE OF THEN TOWN HALL, ELDORET ............................................................................................................................................................. 2 PLATE 1-3 KISUMU COUNTY ASSEMBLY BUILDING ......................................................................................................................................................................... 3 PLATE 1-4 MOMBASA COUNTY ASSEMBLY BUILDING ...................................................................................................................................................................... 3 PLATE 1-5 COUNTY ASSEMBLY OF WEST POKOT ............................................................................................................................................................................ 4 PLATE 1-6 KITUI COUNTY ASSEMBLY ............................................................................................................................................................................................. 4 PLATE 2-1 AN ILLUSTRATION OF THE USE OF POINT. LINES, PLANE AND VOLUME (IMPLIED) IN A LIGHT FIXTURE................................................................................ 11 PLATE 2-2 'CLEOPATRA'S NEEDLE' AN OBELISK THAT EXEMPLIFIES THE MANIFESTATION OF A POINT EXTENDED VERTICALLY INTO A LINEAR FORM .......................... 12 PLATE 2-3 S. R. CROWN HALL BY LUDWIG MIES VAN DER ROHE ILLUSTRATING THE USE OF LINES IN A COMPOSITION .................................................................... 13 PLATE 2-4 NOTICE FRANK LLOYD WRIGHT'S USE OF HORIZONTAL LINES IN THE KAUFFMAN’S HOUSE ............................................................................................. 14 PLATE 2-5 VERTICALITY: TRURO CATHEDRAL IN THE UNITED KINGDOM ....................................................................................................................................... 14 PLATE 2-6 A MODEL OF THE GUGGENHEIM MUSEUM IN BILBAO. NOTICE THE USE OF OBLIQUE LINES AND DEEP CURVES .................................................................. 15 PLATE 2-7 HEYDAR ALIYEV CENTRE BY ZAHA HADID: NOTICE THE USE OF SOFT, SHALLOW CURVES .............................................................................................. 15 PLATE 2-8 AN ILLUSTRATION OF AN INTERPLAY BETWEEN THE OVERHEAD PLANE, THE WALL PLANES AND THE BASE PLANE IN A MODERN HOTEL ............................. 16 PLATE 2-9 VILLA SAVOYE, POISSY, FRANCE.................................................................................................................................................................................. 17 PLATE 2-10 NOTICE THE USE OF DIFFERENT COLOURED AND TEXTURED MATERIALS: TIMBER, GLASS, STEEL MESH AND ALUMINIUM CLADDING ................................ 18 PLATE 2-11 REPLICA MAMMOTH TENT, 40 000 B.C. ...................................................................................................................................................................... 23 PLATE 2-12 A VERNACULAR BUILDING TYPE ................................................................................................................................................................................. 24 PLATE 2-13 ANCIENT NATIVE AMERICAN 'TIPI' ............................................................................................................................................................................. 25 PLATE 2-14 ANCIENT ROMAN TEMPLE .......................................................................................................................................................................................... 25 PLATE 2-15 ANCIENT EGYPTIAN TEMPLE ...................................................................................................................................................................................... 25 PLATE 2-16 A MEXICAN STYLE PATIO HOUSE ................................................................................................................................................................................. 26 PLATE 2-17 A TYPICAL CAPE COD COTTAGE .................................................................................................................................................................................. 26 PLATE 2-18 SAYNATSALO TOWN HALL, FINLAND BY ALVAR AALTO ............................................................................................................................................. 32 PLATE 2-19 NOTICE THE GRASS-PAVED STEPS AND THE ADJACENT BRICK STEPS ON THE STAIRS ....................................................................................................... 32 PLATE 2-20 MEDICI HOUSE (CASA ROTUNDA), SWITZERLAND ....................................................................................................................................................... 34 PLATE 2-21 TUDOR APARTMENTS, MOMBASA BY URKO SANCHEZ ARCHITECTS ............................................................................................................................. 35 PLATE 2-22 INSIDE THE CHURCH OF LIGHT. NOTICE HOW LOCAL LIGHT HAS BEEN USED TO CREATE AN AURA, TO EVOKE A SENSE OF PLACE. .................................... 36 PLATE 2-23 EXTERNAL VIEW OF TADAO ANDO'S CHURCH OF LIGHT, JAPAN: NOTICE THE FAÇADE OPENING IN FORM OF A CRUCIFORM TO DRAW IN LIGHT ................ 36 PLATE 2-24 INSIDE THE LIVING SPACE OF THE MAGNEY HOUSE....................................................................................................................................................... 38 PLATE 2-25 MAGNEY HOUSE, AUSTRALIA..................................................................................................................................................................................... 38
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PLATE 2-26 THE KENYA INTERNATIONAL CONFERENCE CENTRE (K.I.C.C.), NAIROBI. ................................................................................................................... 39 PLATE 2-27 VIEW OF THE MPUMALANGA LEGISLATURE ................................................................................................................................................................ 44 PLATE 2-28 MATERIALS AND TEXTURES USED AT THE MPUMALANGA LEGISLATURE ..................................................................................................................... 47 PLATE 2-29 AERIAL SHOT OF THE MPUMALANGA LEGISLATURE: NOTICE THE SPRAWLING ROOFS.................................................................................................... 48 PLATE 2-30 PART OF THE EAST FACING BLOCK: NOTICE THE TREE BRANCH INSPIRED SUPPORT STRUCTURE. ...................................................................................... 48 PLATE 2-31 THE INNER WRAPAROUND COVERED WALKWAY, MPUMALANGA LEGISLATURE: NOTICE THE LEAN-TO TIMBER STRUCTURE ............................................ 48 PLATE 2-32 PART OF THE EAST-FACING FAÇADE ............................................................................................................................................................................ 49 PLATE 2-33 ANCIENT EGYPTIAN ARCHITECTURE: NOTICE THE ELEMENTS DEFINING THE ENTRANCE ................................................................................................ 50 PLATE 2-34 MAIN ENTRANCE TO THE MPUMALANGA LEGISLATURE: ............................................................................................................................................. 50 PLATE 2-35 NOTICE THE INDIGENOUS TREES AT MPUMALANGA LEGISLATURE................................................................................................................................ 51 PLATE 2-36 NOTICE THE TREE IN THE FOREGROUND AT THE CENTRE OF THE COURT AND THE DOME IN THE BACKGROUND ................................................................ 51 PLATE 2-37 DECORATION DERIVED FROM EARLY IRON AGE POTTERY FOUND AT NELSPRUIT ........................................................................................................... 52 PLATE 2-38 ENTRANCE LOBBY OF THE MPUMALANGA LEGISLATURE: NOTICE THE FLOOR MOSAIC PATTERN INSPIRED BY AFRICAN BASKETS ................................... 53 PLATE 2-39 DECORATIVE THEMES INSIDE THE DEBATING CHAMBERS .............................................................................................................................................. 53 PLATE 4-1 NATIONAL MUSEUMS OF KENYA BUILDING, MALINDI: NOTICE THE SIMILARITIES IN THE FORM LANGUAGE WITH THE BUILDING IN PLATE 20 ................... 65 PLATE 4-2 A FRONT VIEW OF THE KILIFI COUNTY ASSEMBLY BUILDING ........................................................................................................................................ 65 PLATE 4-3 THE MALINDI INTERNATIONAL AIRPORT: NOTICE THE PEBBLE STONE CLADDED COLUMNS ............................................................................................. 66 PLATE 4-4 KILIFI ASSEMBLY: NOTICE THE SWAHILI INSPIRED ARCHES ........................................................................................................................................... 66 PLATE 4-5 A BUILDING IN MALINDI TOWN ..................................................................................................................................................................................... 66 PLATE 4-6 NOTICE THE SYMBOLS AND CARVINGS ON WOOD ........................................................................................................................................................... 67 PLATE 4-7 INSIDE THE DEBATING CHAMBER ................................................................................................................................................................................... 67 PLATE 4-8 THE COUNTY ASSEMBLY OF HOMA BAY ....................................................................................................................................................................... 69 PLATE 4-9 THE NEIGHBOURING HOMA BAY LAW COURTS .............................................................................................................................................................. 69 PLATE 4-10 'THIMLICH OHINGA' STONE-BUILT RUINS ..................................................................................................................................................................... 70 PLATE 4-11 NOTICE THE USE OF NATURAL STONE ON THE FAÇADE. ................................................................................................................................................. 70 PLATE 4-12 INSIDE THE DEBATING CHAMBERS: NOTICE THE DAY LIGHT AND THE OPERABLE WINDOWS ............................................................................................ 71
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
LIST OF FIGURES
FIGURE 2-1 CONCEPT OF REGIONALISM ......................................................................................................................................................................................... 30 FIGURE 2-2 RELATIONSHIP WITH SUBJECT PERCEPTION .................................................................................................................................................................. 33 FIGURE 2-3 SITE SECTION. NOTICE THE 'IN-LAYING' OF THE BUILDING INTO THE SITE ...................................................................................................................... 35 FIGURE 2-4 THE RELATIONSHIP WITH THE PHYSICAL ENVIRONMENT .............................................................................................................................................. 37 FIGURE 2-5 RELATIONSHIP WITH THE REGIONAL ENVIRONMENT .................................................................................................................................................... 40 FIGURE 2-6 AN AERIAL PHOTO OF THE RIVERSIDE MALL AND THE MPUMALANGA LEGISLATURE .................................................................................................... 42 FIGURE 2-7 LOCATION MAP OF MPUMALANGA PROVINCE, SOUTH AFRICA ...................................................................................................................................... 42 FIGURE 2-8 CONCEPTUAL SKETCH OF THE SITE PLANNING OF T HE MPUMALANGA LEGISLATURE ..................................................................................................... 43 FIGURE 2-9 AN AERIAL VIEW RENDERING OF THE MPUMALANGA LEGISLATURE .............................................................................................................................. 43 FIGURE 2-10 ANALYTICAL SKETCH: PROFILE OF BUILDING ECHOING LANDSCAPE ............................................................................................................................. 45 FIGURE 2-11 ANALYTICAL SKETCH: VERTICAL ICONIC ELEMENTS ................................................................................................................................................... 45 FIGURE 2-12 WESTERN ELEVATION OF THE MPUMALANGA LEGISLATURE: NOTICE THE DOMINANT ASSEMBLY DOME ..................................................................... 46 2-13 PART OF THE LONG WESTERN ELEVATION TO OFFICES, MPUMALANGA LEGISLATURE: NOTICE THE SCALE OF THE BUILT FORMS AGAINST THE NATURAL LANDSCAPE ......................................................................................................................................................................................................................... 46 FIGURE 2-14 SECTION THROUGH THE DEBATING CHAMBER AND THE OFFICE BLOCK ......................................................................................................................... 49 FIGURE 2-15 CONCEPTUAL FRAMEWORK ...................................................................................................................................................................................... 54 FIGURE 4-1 MAP SHOWING LOCATION OF KILIFI COUNTY, KENYA ................................................................................................................................................... 64 FIGURE 4-2 MAP SHOWING LOCATION OF HOMA BAY COUNTY, KENYA ........................................................................................................................................... 68
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
LIST OF GRAPHS GRAPH 4-1 RESPONSE TO SHAPE.................................................................................................................................................................................................... 75 GRAPH 4-2 RESPONSE TO SIZE ....................................................................................................................................................................................................... 76 GRAPH 4-3 RESPONSE TO MATERIALS AND TEXTURES.................................................................................................................................................................... 77 GRAPH 4-4 RESPONSE TO STRUCTURAL AESTHETIC ....................................................................................................................................................................... 78 GRAPH 4-5 SUMMARY OF THE OVERALL RESPONSE TO PHYSICAL PROPERTIES OF FORM .................................................................................................................. 79 GRAPH 4-6 RELATIONSHIP BETWEEN BUILDING AND IMMEDIATE LANDSCAPE .................................................................................................................................. 80 GRAPH 4-7 RESPONSE TO LOCAL THERMAL AND LIGHT CONDITIONS .............................................................................................................................................. 81 GRAPH 4-8 RESPONSE TO SITE TOPOGRAPHY ................................................................................................................................................................................. 82 GRAPH 4-9 RESPONSE TO THE USE OF LOCAL MATERIALS ............................................................................................................................................................... 83 GRAPH 4-10 SUMMARY OF OVERALL RESPONSE TO CONTEXT ......................................................................................................................................................... 84 GRAPH 4-11 RESPONSE TO RESEMBLANCE TO FAMILIAR OBJECTS OR SYMBOLS .............................................................................................................................. 85 GRAPH 4-12 RESPONSE TO INCORPORATION OF LOCAL DECORATION TECHNIQUES/MOTIFS ............................................................................................................. 86 GRAPH 4-13 OVERALL RESPONSE TO METAPHOR & SYMBOLISM .................................................................................................................................................... 87
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
LIST OF TABLES
TABLE 2-1 ORDERING PRINCIPLES IN ARCHITECTURE ...................................................................................................................................................................... 78 TABLE 3-1 DATA COLLECTION TOOLS & TECHNIQUES SUMMARY...................................................................................................................................................... 61 TABLE 4-1 COMPARATIVE ANALYSIS TABLE ................................................................................................................................................................................... 74 TABLE 4-2 CUMULATIVE NO. OF RESPONSES FOR EACH LIKERT STEP ................................................................................................................................................. 88 TABLE 4-3 CORRELATION BETWEEN FORM AND CONTEXT ............................................................................................................................................................... 89 TABLE 4-4 CORRELATION BETWEEN FORM AND METAPHOR & SYMBOLISM ...................................................................................................................................... 89
ABBREVIATIONS M.P.T.S. ‒ Meyer Pienaar & Tayob Schnepel Architects K.I.C.C – Kenyatta International Conference Centre. K.A.N.U. ‒ Kenya African National Union NO. ‒ Number
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CHAPTER 1: INTRODUCTION
INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
Chapter 1 : INTRODUCTION 1.0 BACKGROUND Colonialism subjugates local traditions, histories and communal languages (Noble, 2011) It undermined the vernacular architecture and imposed a new style on the indigenous lands they occupied. Public Architecture in particular suffered as Colonial Architecture imagined itself in the lineage of rationalist, classist design imposing itself on the site. It did little to reference to the regional cultural and natural landscape. As Aldo Van Eyck observed “Western Architecture habitually identifies itself with civilization as such on the pontifical assumption that what is not like it is a deviation, less advanced, primitive or at best, exotically interesting from a distance.” Plate 1-1 front facade of then City Hall, Nairobi Source: nation.co.ke
Acquisition of independence in Kenya accorded an opportunity for rediscovery. However, as noted by Paul Ricoeur (1965) in History and Truth, as with other countries rising from underdevelopment the country was faced with a crucial problem: how to become modern and return to sources.(Frampton, 1983) In the absence of a clear terms of reference for a new architectural language, Public Architecture took two routes: Iconic, signature architecture and Normative, Eurocentric architecture. Architectural critics such as Frampton (1983) proposed Regionalism for removing the gap between local traditional architecture and architecture borne of Western colonial influences. Moving beyond dominant architectural forms and types, Regionalist architecture attempts to manifest its significance by relating its built form, spatial organization, aesthetics, technical assembly and materials to a certain region in the context of the contemporary world. (Fu, 1990)
Plate 1-2 front facade of then Town Hall, Eldoret Source: flickr.com 2|Page METTO ALLAN AB241-2295/2012
INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
1.1 PROBLEM STATEMENT
Plate 1-4 Mombasa County Assembly Building Source: thecoast.co.ke
Plate 1-3 Kisumu County Assembly Building Source: nation.co.ke
The adoption of a devolved system of government in Kenya following the promulgation of the new constitution in 2010 necessitated the formation of legislative assemblies for the newly formed counties. Consequently, architecture had to enter this new geopolitical formation in response to the practical accommodation requirements as well as the symbolic, socio-cultural requirements of a public legislative building. However, the urgent need to facilitate the legislative process led to pragmatic programmatic concerns for the legislatures taking precedence. As a result, a number of County Assemblies such as Mombasa, Kisumu, Nairobi, Kiambu and Uasin Gishu County Assemblies made use of the former city, town and municipal hall buildings by converting them for adaptive re-use. These buildings associated with the colonial regime impose upon the site and the result is an architecture that lacks regional identity and authenticity. Where new structures have been put up such as The Kitui County Assembly and The West Pokot County Assembly, the disconnect between the built form and the natural and cultural landscape still remains a plaguing issue as the designs seem to be oblivious of the site context thus evoking a sense of placeless-ness.
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
Plate 1-6 Kitui County Assembly Source: kituionline.com
Plate 1-5 County Assembly of West Pokot Source: westpokot.go.ke
While what constitutes an appropriate architectural image for a public building may be a bone of contention, a recognisable image for the building is always part of the public’s expectation.(Yim, 2013) He defines a successful project as “one that becomes a physical representation of its city and its region, embodying the cultural values of the community and announcing the nature of its contents.” (Yim, 2013, p.6) Noble (2011) concurs positing that the building should be rooted both physically and culturally in the landscape and should reflect the cultural aspirations and characteristics of the people. Public buildings ‒County Assemblies in this case‒ should therefore represent not just a functional response but should endeavour to create an architecture that captures the local context and content. To this end, two notable cases: The County Assembly of Kilifi and The County Assembly of Homa Bay seem to be gearing the architectural discourse of Public County Legislature design towards the right direction. The research does not to seek to establish a specific criterion for the design of County Assemblies but rather explore an approach to design that adapts contemporary Public Architecture to the cultural and geographical context, taking lead from theories of Regionalism.
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
1.2 STUDY OBJECTIVES Specific
to identify case studies of County Assembly buildings that have been informed by the concept of Regionalism
to document the attributes of Regionalism inherent in the built form and;
to determine the extent to which Regionalism influenced the eventual character of the built forms of the case samples
General
Ultimately, the purpose of this qualitative case study is to establish the influence of Regionalism on the character of the built forms of County Assembly buildings in Kenya.
1.3 HYPOTHESIS Alternative Hypothesis (𝐇𝐀 ): Regional aspects greatly influence the character of the built form Null Hypothesis (𝐇𝐎 ): Regional aspects have minimal influence on the character of the built form
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
1.4 DEFINITION OF TERMS Theoretical definition of terms 1. Form: The mass or volume of a 3D work or the illusion of volume in a 2D work. (Brainard, 2003)
2. Regionalism: Consciousness of and loyalty to a distinct region with a homogeneous population. (Marriam-Webster, n.d.)
OPERATIONAL DEFINITION OF TERMS
1. Regionalism: In this study refers to: A design approach that gives priority to the environmental particularity, social individuality and cultural uniqueness of the specific site and region to which the project belongs. It is an alternative way of making buildings, landscapes and cities that treasure the particularity of a region, its unique environment and materials, the special character of its culture, and the way of life of its people. (Lefaivre & Tzonis, 2012) Regionalism is manifested in the built form through the physical properties of form i.e. the visual and the tactile experience, the responsiveness to the site conditions, structural aesthetics/poetic and use of appropriate contextual metaphor & symbolism. These expressive qualities that qualify the built form as distinctly regional are measured using a matrix of questions weighed on the Likert scale. The scale uses numeric labels to quantify the respondents’ answers. The data obtained is collated into bar charts and pie charts to obtain the mean, mode, median and percentages for each of the aforementioned categories.(Mugenda & Mugenda, 1999)
2. Form: In this study refers to: the configuration and structure of a building. Form and its opposite, space, constitute primary elements of architecture. The various characteristics of form are measured using different scales: Shape was measured visually through analysis of the building silhouette. Colour, texture and material were visually analysed based on their effect on the overall appeal of the form. The Size was measured visually in comparison to the human scale, the neighbouring built forms and the natural landscape whereas structural poetic was analysed visually based on the expression or concealment of structural elements.
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INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
1.5 VARIABLES The dependent variable is the variable that the researcher is interested in. The independent variable is the variable believed to affect the dependent variable.
Dependent Variable: Regionalism
Independent Variable: Built Form
1.6 STUDY ASSUMPTIONS 1. The methods used in collecting and analysing the data are the most appropriate for generating the outcomes of the study. 2. The inclusion criteria of the sample are appropriate and therefore, assures the participants have all experienced the same phenomenon under study. 3. The participants will answer the interview questions in an honest and candid manner.
1.7 STUDY JUSTIFICATION The research is timely sighting the increasing need for purpose-built County Legislative Assembly buildings evidenced by the call for Architectural proposals in counties such as Bungoma, Marsabit, Kisumu, Kajiado with Kilifi and West Pokot having recently acquired new premises. There is a realisation that a number of the refurbished buildings from the defunct municipal and town councils fall short not only in terms of accommodation requirements but also the symbolic role they ought to play as County Assembly buildings ‒being public buildings‒ are successful to the extent that they are a representation of the region they are in. (Yim, 2013).
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1.8 STUDY SCOPE Geographical Scope The study was limited to County Assembly Buildings within Kenya. Two case studies from select counties were included: Kilifi and Kitui. Methodological Scope Relevant literature was reviewed to create a deeper understanding of the Concept of Regionalism and familiarise with current theories in the field. Qualitative Case studies were conducted to identify the attributes of Regionalism as manifested on the built form of the County Assemblies. Theoretical Scope The study was based on the Architectural theory of Form and the Theories of Architectural Regionalism ‒specifically The Critical Regionalism theory fronted by Kenneth Frampton. 1.9 STUDY LIMITATIONS Access Acquiring access to the County Assembly buildings was a highly bureaucratic procedure that required express permission by the County Clerk, an understandably busy office. Further, access to architectural drawings and information on the designs was difficult owing to security concerns. However, photographs and archival sources were significant in obtaining the relevant data. Time The time accorded for the research was minimal and as such, the study was only limited to two buildings: The Kilifi County Assembly and The Kitui County Assembly. The case study approach was useful as these made for a good representation for the purposes of this research. For the respondents, the minimum scientifically viable sample group of 30 ‒for a correlational research‒ was used. (Mugenda & Mugenda, 1999) 8|Page METTO ALLAN AB241-2295/2012
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Financial Constraints Limited financial resources limited the number of case studies owing to travel and upkeep expenses.
1.10 STUDY ORGANIZATION Chapter One This Chapter gives a background of the study. It contains the statement of problem, the objectives of the study, the scope of the study, the limitations encountered in the course of the study and a summation of the study organization. Chapter Two This Chapter includes a comprehensive review of the relevant literature. The first part is an in-depth review of the Architectural theory of Form. The second part tackles the concept of Regionalism in Architecture: it covers the historical background and discusses the most recent theory in relation to the built form: Critical Regionalism that is used as the backdrop for the study. Chapter Three Chapter three covers the Research Methodology. It describes the research strategies, sampling methods, data collection and data analysis techniques. Chapter Four Chapter four covers Case Studies and Data analysis. It presents data collected from the case studies in narrative form and does a comparative analysis. Field survey is also analysed and presented graphically. Chapter Five This chapter covers the findings, conclusion and recommendations from the study with a section suggesting areas for further research. It also includes references, bibliography and appendices.
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CHAPTER 2: LITERATURE REVIEW
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Chapter 2 : LITERATURE REVIEW 2.0 THEORY OF FORM (Ching, 2010) The Research will discuss the elements of form first as conceptual elements then as visual elements in Architectural design vocabulary. The presentation will be in order of growth: from the POINT to the one-dimensional LINE, from the line to a two-dimensional PLANE, from the plane to the three-dimensional VOLUME.
Plate 2-1 an illustration of the use of point. lines, plane and volume (implied) in a light fixture Source: www.flickr.com
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1. POINT A point marks a position in space. Conceptually, it lacks length, width or depth. It is static, centralized and directionless. In Architectural vocabulary, Point is the primary generator of form that indicates position in space. When extended vertically it can demarcate a position in space whereas retaining its visual properties on plan. As the prime element of form, point can be used to indicate:
The two ends of a line
The intersection of 2 lines
The meeting of lines at the corner of a plane or volume
The centre of a field
A point has no dimension. To visibly mark a position in space or on the ground plane, a point must be projected vertically into a linear form, as a column, obelisk, or tower. Any such columnar element Plate 2-2 'Cleopatra's Needle' an Obelisk that exemplifies the manifestation of a point extended vertically into a linear form Source: www.britannica.com
is seen in plan as a point and therefore retains the visual characteristics of a point. (Quintano, 2013)
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2. LINE Theoretically, a line has only one dimension but it must have some degree of thickness to become visible. It is seen as a line simply because its length dominates its width. The character of a line, whether taut or limp, bold or tentative, graceful or ragged, is determined by our perception of its lengthwidth ratio, its contour, and its degree of continuity. Even the simple repetition of like or similar elements, if continuous enough, can be regarded as a line. This type of line has significant textural qualities. The orientation of a line affects its role in a visual construction. While a vertical line can express a state of equilibrium with the force of gravity, symbolize the human condition, or mark a position in space, a horizontal line can represent stability, the ground plane, the horizon, or a body at rest. An oblique line is a deviation from the vertical or horizontal. It may be seen as a vertical line falling or a horizontal line rising. In either case, whether it is falling toward a point on the ground plane or rising to a place in the sky, it is dynamic and visually active in its unbalanced state. (Quintano, 2013) A line can serve to: • Join, link, support, surround or intersect other visual objects Plate 2-3 S. R. Crown Hall by Ludwig Mies Van Der Rohe illustrating the use of lines in a composition Source: architecture.org
• Describe the edges of and give shape to planes • Articulate the surfaces of planes
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Expressive qualities of a line The orientation of a line affects its role in visual construction. 1. Horizontal lines can represent stability, the ground plane, the horizon, or a body at rest. Objects parallel to the earth are at rest in relation to gravity. Compositions in which horizontal lines dominate tend to suggest repose. One of the hallmarks of Frank Lloyd Wright’s architectural style is its use of strong Plate 2-4 Notice Frank Lloyd Wright's use of horizontal lines in the Kauffman’s House Source: franklloydwright.org
horizontal elements which stress this relationship of the structure to the land.
2. Vertical lines communicate a feeling of loftiness and spirituality. Erect lines seem to extend upwards beyond human reach, toward the sky. They often dominate public architecture, from cathedrals to corporate headquarters. Extended perpendicular lines suggest an overpowering grandeur, beyond ordinary human measure. Horizontal and vertical lines in combination communicate stability and solidity. Rectilinear forms stay put in relation to gravity and are not likely to tip over. This stability suggests performance, reliability and safety.
Plate 2-5 Verticality: Truro Cathedral in the United Kingdom Source: Wikipedia.org
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3. An oblique/diagonal line is a deviation from the vertical or horizontal. It may be seen as a vertical line falling or a horizontal line rising. In either case, whether it is falling toward a point on the ground plane or rising to a place in the sky, it is dynamic and visually active in its unbalanced state. It implies movement and dynamism. 5. Deep, acute curves suggest confusion, turbulence, even frenzy, much like the violent waves in a storm, the chaos of a tangled thread, or the turmoil of lines suggested by the forms of a crowd. Plate 2-6 A model of the Guggenheim museum in Bilbao. Notice the use of oblique lines and deep curves Source: archdaily.com
6. Soft, shallow curves, on the other hand, suggest comfort, safety, familiarity and relaxation. They recall the curves of the human body and therefore have a pleasing sensual quality.
Plate 2-7 Heydar Aliyev Centre by Zaha Hadid: Notice the use of soft, shallow curves Source: architecturaldigest.com 15 | P a g e METTO ALLAN AB241-2295/2012
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3. PLANE A line extended in a direction other than its intrinsic direction becomes a plane. Conceptually, a plane has length and width, but no depth. Shape is the primary identifying characteristic of a plane. It is determined by the contour of the line forming the edges of a plane. The supplementary properties of a plane—its surface colour, pattern, and texture—affect its visual weight and stability. In the composition of a visual construction, a plane serves to define the limits or boundaries of a volume. If architecture as a visual art deals specifically with the formation of threedimensional volumes of mass and space, then the plane should be regarded as a key element in the vocabulary of architectural design. In Architectural design, three generic types of planes are manipulated to define three-dimensional volumes of mass and space: 1. The overhead plane-these are either the roof plane or the ceiling plane. It can be manipulated in several ways to define spaces. 2. The wall plane-this is the most visually active in defining and enclosing space and the vertical wall planes. 3. The base plane- this is the ground plane, it is the one that provides physical support and also the visual base for building forms.
Plate 2-8 An illustration of an interplay between the overhead plane, the wall planes and the base plane in a modern hotel Source: booking.com
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4. VOLUME A plane extended in a direction other than its intrinsic direction creates a volume. Conceptually, a volume has three dimensions: length, width and depth. All volumes can be analysed and understood to consist of:
Points or vertices where several planes converge
Lines or edges where two planes meet
Planes or surfaces which define the limits or boundaries of a volume. Form is the primary identifying characteristic of a volume. It is established by the shapes and interrelationships of the planes that describe the boundaries of the volume. As the three-dimensional element in the vocabulary of architectural design, a volume can be either a solid—space displaced by mass—or a void—space contained or enclosed by planes. These shapes can be extended or rotated to generate volumes whose forms are distinct, regular and easily recognizable. Such forms are referred to as platonic solids. Squares generate cubes, circles generate spheres and cylinders, triangles generate pyramids
Plate 2-9 Villa Savoye, Poissy, France. Notice the use of platonic solids in the composition: cuboid and cylinder. Source: howarchitectworks.com
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VISUAL CHARACTERISTICS OF FORM 1. Shape Refers to the characteristic outline or surface configuration of particular form. Shape is the principle aspect in form identification and categorisation. 2. Size This is the physical dimension of length, width and depth of form. In architecture we visually measure the size of elements by comparing them with other forms in their vicinity or context. These are referred to as scale giving elements. 3. Texture The visual and tactile quality of a surface given to a surface by the size, shape, arrangement and proportions of the parts. Texture also gives a particular quality to light as it determines the degree to which the surface of a form reflects or absorbs incident light. The combination of differently textured materials in buildings and surfaces create a variety of effects upon an observer. 4. Colour Colour is a phenomenon of light and visual perception that may be described in terms of the perception of hue, saturation, and tonal value. Colour is the attribute that most clearly distinguishes a form from its environment. It also affects the Plate 2-10 Notice the use of different coloured and textured materials: timber, glass, steel mesh and aluminium cladding Source: archello.com
visual weight of a form. Colour can be used to modify or highlight both form and space.
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Form also has relational properties which influence the pattern and composition of elements: 5. Position Refers to the location of a form relative to its environment or the visual filed within which it is seen. 6. Orientation The direction of a form relative to the ground plane, the compass points, other forms, or to the person viewing the form. 7. Visual inertia This is the degree of concentration and stability of form. The visual inertia of a form depends on its geometry as well as its orientation relative to the ground plane or the plane of sight. ORDERING PRINCIPLES IN ARCHITECTURE (Ching, 2010) Ordering principles are the visual devices that allow the diverse forms and spaces in a building to co-exist perceptually and conceptually in an ordered, unified, harmonious whole. They include:
Axis
Symmetry
Hierarchy
Rhythm
Datum
Transformation
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A line established by 2 1. Axis
points in space, about which forms and spaces can Figure 2-1 Axis Source: Architecture: Form, Space and Order
be arranged in a symmetrical or balanced manner.
Figure 2-2 A Florentine Street Source: Architecture: Form, Space and Order
2. Symmetry
The balanced distribution and arrangement of equivalent forms and spaces on opposite sides of Figure 2-3 Symmetry Source: Architecture: Form, Space and Order
a dividing line or plane, or about a centre or axis.
Figure 2-4 Great Stupa at Sanchi, India. Source: Architecture: Form, Space and Order
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3. Hierarchy
This is the articulation of importance or significance of a form or space by its size, shape or placement relative to the other forms and spaces of the Figure 2-5 Hierarchy Source: Architecture: Form, Space and Order
4. Datum
organization. Figure 2-6 Leonardo Da Vinci’s ideal church Source: Architecture: Form, Space and Order
A line, plane, or volume that, by its continuity and regularity, serves to gather, measure and organize a Figure 2-7 Datum Source: Architecture: Form, Space and Order
pattern of forms and spaces.
Figure 2-8 An arcade unifying the facades, Czech Source: Architecture: Form, Space and Order
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5. Rhythm
This is the frequency of repetition of the elements which articulate architecture Figure 2-9 Rhythm Source: Architecture: Form, Space and Order
and space. They are created by structures or voids, walls or windows, as well as the subdivisions of the building surfaces. Figure 2-10 Kulliye of Beyazid, Bursa, Turkey. Source: Architecture: Form, Space and Order
6. Transformation
This is the principle that an architectural concept, structure, or organization can be altered through a series of discrete manipulations and permutations in response to a specific context or a set of conditions without a loss of identity or concept. Figure 2-11 Transformation Source: Architecture: Form, Space and Order Figure 2-12 Plan development of North Indian Cella Source: Architecture: Form, Space and Order
Table 2-1 Ordering Principles in Architecture Source: Author 22 | P a g e METTO ALLAN AB241-2295/2012
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2.1 DERIVATION OF ARCHITECTURAL FORM Geoffrey Broadbent (1973) in his book Design in Architecture identifies four fundamental forms which he refers to as ‘paradigms of design’, namely:
Pragmatic Design
Iconic Design
Analogical Design
Canonic Design
Broadbent (1973) argues that modern architects have employed a combination of these approaches and that all relate to the intuitive model of design decision. 1. Pragmatic Design Pragmatic design was the earliest way of building. The early inhabitants of earth had to seek shelter when they left the safety of their caves and ventured out to hunt wild game. It involves a trial and error approach where available materials are assembled into a way that seems to work leading to discovery of accidental forms. Every tribe adapted their shelter to their own region and did appropriate modifications from time to time according to the climatic changes in the region. Vernacular dwelling types are therefore classic examples of Pragmatic Design System that evolved world over and endured to this day thus becoming icons by themselves. Today, pragmatic design is used in experimenting with materials until a viable solution Plate 2-11 Replica Mammoth tent, 40 000 B.C. Source: donsmaps.com
is realised. (Pillai, 2018)
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2. Iconic Design Iconic design systems evolve as an established way of building is retained by a community. The mastered crafts are then passed down generations. Thus, individual crafts remain fairly constant and an entire pattern of building based on them remain constant too. Culture adds to the persistence of the design system and slowly a formalized design process evolves. Tribes describe their design process and the origin of their built form through songs, writings, sculpting etc. describing materials, shaping them, putting together etc. A way of building is built deep into the tribal consciousness and, because each member of the tribe has a fixed mental image of what a house should be like, it is called Iconic Design. All vernacular systems, therefore, are iconic in nature. (Pillai, 2018) Iconic design builds upon pragmatic design by treating solutions as templates for new Plate 2-12 A vernacular building type Source: Wikipedia.org
structures and as the generally accepted form for structures of that type.
3. Analogic Design Analogical design is when an analogue medium such as a drawing or model is used to simulate an invented design. This approach to design began in Egypt around 2800 B.C. and continues to this day, though mediums of representation have since changed. (Pillai, 2018) 4. Canonic Design Canonic design builds upon iconic design by the provision of ordering systems or rules as design resources. The discovery of proportional system by Egyptians led to ‘Canonic’ grids and the designs based on them came to be known as ‘Canonic’ designs. The development of grid was a base for representation of analogic design. Thus slowly the act of drawing began to impose conventions on the designer, to suggest order and regularity of a kind never envisaged before. (Pillai, 2018)
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2.2 REGIONALISM IN ARCHITECTURE
Plate 2-15 Ancient Egyptian Temple Source: pinterest.com
Plate 2-14 Ancient Roman Temple Source: pinterest.com
Plate 2-13 Ancient Native American 'Tipi' Source: pinterest.com
Background The dependence of Architecture on context to draw meaning is apparent in buildings that have stood the test of time. Torabi & Brahman (2013) point out that all major and lasting works of architecture have been formed based on ideas of people living in that historical period. Vitruvius (1649) in his book ‘The Ten books on Architecture’ notices and shows an appreciation for variation in world architecture. “One style of house seems appropriate to build in Egypt, another in Spain, A different kind in Pontus, one still different in Rome and so on with lands and countries of other characteristics.” Vitruvius establishes that if designs of houses are to be correct, the designer must at the outset take note of the countries and the climates in which they are built. (Morgan, 1914)
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In his book Transformations in Modern Architecture, Arthur Drexler (1979) defined Regionalism in Architecture as “an architecture of local characteristics ‒like Cape Cod cottages or Mexican patio houses‒ promoted by climate and available materials” He also points out that “where it makes few or no reference to classical styles, it is usually called vernacular building, it is usually called vernacular building, implying that it can be handled by craftsmen without an education in art history.” Drexler’s definition confuses Regionalist architecture as it draws a parallel with Vernacular Architecture, it denotes Vernacularism. In contrast, Frampton (1983) argues that “Regionalism should not define any specific style, any form of vernacular revival, or any kind of un-reflected so-called spontaneous grassroots culture. Rather Plate 2-17 a typical Cape Cod cottage Source: Countryliving.com
it identifies those regional schools whose aim has been to represent and serve particular constituencies.” (Fu, 1990) Lefaivre and Tzonis (2012) also hold this position, they recruited the term Regionalism in their book ‘Architecture of Regionalism in the age of Globalization’ to describe the approach of several architects who gave priority to the ecological, social and cultural features of the specific site and region to which their projects belonged to. These architects’ works broke away from the authoritarian, standard and ‘universal’ approach, instead pursuing an alternative design approach which treasured the particularity of a region, its unique environment and materials and the special character of its culture and the way of life of its people. “Regionalism should not be seen as a style but as a way of thinking about architecture, not a single bridle but a variety of pathways.” (Lefaivre & Tzonis, 2012) Regionalism is not a style per and does not include universal design attributes.
Plate 2-16 a Mexican style patio house Source: pinterest.com
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Historical Review of Regionalism The concept of Regionalism was introduced by Lewis Mumford as a reactionary, opposition movement to the International Style which proposed a universal modern style for vast-scale architectural production and urban development globally by encapsulating common stylistic characteristics of modern architecture fronted by radical works of carefully selected architects such as Le Corbusier, Mies Van Der Rohe and Walter Gropius. The pitfall of the International style was that it destroyed the relationship between architecture and place consequently created a deep sense of cultural disorientation among local communities more so in countries with a rooted architectural tradition. (Amirjani, 2018) Mumford attempted to revive regional identities and the relation between architecture and the user using the ideas of ‘place-making’. He stated that the “style is truly universal since it permits regional adaptations and modifications.” (Hartoonian, 2011) However, due to the rejection of modernization influences and universal technological advancements, along with the radical use of obsolescent regional elements, the movement not only failed to overcome the crisis but also formed a new disorientation in architecture. For that reason, several questions arose: How could designers revive the diminished relationship between the building and the user through a compromise between local culture and modernization? How could one develop a “critical” outlook to universalization and still be a regionalist? (Amirjani, 2018)
Regional Architecture versus Regionalist Architecture Drexler’s (1979) definition of Regionalism draws a one-on-one correspondence with Vernacularism. Therein lies the distinction between Regional Architecture and Regionalist Architecture: Vernacular architecture is regionally distinctive and regionally understood and in that sense can also be identified as Regional Architecture. In contrast, Regionalist Architecture is the product of a self-conscious approach which means it is manifest in relating its built form, aesthetic character, spatial organisation, technical assembly and materials to a certain region in the context of the contemporary world. (Fu, 1990) Critical regionalism differs from Regionalism which “tries to achieve a one-on-one correspondence with vernacular architecture in a conscious way without consciously partaking in the universal.” (Urban & Bani, 2015, p.3)
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2.3 CRITICAL REGIONALISM: A NEW APPROACH The term ‘Critical Regionalism' was first coined by Lefaivre and Tzonis (1981) in the essay ‘The Grid and the Pathway’. They used the term to warn against “the vague nature of the regional reformism and regionalist’s replication of historical forms.” This was in light of the shortcomings of the Regionalism movement as fronted by Lewis Mumford referring to the local architectural tradition. In 1983, two years after Lefaivre and Tzonis, Kenneth Frampton (1983) contributed to Critical Regionalism taking lead from ideologies by Paul Ricoeur who suggests that ‘World culture hybridization’ would emerge over the cross-fertilization between universal civilization and local cultures. “The phenomenon of universalization, while being an advancement of mankind, at the same time constitutes a subtle destruction of mankind, at the same time constitutes a sort of subtle destruction, not only of traditional cultures, but also of what I shall call for the time being the creative nucleus of the great cultures, that nucleus on the basis of which we interpret life, what I shall call in advance the ethical and mythical nucleus of mankind. The conflict springs up from there… There is the paradox: how to become modern and return to sources; how to revive an old, dormant civilization and take part in universal civilization.” Frampton (1983) argued that architects should seek regional variations instead of continuing in global uniformity. While appreciating the dangers of industrialisation and technology, Frampton did not advocate for a revival of either the old historical styles or humble vernacular typologies. He sought the destruction of global modernism, criticized post-modernism for reducing architecture to a mere sign and proposed the introduction of new paradigms to indigenous genius loci. In this sense, Critical Regionalism is not the commonly understood Regionalism referring to the local architectural tradition neither is it derived from the archetypal sentiments or from direct opposition to modernism.(fine arts site worldmuseum, n.d.) “Critical Regionalism is not just regionalism, but it also challenges the architect and visitor to see how world culture and global concerns can be blended with regional issues to create a style that is more critically self-conscious and expansive.” (Palmer, 2008) In essence, the fundamental strategy of Critical Regionalism is to mediate the impact of universal civilization with elements derived from the peculiarities of a particular place. Lefaivre and Tzonis (1981) described it as “a strategy for achieving a more humane architecture in the face of universally held abstractions and international clichés.” It is an approach to architecture that strives to counter the placeless-ness and lack of meaning in modern architecture by using contextual forces to create meaning and a sense of place. The result is an architecture that is rooted in modern tradition but tied to geographical and cultural context. 28 | P a g e METTO ALLAN AB241-2295/2012
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2.4 KENNETH FRAMPTON’S THEORY ON CRITICAL REGIONALISM According to Frampton (1983), Critical Regionalism should adopt Modern Architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. He posits that Critical Regionalism depends upon maintaining a high level of critical self–consciousness. “It may find its governing inspiration in things such as the range and quality of the local light, or in a tectonic derived from a peculiar structural mode, or in the topography of a given site.” (Frampton, 1983) In his book Modern Architecture: A Critical History Frampton (2007) determines 7 main points that guides Critical Regionalism: 1. Critical Regionalism must be critical of modernization and doesn’t abandon the aspects of the modern architectural legacy while at the same time distances its self from normative optimization and utopianism of the Modern Movement. Critical Regionalism, therefore, mediates the language of modern architecture with local cultures and context and revives relation between spectator and condition. 2. Critical Regionalism manifests itself as a consciously bounded architecture; it places stress on the creation of a territory by the structure erected on the site. Heidegger states that the condition of ‘dwelling’ and ultimately of ‘being’ can only take place in a domain that is clearly bounded. 3. Critical Regionalism views architecture as a tectonic fact rather than a series of scenographic episodes, that is, a presentation of structural poetic rather than a presentation of a ‘masked’ façade that conceals the structure. 4. Critical Regionalism must respond to the specific conditions imposed by the site, the local climate, and the light. 5. Critical Regionalism emphasizes the tactile just as much as the visual; it stresses on multisensory experience rather than an emphasis on visual experience at the expense of the other senses. 6. Critical Regionalism opposes the sentimental simulation of the local vernacular, but proposes insertion of reinterpreted vernacular elements as disjunctive episodes within the whole. 7. Critical Regionalism tends to flourish in places that are able to escape the optimizing thrust of universal civilization.
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Concept of Critical Regionalism
Figure 2-1 concept of Regionalism Source: Ming, 2008, p.7
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2.5 DESIGN INTERVENTIONS: HOW THE CONCEPT OF REGIONALISM INFLUENCES FORM DERIVATION For the purpose of this research, Frampton’s seven points were narrowed down to five. The seventh point got dropped off because it is not concerned with design choices, it focuses on an environment for creating regionalist architecture which is not within the researcher’s scope. The first point is a caveat on design thinking, calling for the designer’s ingenuity in form derivation. As Frampton (1983) puts it “Critical Regionalism cannot be simply based on the autochthonous forms of a specific region.” It requires multiple cross-cultural referencing by the designer. In that regard, this research dwells on the following points which are general design interventions: 1. PHYSICAL PROPERTIES: EMPHASIS ON A MULTISENSORY EXPERIENCE (THE VISUAL AND THE TACTILE) Critical Regionalism seeks to complement our normative visual experience by re-addressing the tactile range of human perceptions. In doing so, it endeavours to balance priority accorded to image and counter the Western tendency to interpret the environment in exclusively perspectival terms. As Juhani Pallasma suggests in The Eyes of the Skin, we must find “a new vision and sensory balance” (Pallasmaa, 2005, p.35) One has in mind a whole range of complementary sensory perceptions which are registered by the labile body (Frampton, 1983):
The intensity of light/darkness
Heat and cold
The feeling of humidity
The aroma of material
The almost palpable presence of masonry as the body senses its own confinement and the
The momentum of an induced gait and the relative inertia of the body as it traverses the floor, echoing resonance of our own footfall.
Frampton asserts that this multisensory bodily experience creates “a deeper relationship with the built environment, and these experiential opportunities not only establish the uniqueness of a place but also help the rejection of a global technocratic mind-set.” (Orozco, 2007, p.17) To this end, Critical regionalism promotes the use of materials that have local affinity in a way that provide multisensory bodily response. 31 | P a g e METTO ALLAN AB241-2295/2012
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Plate 2-18 Saynatsalo Town Hall, Finland by Alvar Aalto Source: Architravel.com
Plate 2-19 Notice the grass-paved steps and the adjacent brick steps on the stairs Source: Architravel.com
Visually, Aalto constrained his material palate to one dominated by brick and accented by timber and copper ‒materials that are native to the town of Saynatsalo in Finland. The bricks were laid slightly off-line to create a dynamic and enlivened surface condition due to the shadows. The massive brick envelope is punctuated by periods of vertical striation in the form of timber columns which evoke Säynätsalo’s setting in a heavily forested area. A tactile sensitivity is evident in the finishing of the circulation routes in Alvar Aalto’s Saynatsalo Town Hall. The use of grass-paved steps complement a conventional set of stairs finished in brick adjacent to the tower council chambers. The kinetic impetus of the body climbing the brick paved stairs is checked by the friction of steps which are ‘read’ in contrast to the grass steps. The grass stairs also evoke notions of ancient Greek and Italian architecture through the establishment of a form resembling a simple amphitheatre condition.
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Figure 2-2 Relationship with subject Perception Source: Ming, 2008, p.6
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2. TECTONICS: STRUCTURAL POETIC/AESTHETIC Frampton (1983) establishes the importance of architecture to be appreciated as structural form, acknowledging its assembly and artistic composition as a whole not just as aesthetic sequential scenes. (Orozco, 2007) He points out that the Greek word “Tektonic” referred not just to the activity of making materially requisite construction ‒but rather the activity that raises this construction to an art form. The tectonic is not to be confused with the purely technical for it is more than bland expression of skeletal framework. (Frampton, 1983) The discourse of the post-beam cannot be brought into being where the structure is masked or concealed. This is a potential means for distilling play between material, craftwork and creativity, so as to yield a component which is in fact a condensation of the entire structure.
The Medici house (see plate 2-16) has a strong sense of geometry based on simple shapes creating unique volumes. The building structure is set on three levels with a shaft on the top through which light can enter from above. Mario Botta, the project architect, describes its form as ‘a tower, an object carved out of itself.’ The materials used by Botta were site-specific anchoring the building to the site. The intention was to avoid any comparison and any contrast with the neighbouring developments creating instead a special link with the distant landscape in the horizon.
Plate 2-20 Medici House (Casa rotunda), Switzerland Source: pinterest.com
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3. RESPONSE TO SITE CONTEXT (PASSIVE ELEMENTS)
I.
TOPOGRAPHY Topography is site specific and relates to the inherent shape of the existing natural environment which is a defining characteristic of a particular place. Topography has the capacity to embody in the built form the pre-history of the place, its archaeological past and its transformation over time. Typology and topography must be adequately integrated to create a built form that is not a free-standing object but a form that cultivates a strong relationship to the surrounding context. The practice of flattening or terracing the site is equated to “cultivating” the site, Critical Regionalism proposes “in-laying” the building into the site creating minimal possible disturbance to the site. The building should appear to grow out organically of the site, what Swiss architect Mario Botta describes as “building the site”. (Frampton, 1983)
Plate 2-21 Tudor Apartments, Mombasa by Urko Sanchez Architects Source: livingspaces.net
Figure 2-3 Site Section. Notice the 'in-laying' of the building into the site Source: livingspaces.net
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II.
LOCAL LIGHT Natural day lighting has the capacity to inscribe architecture with the character of a region and hence express the place in which the work is situated. How a building utilizes natural and artificial light speaks volume of its regional location. Even in art galleries, total elimination of daylight was found to have a negative effect as it robbed the gallery of the sense of place reducing the art work to a commodity. Later, top-lit contrived monitors were used to avoid the injurious effects of direct sunlight while introducing ambient light into the exhibition spaces creating a place-conscious poetic: an interplay between culture and nature; art and sunlight. This principle can be used where day light is brought in through carefully placed fenestrations to animate the space and inscribe it with the region’s unique character as natural day light varies with location. (Frampton, 1983)
Plate 2-23 external view of Tadao Ando's Church of Light, Japan: Notice the façade opening in form of a cruciform to draw in light Source: dezeen.com
Plate 2-22 inside the Church of Light. Notice how local light has been used to create an aura, to evoke a sense of place. Source: dezeen.com
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III.
CLIMATE Like light, climatic conditions also have capacity to express the specific place and the seasonal variations of its climate. Frampton does not propose the complete elimination of artificial air-conditioning and use of other modern technologies but rather a balance between the techniques of universal civilization that soothe extreme weathers and rooted cultural tradition that adequately address climatic conditions.
Figure 2-4 the Relationship with the Physical Environment Source: Ming, 2008, p.6
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Plate 2-24 inside the living space of the Magney house Source: pinterest.com Plate 2-25 Magney House, Australia Source: arcspace.com
The Magney House is a house that evokes a unique sense of place created by its strong relationship to the landscape. Glenn Murcutt the Architect suggested siting the project below the ridge facing north of sea to provide appropriate response to Topography, climate and seasons. The Form of the house provides a windbreak from the Southern winds, opens to the North and responds to solar angles and can be closed in depending on temperature and weather. The client measured the passing of seasons by counting the number of tiles reached by the sun as the winter solstice approached and how far the light penetrates deep into the house.
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IV.
METAPHOR AND SYMBOLISM (RESPONSE TO ACTIVE ELEMENTS) Regionalism critics such as Buchannan (1998) argued that the danger of using local materials and elements is that if they are merely applied rather than intrinsic to construction and form, the result would be kitsch. Yim (2013) also holds this position, he opines that the literal transposition of traditional elements only yields architectural parody with petty meaning. Critical Regionalism theory opposes the sentimental simulation of the local vernacular, but proposes insertion of reinterpreted vernacular elements as disjunctive episodes within the composition. As put forth by Lefaivre and Tzonis (2012), Critical Regionalism need not directly draw from context rather elements can be stripped of their context and used in strange rather than familiar ways. The built form of the K.I.C.C’s amphitheatre was adapted from the roof that defines the traditional African hut used by most Kenyan communities. The choice of the African hut was a departure from the stark colonial style that was used for public buildings, it marked a new beginning. It was a sign that the African people had taken back control of their governance. The huge cylindrical tower that formed the office block rose above all the surrounding buildings dominating the cityscape. The leadership at the time wanted to symbolize the power wielded by the ruling party of the single-party state: K.A.N.U. (Kenya African National Union) African motifs were used to adorn the columns and the podium’s exterior façade. This was in continuation of the theme of a new African architecture; one that incorporated the people and their culture.
Plate 2-26 The Kenya International Conference Centre (K.I.C.C.), Nairobi. Source: pinterest.com 39 | P a g e METTO ALLAN AB241-2295/2012
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V.
BOUNDARY There is no Regionalism without regions. The uniqueness of every piece of architecture comes from the limits of the regional environment as each and every environment exhibits unique characteristics in terms of climate, topography, landscape, technology and cultural values (Steele, 1992). Therefore, the creation of a place-form can only occur in a consciously bounded environment. The idiosyncrasy comes from the interaction between limits and response to the limits. Without the limits of the regional environment, the uniqueness has no effect anymore. (Frampton, 1983)
Figure 2-5 Relationship with the Regional environment Source: Ming, 2008, p.5
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CRITICAL REGIONALISM:
A STUDY OF THE MPUMALANGA PROVINCIAL
LEGISLATURE, SOUTH AFRICA
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2.6 A STUDY OF THE MPUMALANGA PROVINCIAL LEGISLATURE, SOUTH AFRICA
In 1994 the map of South Africa was redrawn following the country’s attainment of independence which saw the birth of a new provincial regions as part of the new system of government. The former 4 provinces were re-organised into 9 new provincial regions: The Eastern Cape, The Free State, Gauteng, KwaZulu-Natal, Mpumalanga, The Northern Cape, Limpopo, The North-West Province and The Western Cape. The move from four to nine provinces necessitated the creation of new legislative and executive seats of government. Consequently, architecture had an important role to play: to solve the accommodation needs as well as the symbolic needs of a legislative assembly. The design was supposed to be a departure from the orthogonal modernist style of the colonial regime to a more sublime language; one that is in harmony with the natural and cultural context. The design was commissioned to Meyer Pienaar & Tayob Schnepel Architects (MPTS) after they emerged winners of the architectural competition.
Figure 2-7 location map of Mpumalanga Province, South Africa Source: wunderparcovington.com
Figure 2-6 an aerial photo of The Riverside Mall and The Mpumalanga Legislature Source: google.com/earth/
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1. PHYSICAL PROPERTIES OF FORM
Figure 2-8 conceptual sketch of the site planning of The Mpumalanga Legislature Source: Noble, 2011
Figure 2-9 an aerial view rendering of The Mpumalanga Legislature Source: meyerpienaar.co.za
Position The buildings occupy the perimeter of the site and are joined physically and by means of architectural language to make the complex read as one building. The building through its location acts as a landmark, viewed from the approaching road and the town of Nelspruit in the distance. The pivotal positioning of the dome unites the two arced wings of the executive and the legislature as seen in the primary conceptual sketch (see figure 2-6)
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Shape and Colour
Plate 2-27 View of The Mpumalanga Legislature Source: mpuleg.go.va Save for the assembly which takes a dome shape, the repeating office buildings are regular rectilinear forms characteristic of modern speculative office buildings. Vertical corbelled towers are introduced to define the entrances. Wall surfaces are realised in earth colours taken from the surrounding landscape, in ochres and reds, set off against the deep sky blue.
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Size & Scale
Figure 2-11 analytical sketch: vertical iconic elements Source: Shepard, 2006
Figure 2-10 analytical sketch: profile of building echoing landscape Source: Shepard, 2006
The building makes use of tall vertical elements as landmark features which read above the surrounding natural landscape. “The profile of the landscape echoes the prominent granite domes of the Lowveld landscape.” (Shepard, 2006) thus creating a strong sense of foreground and background and thus a strong building profile against the horizon. The client brief specified that building heights are restricted to ‘ground plus two-and-a-half’ while building mass is to be broken down into 6 separate elements to ensure that the design does not dominate the site. A look at the elevations (see figure 2-10 and 2-11) reveals that the built forms indeed have blend into the landscape rising only two-and-a-half floors above the ground.
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Figure 2-12 Western Elevation of The Mpumalanga Legislature: Notice the dominant assembly dome Source: Noble, 2011
2-13 Part of the long Western Elevation to offices, Mpumalanga Legislature: Notice the scale of the built forms against the natural landscape Source: Noble, 2011
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Materials and Textures Incorporation of local finishes In Africa, buildings were imagined as prayers to ancestors and it is this respectful attitude that is linked to cyclical use of materials. In Mpumalanga, a strategy was developed for the incorporation of local finishes, both materially and metaphorically, through a conscious establishment of three-themed categories (Noble, 2011): A-C: “Earth” finishes that are derived from or denote rock, mud or adobe. Some rendered by hand with smeared, mud-like textures (see plate 2-19) The ‘mud’ reliefs which adorn the wall surfaces are actually patterns carved into wet cement to which oxides have been added to form earth tones and textures reminiscent of mud-walls. D-F: “Grass” woven patterns derived from weaving. Woven stainless-steel mesh is tensioned to form sunscreens, suspended as a ceiling feature beneath the assembly dome and wrapped around concrete columns of the interiors (see plate2- 19). G-H: “Reed” Memory of reeds are captured by the vertical and angled poles on the eastern façade, timber balcony slats and are expressed in the fluting of wooden wall panels (see plate 2-19).
Plate 2-28 Materials and Textures used at The Mpumalanga Legislature Source: Noble, 2011 47 | P a g e METTO ALLAN AB241-2295/2012
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Tectonics: Structural Poetic
Plate 2-30 part of the east facing block: notice the tree branch inspired support structure. Source: Shepard, 2006 Plate 2-29 aerial shot of The Mpumalanga Legislature: Notice the sprawling roofs Source: Shepard, 2006
Plate 2-31 the inner wraparound covered walkway, Mpumalanga Legislature: notice the lean-to timber structure Source: Noble, 2011
The buildings make use of indigenous sprawling roofs with wide overhangs supported by tree branch like support structure that echo indigenous trees. There is a covered connecting walkway that runs through the entire complex and joining all the entrance foyers together as they arc around the site. The walkway is covered by an exposed lean-to timber structure changing from a bricked surface to a timber deck bridging over the uninterrupted vegetation on either side. The floor is made from timber slats slightly separated so that rain can fall through.
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2. SITE CONTEXT (PASSIVE ELEMENTS)
Figure 2-14 section through the debating chamber and the office block Source: Shepard, 2006 Plate 2-32 part of the East-facing façade Source: Noble, 2011
Response to Light and Climatic Conditions The office blocks are capped with shallow pyramid-like roofs that extend far beyond the face of the façade to shade the large windows and timberdecked balconies (see plate 2-23) Large glass windows are installed on the East-facing façade to maximise day lighting in the office blocks. Response to Topography The brief called for sensitive siting of interlinked buildings, with a centralized service block, the site zoning diagram clearly hinting an arc-like arrangement to respect the contours echoing the river meander. In the completed design, the office buildings of the executive arm are positioned on the edge of the site, close to natural gorges overlooking the landscape (see figure 2-12) 49 | P a g e METTO ALLAN AB241-2295/2012
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3. METAPHOR AND SYMBOLISM (RESPONSE TO ACTIVE ELEMENTS) Abstraction of Form elements
Plate 2-34 Main entrance to The Mpumalanga Legislature: Notice the twin corbelled towers defining the entrance Source: Noble, 2011
Plate 2-33 Ancient Egyptian Architecture: notice the elements defining the entrance Source: hubpages.com
The Twin Corbelled Entrance Towers The twin corbelled towers pronounce the entrances to the legislature on the western façade. The towers form the service core and are inspired by the entrances characteristic of ancient Egyptian architecture (see plate 2-24).
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The Tree and the Dome
Plate 2-35 Notice the indigenous trees at Mpumalanga Legislature Plate 2-36 Notice the tree in the foreground at the centre of the Source: mpuleg.go.va court and the dome in the background Source: mpuleg.gov.va The primary reference and inspiration for the dome form came from the surrounding landscape: the domed rock outcrops. The dome spans the Legislature Assembly, which is in fact the pivotal space of the entire scheme, both functionally and symbolically, because it is here that the leaders gather to discuss governance issues. African elders met outside outdoors to debate political concerns and to administer justice. A village had a designated space beneath a special tree where the elders would gather and this provided a spatial type for the traditional African court. The celebration of the tree was in symbolic reference to traditional African ways facilitating a dialogue with the cultural roots of an African democratic consciousness. (Noble, 2011)
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Decorative Themes
Plate 2-37 Decoration derived from early Iron Age pottery found at Nelspruit Source: Noble, 2011 The decoration used reveals theme and variation developed from ornamental chevron-like shapes. The decoration was inspired by early Iron Age pottery that was unearthed during the archaeological digs at Riverside Park in Nelspruit. A detailed drawing of these pots shows a variety of patterns derived from zigzag or chevron shapes, a distinctive feature of Bantu pottery (see plate 2-21: a) This pattern is realised over a wide range of materials, it is not tectonically specific to any one material. Repetitive decoration of this kind is a feature of African craft (see plate 2-21: b-h) The project showcases three levels of decoration: decoration associated with building materials, decoration applied by craft and adornment derived from art. Examples of the first kind include brick-work patterning, textured wall finishes and wall panelling and decoration applied to building elements such as doors and windows. Craft decorations include floor mosaics with patterns derived from African baskets and the protruding mudlike reliefs adorning the wall surfaces. (Noble, 2011) 52 | P a g e METTO ALLAN AB241-2295/2012
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Plate 2-38 Entrance lobby of The Mpumalanga Legislature: notice the floor mosaic pattern inspired by African baskets Source: Noble, 2011
Plate 2-39 decorative themes inside the debating chambers of The Mpumalanga Legislature Source: Noble, 2011 53 | P a g e METTO ALLAN AB241-2295/2012
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2.7 CONCEPTUAL FRAMEWORK
function technology & materials
socio-cultural influences
site forces: climate topography light
CRITICAL REGIONALISM
CONCEPT
DESIGN APPROACH
Physical Properties of Form (Multisensory experience; both Visual and Tactile)
BUILT FORM Unique Regional Identity
Site Context (Response to Passive elements)
Sense of Place
Metaphor & Symbolism (Response to active elements) Tectonics
(Structural Poetic)
Figure 2-15 Conceptual Framework Source: Author
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CHAPTER 3: RESEARCH METHODOLOGY
INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
Chapter 3 : RESEARCH METHODOLOGY 3.0 INTRODUCTION The study aims to establish the influence of the concept of Regionalism on the built form. The measure of success for Contemporary Public Architecture is a built form that is rooted to place and is a physical representation of its region (Yim, 2013) As such, the research will analyse attributes of Regionalism and seek to establish the influence of the concept of Regionalism on the eventual character of the built form through a Qualitative case study of Contemporary Legislative Assemblies. The concept of Critical Regionalism was chosen because it has been a successful tool, more so in developing countries, used in creating genuine, authentic architecture that is relevant to the context while still being part of modern world architecture. (Urban & Bani, 2015) The styling of Critical Regionalism seek to provide an architecture rooted in modern tradition but tied to geographical and cultural context. The research will use evaluative criteria derived from Frampton’s Critical Regionalism theory (1983, 1992, 2007), specifically: 1. Physical Properties of Form: Attention to the Visual and the tactile attributes. 2. Responsiveness to Site context:
A demonstration of unique treatment to local light, topography and climate.
Use of local finishes and materials.
3. Metaphor & symbolism: Incorporation of re-interpreted vernacular elements, symbols and decoration in the built form.
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3.1 RESEARCH DESIGN The Qualitative Research Design was selected for this study because it encompasses a variety of approaches to both interpretive and descriptive research. It has also has a unique approach to research methods, strategies for data collection and analysis as well as specific ways of communicating the findings. 3.2 RESEARCH METHODS a. Structured Observation This involves taking a systematic look at the present built environment while observing any traces of the buildings whose form expresses Critical Regionalism. This method is unobtrusive, deals with durable data and is quick to yield the necessary information on this study area. Two local case studies will be conducted to gather relevant information based on the area of research: Critical Regionalism. From the findings, a conclusion will be drawn as to the influence of Regionalism on the built form. The data obtained from this study will be recorded in the form of written notes, maps, photographs and sketches. b. Literature Review An in-depth review on the Research subject that was previously done by other researchers was carried out. The aim was to improve the methodology, procedures and help avoid duplication of studies. The review tackled both local and global precedents where an attempt at establishing the influence of regionalism on the built form was used as the main parameter. To get the relevant tools for this research, a scrutiny of available archival material on Regionalism and its influence on the built Form was done. This entailed an in-depth study of documentaries, definitions and design principles which were of necessity to the study. This was in an effort to understand the architectural form and how it can be used as an authentic expression of a particular region. Information was derived mainly from: books, journals, magazines, theses, academic papers and internet sources.
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c. Case Studies This entailed an analysis of two County Assembly buildings in Kenya. The criteria for selecting the case studies relied upon the building’s expressiveness ‒in part or in whole. The evaluative criteria was based on Kenneth Frampton’s theory on Critical Regionalism which are Multisensory Experience (The visual and tactile properties of form), Structural poetic/aesthetic, Site Responsiveness and Metaphor & Symbolism. 3.3 DATA COLLECTION TOOLS & TECHNIQUES Photographs Still photographs were used to capture the details that other methods of data collection may not record. Photographs taken at the beginning of the study gave an initial overview of the type of things expected in the field. Photographs were also used in discussions to generate hypothesis about possible fruitful issues for further study. Photographs were highly valuable in research sites that are not easily accessible because they are either too far or required special permission to access. Questionnaires Questionnaires will be randomly issued to both laymen and professionals in the building industry. These individuals will give their interpretation and perception of the architectural form of the buildings that were selected for the case study. A photo will be attached next to the set of the matrix of questions. (Mugenda & Mugenda, 1999) Scaled Drawings and Sketches This is a great recording tool as it is highly image-able and inexpensive. They will be used to record building details as well as the layouts which will be useful in preparation of the final report. Maps Maps will be used to record location information for the case studies 58 | P a g e METTO ALLAN AB241-2295/2012
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3.4 DATA ANALYSIS AND PRESENTATION Microsoft Excel and ‘Getcalc’ Correlation Coefficient Calculator These will be used to aid in data reduction; the analysis of influential variables to obtain their means, modes, medians, percentiles, frequencies and correlations between different qualities.
Pre-coded checklists Pre-coded checklists are descriptive notes providing a qualitative understanding of what being studied, they include: • The generic form of the building • What attributes of the form express the concept of Regionalism? The researcher will code the description into categories representing the attributes of form such as • Shape • Scale • Structural Poetic • Position • Colour • Texture and Materials
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For each activity on a checklist, the researcher records characteristics of the built form and the images it evokes a whole and other relevant information as regards the area of study. A thorough understanding of how data would be used and an understanding how coding categories would be used was a significant task. Drawings Will be used to take visual records of the characteristics of observed traces, sketches were be made to show how the influence of Regionalism on the built form. Drawings accompanying written notes are illustrations of the observed data. Photographs Will used because of their illustrative quality. Photographs of physical traces were taken to provide a visual record of the data. Graphs, Tables and Charts These are the statistical methods used in the analysis and presentation of then data collected. Annotated Diagrams These will be used to record traces within the simple contexts with standard research objectives. Verbal and diagrammatic traces will be done on paper where necessary.
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Objective 1. To identify case studies of County Assemblies that have been informed
Method Archival study
Literature Review
Notebook
Structured
Note taking
Observation Checklist
Structured
Note taking
Notebook
Observation
Sketching
Sketchpad
Questionnaires
Photography
Camera
Interviews
Questionnaire
Data Tabulation into bar
Microsoft Excel
graphs
‘Getcalc’ Coefficient
Observation
Regionalism inherent in the built form
3. To determine the extent to which
Tool
by the concept of Regionalism.
2. To document the attributes of
Technique
Data Analysis
Regionalism influenced the eventual character of the built forms of the
Calculator
case samples
Table 3-1 Data Collection tools and techniques summary Source: Author
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3.5 SAMPLING PROCEDURES Sampling is the process of choosing participants for the research study. Time and Financial constraints necessitated sampling in the selection of the case studies as well as the subjects for the survey Multistage Sampling In Stage 1, Cluster sampling was used to choose clusters from the population. The eight former provinces were used to form the clusters. In Stage 2, Homogenous Judgemental sampling was used to select a case sample from each cluster that best exemplified the concept of Regionalism. The samples were narrowed down to 2 samples due to time constraints. Stratified Proportionate Selection This was the method selected to narrow down respondents for the questionnaires. Respondents were selected from 2 major categories: laymen and professionals (in the built industry) on a 50-50 basis. Literacy was a general requirement for all participants. Sample Size A sample group of 30 respondents was used which represents the minimum scientifically viable sample group size for a correlation research. (Mugenda & Mugenda, 1999)
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CHAPTER 4: CASE STUDIES AND DATA ANALYSIS
INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
Chapter 4 : CASE STUDIES AND DATA ANALYSIS Two Case Studies were selected: One from the Coastal Region and one from the Western region of Kenya. Namely; 1. The County Assembly of Kilifi 2. The County Assembly of Homa Bay
4.0 CASE STUDY ONE: THE COUNTY ASSEMBLY OF KILIFI Location The County Assembly of Kilifi is located in Malindi Town, 115.6 Km NorthEast of Mombasa Town, Kenya. Physical Environment and Climate The climate in Malindi is tropical; hot all year round, with a cooler season from June to September, in which the daytime temperatures are around 27/28 °C (81/82 °F), and a hotter and humid season from November to April, in which the daytime temperatures are just above 30 °C (86 °F), with May and October as intermediate months. The temperature in Malindi varies little throughout the year, but the differences are sufficient to make the warmest period uncomfortable, whose peak is reached in April, at the onset of the rains. However, the heat is tempered by sea breezes. Figure 4-1 map showing location of Kilifi county, Kenya Source: maphill.com
Malindi is served with a domestic airport and a highway between Mombasa and Lamu. The nearby Watamu resort and Gedi Ruins are south of Malindi. The mouth of the Sabaki River lies in northern Malindi while The Watamu and Malindi Marine National Parks form a continuous protected coastal area south of Malindi.
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Plate 4-2 A Front view of the Kilifi County Assembly Building Source: Author’s archives
Plate 4-1 National Museums of Kenya building, Malindi: Notice the similarities in the form language with the building in Plate 20 Source: ttnotes.com
Size & Shape The Kilifi County Assembly building has a centralized regular form and is double-storeyed, defined by massive columns at the entrance. A look at the Malindi National Museums of Kenya building, formerly Malindi Native Civil Hospital, shows some similarities. The Museum building is also a centralized regular form that is double-storeyed with a wrap-around balcony on the first floor. The entrance is defined by four massive columns. Scale The building has a human-friendly scale. The ground floor is about 3.5 meters in height and the entrance is defined by a low canopy which creates an intimate experience. The building also blends in with the scale of the surrounding government buildings which average between two to three storeys in height.
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Plate 4-4 Kilifi Assembly: Notice the Swahili inspired Arches Source: kilifi.go.ke
Plate 4-3 The Malindi International Airport: Notice the pebble stone cladded columns Source: jamiiforums.com
Materials and Technology The columns at the main entrance to the Assembly are adorned with mazeras, a local stone. The structure has been used to enhance the appeal of the form through the use of arches characteristic of Swahili Architecture. The roof, however, is finished in pre-painted corrugated iron sheets and the windows are modern aluminium frame windows. A comparison can be drawn with the Malindi International Airport which also has massive columns at the entrance adorned with pebbles found locally. Arches have also been used in the form in reference to Swahili Architecture. Likewise, modern aluminium frame windows have been used. Colour The County Assembly building was finished in a cream coloured lime plaster rendering which is similar to that used in some buildings in the town such as the one shown on plate 23. Later the balustrade on the first floor of the building was painted in a soft orange colour to create contrast and visual interest. Plate 4-5 a building in Malindi town Source: Author 66 | P a g e METTO ALLAN AB241-2295/2012
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Plate 4-7 inside the debating chamber Source: kilifi.go.ke
Plate 4-6 Notice the symbols and carvings on wood Source: kilifi.go.ke
Response to climate and light The debating chamber receives ample daylight from the clerestory windows on the right and left sides where the public galleries are located. Although, air conditioners are provided the building makes good use of natural cross-ventilation creating a comfortable environment. Metaphor and Symbolism Although the exterior seems devoid of metaphor or symbolism save for the county emblem on the front façade, it is interesting to note the debating chamber is awash with symbols; the most prominent being the county emblem on the wall above the Speaker’s chair and the locally-inspired decorative symbols right above the speaker’s chair. On the wall, on either side of the chair are timber elements that are carved in Swahili-inspired patterns highlighting the importance of the office of the Speaker of the Assembly. Local timber has also been used to decorate the chambers in slat-like patterns reminiscent of the Swahili Architecture sun shading screens. 67 | P a g e METTO ALLAN AB241-2295/2012
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4.1 CASE STUDY TWO: THE COUNTY ASSEMBLY OF HOMA BAY Location The County Assembly of Homa Bay is located in Homa Bay Town in Homa Bay County, a county in the Western part of Kenya bordering Lake Victoria. Physical Environment and Climate Homa Bay County has semi-arid climatic conditions with daily temperatures ranging between 26°C during the coldest months (April and November) and 34°C during the hottest months (January to March). The county receives between 250mm and 1200mm of rainfall annually, with the average annual rainfall estimated at Figure 4-2 map showing location of Homa Bay county, Kenya maphill.com
1,100mm. It has two rainy seasons; March-April-May (long rains) and September to November (short rains).
Homa Bay County borders Lake Victoria which is a source of livelihood for people living near the Lake. Ruma National Park is located in Lambwe Valley, close to the shores of Lake Victoria. The park covers an area of 120 sq km and is home to a huge population of wildlife .Areas around Kasipul Kabondo, Rangwe and Ndhiwa are very fertile; producing bounty harvests of cotton, maize, sugar cane, cassava, banana, pineapples, sorghum, millet, sunflower, sorghum, ground nuts and potatoes.
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Background The Building was officially opened by the then Colonial Governor Sir Patrick Rennison in 1962 before Kenya got its independence from Britain in December 1963. The Building first served as the offices of the then larger South Nyanza County Council and later as the offices of Homa Bay County Council until 2013 when devolution was ushered in following the March 4, 2013 General elections. The building has been renovated and extended to accommodate the new County Assembly of Homa Bay. The now refurbished Plate 4-8 The County Assembly of Homa Bay Source: kahawatungu.com
building which is rightly opposite the Homa Bay law Courts is one of its own as and now houses the new County Assembly of Homa Bay.
Size, Shape & Scale The building is a centralized regular form; an L-shape on plan. Compared to the neighbouring single-storeyed law court buildings, the Assembly building is domineering, standing out within the immediate context. However, the mass appears to be broken as the ground floor is separated visually from the upper floors. Thus at ground-level, users have the impression of a human-friendly scale and not a domineering mass. The entrance is also designed to match the human-scale creating an intimate experience as one walks in. Plate 4-9 the neighbouring Homa Bay Law Courts Source: nation.co.ke
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Plate 4-11 notice the use of natural stone on the façade. Source: kahawatungu.com
Plate 4-10 'Thimlich Ohinga' stone-built ruins Source: Wikipedia.org
Colour, Materials and Technology The building made use of a concrete post-beam language for the structure while quarry stones were used for the walling. Following renovation the building was painted white with tones of black on the plenary walls. On the front façade right above the entrance, the local natural stone used is left exposed creating contrast with the painted concrete columns and beams. Metaphor and Symbolism The natural stones used on the front façade were arranged to mirror the dry walling technique of the stone structures of Thimlich Ohinga ruins in the region. The structures were built from undressed blocks, rocks, and stones set in place without mortar. The densely packed stones interlock. The site is believed to be more than 550 years old and is now a conserved site by the National Museums of Kenya. 70 | P a g e METTO ALLAN AB241-2295/2012
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Plate 4-12 inside the debating chambers: notice the day light and the operable windows Source: homabayassembly.go.ke
Response to climate and light The external walls have been done in local natural stone which have excellent thermal properties keeping the interior of the building cool. The plenary has been designed to make maximum use of day lighting and natural ventilation. Direct sunlight was avoided through the use of sun shading elements in the form of concrete lattice.
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4.2 COMPARATIVE ANALYSIS: KILIFI COUNTY ASSEMBLY, ASPECT OF
KENYA
BUILDING
HOMA BAY
MPUMALANGA PROVINCIAL
COUNTY ASSEMBLY,
ASSEMBLY, SOUTH AFRICA
KENYA
1. PHYSICAL PROPERTIES
Shape
Centralized Regular rectilinear Form
Centralized Regular rectilinear Form
Centralized Dome and Clustered Regular Forms.
Size
Human- friendly scale
Stands out within the immediate
Use of tall vertical elements as
Blends in with the scale of
context towering the adjacent law
landmark features which read above
surrounding buildings & landscape
court buildings.
the surrounding natural landscape
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KILIFI COUNTY ASSEMBLY
KITUI COUNTY ASSEMBLY
MPUMALANGA PROVINCIAL ASSEMBLY
Position
Located adjacent to the street but is
Located adjacent to the street with a
The buildings are set off the main road
out of the direct line of sight from the
direct line of sight from the entry
with a shopping mall in between.
entry point.
point.
The clustered forms are arranged
Building is centrally positioned on
Building is centrally positioned on
around a central parking in an arc
the site.
the site.
shape. The arced motion is terminated at one end by the large dome.
Off white lime-plaster with soft
Use of black & white tones and
Use of natural red brick and earth
orange balustrade on the first floor
exposed natural coloured stone work
tones
Textures and
Concrete post-beam structure with
Concrete post-beam structure and
Red brick used as the main material
Materials
lime-plastered walls
stone walling finished in paint.
Natural Decorative finishes for
Use of the local Mazeras stone to
Use of exposed natural stone
building elements derived from Earth,
decorate columns
contrasts with the smooth painted
grass and reeds.
Colour
beams and columns
Structural
Structure has been used to enhance
The sun-shading elements on the
Sprawling roofs with wide overhangs
poetic
the appeal of the form through the
front façade have been used to create
supported by tree branch like support
use of arches, balusters characteristic
rhythm.
structure that echo indigenous trees
of Swahili Architecture.
An interplay of the concrete post-
Walkways covered by lean-to timber
Natural Stone-cladded columns.
beam and exposed natural stone
structure with timber slats flooring.
mirroring the dry-wall technique
Decorative brickwork motifs
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KILIFI COUNTY ASSEMBLY
KITUI COUNTY ASSEMBLY
MPUMALANGA PROVINCIAL ASSEMBLY
2. SITE CONTEXT
The building respects topography
The building respects the topography
The buildings respect topography
which is generally flat.
which is generally flat.
which is gently sloping towards the
Windows have been shaded from
Direct sunlight was avoided through
river.
direct light using walkways and roof
the use of sun shading elements in
A series of balconies and projecting
eaves.
the form of concrete lattice.
eaves filter light to prevent direct
The light colours used reflect
External walls done in local natural
sunlight. Large glass windows on the
sunlight reducing solar heat gain.
stone which have excellent thermal
East facing façade to maximise day
properties keeping the interior of the
lighting.
building cool
Form is pragmatic
Form is pragmatic
Dome was referenced from the domed
AND
Arches used reference to the Swahili
The decorative natural stones used on
rock outcrops in the surrounding
SYMBOLISM
Architecture prevalent in the region
the front façade reference the stone-
landscape.
Moderate use of local motifs
built ruin structures of ‘Thimlich
The civic square includes a centrally-
restricted to the interior of the
Ohinga’ in the region.
placed tree: A symbol of African
3. METAPHORS
debating chambers.
governance Extensive use of African motifs and decoration referenced from local traditions and crafts such as pottery and basketry.
Table 4-1 comparative analysis table 74 | P a g e METTO ALLAN AB241-2295/2012
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4.3 QUESTIONNAIRE RESPONSE ANALYSIS Thirty similar Questionnaires were prepared for each building: The County Assembly of Kilifi and The County Assembly of Homa Bay and distributed to laymen and professionals from the respective areas on a 50: 50 basis. The questionnaires were categorized into the following evaluative criteria for comparative analysis:
Physical Properties of Form: Shape, Size, Materials, Textures & Structural Aesthetics/poetic.
Site Context (Response to Passive elements) and;
Metaphors & Symbolism (Response to Active elements)
1. THE PHYSICAL PROPERTIES OF FORM A) SHAPE 20
The SHAPE of the building is appealing
NO. OF RESPONDENTS
15
KILIFI
15
HOMA BAY
12
13
10
10 5
4
3
2
1 0
0
0
Strongly Agree
Partially Agree
Neutral
Partially Disagree
Strongly Disagree
KILIFI
4
15
10
1
0
HOMA BAY
3
12
13
2
0
Graph 4-1 response to Shape Source: Research data
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4 out of the 30 respondents strongly agreed that the shape of the built form of Kilifi County Assembly is appealing while 15 partially agreed, 10 remained undecided and 1 partially disagreed. For Homa Bay County Assembly, 3 respondents strongly agreed, 12 partially agreed whereas 13 remained neutral and 2 partially disagreed.
B) SIZE 14
The building SIZE relates well with the human proportion
13
12
NO. OF ReSPONDENTS
12
11
KILIFI
HOMA BAY
11
10 8 6
5 4
4
3 2
2 0 0
0
Strongly Agree
Partially Agree
Neutral
Partially Disagree
Strongly Disagree
KILIFI
13
11
5
0
0
HOMA BAY
4
12
11
3
2
Graph 4-2 response to Size Source: Research data
13 out of the 30 of the respondents strongly agreed that the building size of Kilifi County Assembly relates well with the human proportion while 11 partially agreed and 5 remained undecided. For Homa Bay County Assembly, 4 respondents strongly agreed, 12 partially agreed whereas 11 remained neutral and 3 partially disagreed with 2 strongly disagreeing. 76 | P a g e METTO ALLAN AB241-2295/2012
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C) MATERIALS AND TEXTURES
MATERIALS AND 15 TEXTURES enhance the appeal of the form
16
14
KILIFI
14
HOMA BAY
NO. OF RESPONDENTS
12 10 10 8 8
7
6 4
3
2
2
2 0 0
0
Strongly Agree
Partially Agree
Neutral
Partially Disagree
StronglyDisagree
KILIFI
7
14
8
2
0
HOMA BAY
3
15
10
2
0
Graph 4-3 response to Materials and Textures Source: Research data
7 out of the 30 respondents strongly agreed that the materials and textures used enhanced the built form of Kilifi County Assembly while 14 partially agreed and 8 remained undecided. For Homa Bay County Assembly, 3 respondents strongly agreed, 15 partially agreed whereas 10 remained neutral and 2 partially disagreed just as with Kilifi County Assembly.
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D) STRUCTURAL AESTHETICS/POETIC
The 15 STRUCTURE enhances the appeal of the form
16
14 14
KILIFI
HOMA BAY
NO. OF RESPONDENTS
12 10 8
9 7
7
6
5
4 2 2
1 0
0
0
Strongly Agree
Partially Agree
Neutral
Partially Disagree
Strongly Disagree
KILIFI
7
15
7
1
0
HOMA BAY
5
14
9
2
0
Graph 4-4 response to Structural Aesthetic Source: Research data
7 out of the 30 respondents strongly agreed that the structure was used to enhance the built form of Kilifi County Assembly while 15 partially agreed and 7 remained undecided with 1 partially disagreeing. For Homa Bay County Assembly, 5 respondents strongly agreed, 14 partially agreed whereas 9 remained neutral and 2 partially disagreed.
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OVERALL RESPONSE TO PHYSICAL PROPERTIES OF FORM
PHYSICAL PROPERTIES OF FORM KILIFI 90
KITUI
83.33
PERCENTAGE RATING
80 70
73.33
70 63.33
60
60
63.33
53.33
50
50 40 30
20 10 0
Shape
Size
Materials & Textures
Structural Poetic
KILIFI
63.33
83.33
70
73.33
KITUI
50
53.33
60
63.33
Graph 4-5 summary of the overall response to Physical Properties of Form Source: Research data Kilifi County Assembly ranked higher on all the Physical Properties of Form scoring the highest percentage, 83.33% in terms of the building size in relation to the human scale. Both buildings scored highly in terms of Structural Poetic, 73.33% for Kilifi County Assembly and 63.33% for Homa Bay County Assembly.
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2. SITE CONTEXT
A) RELATIONSHIP OF THE BUILDING TO IMMEDIATE
LANDSCAPE (NATURAL FEATURES AND SURROUNDING
BUILDINGS) The building fits well with the surrounding landscape
16
14 14
KILIFI
12
HOMA BAY
NO. OF RESPONDENTS
12
10 8
8
8
7
7
6 4 2 2
1 0
0
0
Strongly Agree
Partially Agree
Neutral
Partially Disagree
Strongly Disagree
KILIFI
8
12
8
2
0
HOMA BAY
0
7
14
7
1
Graph 4-6 relationship between building and immediate landscape Source: Research data
8 out of the 30 respondents strongly agreed that the built form of Kilifi County Assembly fit well within the surrounding landscape while 12 partially agreed, 8 remained undecided and 2 partially disagreed. For Homa Bay County Asseembly, no respondents strongly agreed, 7 partially agreed whereas 14 remained neutral, 7 partially disagreed and 1 strongly disagreed.
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B) RESPONSE TO LOCAL THERMAL AND LIGHT CONDITIONS
The building adequately responds to local thermal and light conditions
16
14
14
KILIFI
HOMA BAY
12
NO OF RESPONDENTS
12 10
9 8
8
7 6
6
4
3
2
1 0
0
0
Strongly Agree
Partially Agree
Neutral
Partially Disagree
Strongly Disagree
KILIFI
9
12
6
3
0
HOMA BAY
8
14
7
1
0
Graph 4-7 response to local Thermal and Light Conditions Source: Research data
9 out of the 30 respondents strongly agreed that the built form of Kilifi County Assembly responded adequately to local thermal and light conditions while 12 partially agreed, 6 remained undecided and 3 partially disagreed. For Homa Bay County Assembly, 9 respondents strongly agreed, 14 partially agreed whereas 7 remained neutral and 1 partially disagreed.
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C) RESPONSE TO SITE TOPOGRAPHY
The building respects the site topography
12
11 10
10
NO. OF RESPONDENTS
10
KILIFI
HOMA BAY
9
8 6 6
5 4
4
3
2
0
1
1
Strongly Agree
Partially Agree
Neutral
Partially Disagree
Strongly Disagree
KILIFI
10
11
5
3
1
HOMA BAY
9
10
6
4
1
Graph 4-8 response to Site Topography Source: Research data
10 out of the 30 respondents strongly agreed that the built form of Kilifi County Assembly respected site topography while 11 partially agreed, 5 remained neutral, 3 partially disagreed and 1 strongly disagreed. For Homa Bay County Assembly, 9 respondents strongly agreed, 10 partially agreed whereas 6 remained undecided with 4 partially disagreeing and 1 strongly disagreeing.
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D) USE OF LOCALLY-SOURCED MATERIALS Use15 of local materials in the built form
16
KILIFI
14
HOMA BAY
12
NO. OF RESPONDENTS
12 10
9
8 8
7
6 4 4
3 2
2 0 0
0
Strongly Agree
Partially Agree
Neutral
Partially Disagree
Strongly Disagree
KILIFI
9
12
7
2
0
HOMA BAY
4
15
8
3
0
Graph 4-9 response to the use of Local materials Source: Research data
9 out of the 30 respondents strongly agreed that the built form of Kilifi County Assembly used locally-sourced materials while 12 partially agreed, 7 remained neutral, 2 partially disagreed and none strongly disagreed. For Homa Bay County Assembly, 4 respondents strongly agreed, 12 partially agreed whereas 7 remained undecided with 2 partially disagreeing and none strongly disagreed.
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OVERALL RESPONSE TO CONTEXT 80
73.33
70
SITE CONTEXT
70
70
PERCENTAGE RATING
70 60
63.33
KILIFI
63.33
53.33 HOMA BAY
50 40 30
23.33
20 10 0
Relationship with surrounding landscape
Building adequately responds to local thermal and light conditions
Building respects site topography
Use of local materials
KILIFI
53.33
70
70
70
HOMA BAY
23.33
73.33
63.33
63.33
Graph 4-10 summary of overall response to Context Source: Research data
In regard to overall response to Site Context, Kilifi County Assembly was rated highest cumulatively but Homa Bay County Assembly ranked higher in terms of response to local thermal and light conditions scoring 73.33% while Kilifi County Assembly managed a close 70%. The County Assembly of Homa Bay ranked dismally in terms of relationship with the surrounding landscape scoring 23.33% compared to Kilifi County Assembly’s 53.33%.
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3. METAPHORS AND SYMBOLISM
A) RESEMBLANCE TO FAMILIAR OBJECT(S) OR SYMBOL(S) Built form resembles a familiar object(s) or symbol(s) in nature or local culture
16
14 14
KILIFI
no. of respondents
12
13
HOMA BAY
11
10 8 8
7
6 4
4 2 2
1 0
0
0
Strongly Agree
Partially Agree
Neutral
Partially Disagree
Strongly Disagree
KILIFI
0
11
13
4
2
HOMA BAY
0
8
14
7
1
Graph 4-11 response to resemblance to Familiar Objects or Symbols Source: Research data None out of the 30 respondents strongly agreed that the built form of Kilifi County Assembly resembled any familiar object or symbol in local culture but 11 partially agreed, 13 remained neutral, 4 partially disagreed and 2 strongly disagreed. For Homa Bay County Assembly, none of the respondents strongly agreed but 11 partially agreed, 13 remained undecided with 4 partially disagreeing and 1 strongly disagreeing.
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B) INCORPORATION OF LOCAL DECORATION TECHNIQUES/MOTIFS Built form incorporates local decoration techniques/motifs
16
14
KILIFI
14
HOMA BAY
12 NO. OF RESPONDENTS
12 10
9 8
8 6
7 5 4
4 2
1 0
0
0
Strongly Agree
Partially Agree
Neutral
Partially Disagree
Strongly Disagree
KILIFI
5
14
7
4
0
HOMA BAY
0
12
9
8
1
Graph 4-12 response to incorporation of Local Decoration techniques/Motifs Source: Research data 5 out of the 30 respondents strongly agreed that the built form of Kilifi County Assembly incorporated any local building techniques while 14 partially agreed, 7 remained neutral, 4 partially disagreed and none strongly disagreed. For Homa Bay County Assembly, none of the respondents strongly agreed but 12 partially agreed, 9 remained undecided with 8 partially disagreeing and 1 strongly disagreeing.
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OVERALL RESPONSE TO METAPHOR & SYMBOLISM METAPHOR & SYMBOLISM
70
KILIFI
60
63.33
HOMA BAY
PERCENTAGE RATING
50 40
36.67
40
26.67
30 20 10 0
Built Form resembles a familiar object(s) or symbol(s) in local culture
Built Form incorporates local decoration techniques/motifs
KILIFI
36.67
63.33
HOMA BAY
26.67
40
Graph 4-13 overall response to Metaphor & Symbolism Source: Research data
In regard to overall response to Metaphors & Symbolism Kilifi County Assembly was rated highest cumulatively scoring 36.67% in terms of resemblance to familiar cultural objects or symbolism and 63.33% in terms of incorporation of local decoration techniques whereas Homa Bay County Assembly scored 36.67% and 40% respectively.
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4.4 CORRELATIONAL ANALYSIS Correlation analysis is a method of statistical evaluation used to study the strength of a relationship between two, numerically measured, continuous variables. This particular type of analysis is used to establish if there are possible connections between variables. However, correlational analysis does not determine cause and effect as other variables that are not present in the research may have impacted on the results. For the purpose of this research, the cumulative number of responses for each Likert step under the three variables of Form, Context and Metaphors & Symbolism were summed up and used to conduct a correlational analysis. FORM
CONTEXT
METAPHORS & SYMBOLISM
Strongly Agree
46
57
5
Partially Agree
101
93
45
Neutral
73
61
43
Partially Disagree
13
17
23
Strongly Disagree
2
3
4
Table 4-2 cumulative no. of responses for each Likert step Source: Research data The Correlation Coefficient The correlation coefficient, or Pearson product-moment correlation coefficient (PMCC) is a numerical value between -1.0000 and 1.0000 that expresses the strength of the linear relationship between two variables. When the correlation coefficient (r) is closer to 1.000 it indicates a strong positive relationship. A value of 0.0000 indicates that there is no relationship. Values close to -1.000 indicate a strong negative relationship between the two variables.
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a) Correlation between FORM and CONTEXT Calculation Summary FORM (Data set X)
[46, 101, 73, 13, 2]
CONTEXT (Data set Y)
[57, 93, 61, 17, 3]
Correlation Coefficient (r)
0.9794
Table 4-3 correlation between Form and Context Source: Research data
b) Correlation between FORM and METAPHORS & SYMBOLISM Calculation Summary FORM (Data set X) METAPHORS & SYMBOLISM (Data set Y) Correlation Coefficient (r)
[46, 101, 73, 13, 2] [5, 45, 43, 23, 4] 0.7930
Table 4-4 correlation between Form and Metaphors & Symbolism Source: Research data Table 4-3 and 4-4 indicate that there is a strong positive relationship between FORM and CONTEXT (r=0.9794) and a strong positive relationship between FORM and METAPHORS & SYMBOLISM (r=0.7930) as well.
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CHAPTER 5:
FINDINGS, CONCLUSIONS AND RECOMMENDATIONs
INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
Chapter 5 : FINDINGS, CONCLUSIONS AND RECOMMENDATIONS 5.0 SUMMARY From the onset, the specific objectives were:
to identify case studies of County Assembly buildings that have been informed by the concept of Regionalism
to document the attributes of Regionalism inherent in the built form and;
to determine the extent to which Regionalism influenced the eventual character of the built forms of the case samples
The literature reviewed was instrumental in establishing the theoretical and analytical background for the study. The case studies and the field work data collected were analysed accordingly. The study findings indicated that regional aspects: context and metaphors & symbolism had statistically significant positive effect on the eventual character of the built form. The study concluded that the concept of Regionalism is a significant determinant of form derivation and articulation. The findings, conclusions and recommendations are discussed in detail in this chapter: 5.1 FINDINGS The Site Context was found to have the greatest effect on the eventual character of the built form. The correlational analysis indicated a strong positive relationship between FORM and CONTEXT (r=0.9794) and FORM. METAPHORS & SYMBOLISM also exhibited a strong relationship (r=0.7930). From the findings, the alternative hypothesis ‒ Regional aspects greatly influence the character of the built form‒ holds true. Regionalism tends to flourish in those cultural interstices which in a way or another are able to escape the thrust of universal civilization. While regionalism is critical of the placeless-ness and lack of meaning in Modernism, it does not reject the progressive aspects of the modern architectural legacy. Instead, regionalism adapts the modern architectural language of the built form by adapting to local context and content. Specifically:
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1. Physical properties: Sizing The built forms with sizes that blend into the immediate context creates contextual harmony. Further, use of a human-friendly scale creates an intimate experience thus forging a better user-building relationship. Shape Use of shapes abstracted from the immediate natural landscape and known cultural objetcs creates a recognisable image for the built form. Materials and Textures Use of local materials and textures as well as incorporation of local decoration techniques and motifs into the built form created an appeal and roots the built form to the place. Structural aesthetic Unlike structures concealed by extensive cladding which render the building ‘plastic’, the use of an expressed structure with local materials in use not only enhanced the appeal of the building but also tied it to the immediate context.
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2. Response to Site Context: Topography When the topography is used unobtrusively it serves to enhance the sense of place as it embodies the pre-history of the place. It creates a strong relationship with the surrounding context by making the built form appear to ‘grow’ organically out of the site. Local light and climate Local light and climate have the capacity to inscribe the work of architecture with the character of the region by animating the space as light plays across the surface and seasonal changes occur. This creates a strong tie between the built form and the locale.
3. Metaphor and Symbolism The use of re-interpreted vernacular elements and symbols within the built form creates a strong bond between the users and the built form because they are able to identify with it. Forms abstracted from familiar objects were found to be particularly appealing.
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5.2 CONCLUSIONS & RECOMMENDATIONS The study made the following conclusions: 1. Regionalism manifests itself as consciously bounded architecture; one which rather than emphasizing the building as a free-standing object places stress on the territory to be established by the structure erected on site. 2. Regionalism favours the realization of architecture as a tectonic fact rather than the reduction of the built environment to a series of ill-assorted scenographic episodes. 3. Built forms are regional to the degree that they invariably stress site-specific factors ranging from the topography to the varying play of local light across the structure. 4. Regionalism emphasises the tactile as much as the visual; an awareness that the environment can be experienced in terms other than sight alone. 5. Regionalism opposes the sentimental simulation of the local vernacular, however, it favours the insertion of re-interpreted vernacular elements as disjunctive elements within the whole. In light of the above, the study recommends that architects commissioned to design public buildings, particularly County Assembly buildings, take into account concepts of Regionalism if they are to create designs that are authentic and have a unique regional identity, specifically: an emphasis on the tactile just as well as the visual to create a multisensory experience (physical properties), incorporation of re-interpreted vernacular elements and symbols (metaphors and symbolism), use of local materials & finishes and structural poetic (tectonics), respect for topography and unique response to the light and thermal conditions (site context). This requires a high level of consciousness by the designers: taking note of environmental particularity, social individuality and cultural uniqueness of the natural and cultural landscape in which they are to design in.
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Areas for Further Research This research was a skeletal look at concepts of Regionalism and how they generally influence the built form. Future researchers on the subject can specialise on the specific sub-themes such as Metaphor & Symbolism, Structural Poetic, Site Forces or just the Visual and Tactile Properties. From this, specific design interventions such as the incorporation of re-interpreted vernacular elements into the built form can then be studied in depth for the benefit of future designers.
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LIST OF Appendices
INFLUENCE OF REGIONALISM ON THE BUILT FORM: THE CASE OF COUNTY LEGISLATIVE ASSEMBLIES IN KENYA
APPENDIX I: BIBLIOGRAPHY
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Guitart, M. (2014). The failed Utopia of a modern African vernacular: Hassan fathy in New Gourna. Journal of Architectural Education. https://doi.org/10.1080/10464883.2014.937232 Hartoonian, G. (2011). Mental Life of the Architectural Historian: RE-opening the Early Histiography of Modern Architecture. Iweriebor, E. (2011). The Colonization of Africa. Retrieved October 4, 2018, from http://exhibitions.nypl.org/africanaage/essaycolonization-of-africa.html Lefaivre, L., & Tzonis, A. (2012). Architecture of Regionalism in the Age of Globalization (pp. 1–13). New York: Routledge. Lefaivre, L., & Tzonis, A. (1981). The Grid and the Pathway: An introduction to the work of Dimitris and Suzana Antonakakis. Architecture in Greece, 15, 164–178. Mahgoub, Y. (2007). Architecture and the expression of cultural identity in Kuwait. Journal of Architecture, 12(2), 165–182. https://doi.org/10.1080/13602360701363486 Malnar, Joy Monice Vodvarka, F. (2013). New Architecture on Indigenous Lands. Marriam-Webster. (n.d.). Regionalism | Definition of Regionalism by Merriam-Webster. Retrieved November 5, 2018, from https://www.merriam-webster.com/dictionary/regionalism Mikelsone, I. (2016). Methodology in Attitudes Assigned to Architecture as Distinctly Regional. Rigas Tehniskas Universitates Zinatniskie Raksti, 11, 43–48. https://doi.org/http://dx.doi.org/10.1515/aup-2016-0006 Miller, V. (2011). Architecture Informed By Social Identity, Meaning and Memory : a Provincial Legislature for Pietermaritzburg, KwaZulu-Natal. (August). Ming, C. (2008). An imitative Regionalism. Design Report, 13. Mitteregger, M. (2015). Reason might be a place. Critical regionalism and architectural autonomy as examples of architectural theory building on political philosophy. Retrieved from https://publik.tuwien.ac.at/files/PubDat_243388.pdf
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Morgan, M. H. (1914). Vitruvius: the Ten Books on Architecture. Oxford University Press. Mugenda, O., & Mugenda, A. (1999). Research Methods: Quantitative and Qualitative Processes. Nairobi: ACTS. Noble, J. A. (2011). African Identity in Post-Apartheid Public Architecture. Surrey: Ashgate Publishing Limited. Orozco, J. C. (2007). A Comparative Analysis Of Kenneth Frampton’s Critical Regionalism and William J.R. Curtis’s Authentic Regionalism as a means for evaluating two houses by Mexican Architect Luis Barragan. Univesity of San Carlos. Pallasmaa, J. (2005). The Eyes of the Skin: Architecture and the Senses (p. 35). West Sussex: John Wiley & Sons. Palmer, A. L. (2008). Critical Regionalism. Retrieved October 16, 2018, from http://architecture_history.enacademic.com/76/Critical_Regionalism Pillai, H. (2018). Design Systems through History. Retrieved November 13, 2018, from http://www.archiestudio.in/demystifying_m_arch/design_systems_through_history Poursani, E. (2017). Modernism as a Response. Retrieved September 19, 2018, from https://study.com/academy/lesson/modernism-inarchitecture-definition-history.html#partialRegFormModal Quintano, J. (2013). 03 Architectural Principles & Elements. Retrieved November 11, 2018, from https://www.slideshare.net/janicemaireneechiverri/03-architectural-principles-elements Ricoeur, P. (1965). History And Truth (reprint). Northwestern University Press. Suzanne Waters. (2017). Modernism: An Architectural Style Guide. Retrieved September 19, 2018, from https://www.architecture.com/knowledge-and-resources/knowledge-landing-page/modernism Tiklama. (2017). Critical Regionalism (Kenneth Frampton) | Architect’s Journal. Retrieved September 19, 2018, from https://senacatal.wordpress.com/2017/04/11/critical-regionalism-kenneth-frampton/
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Torabi, Z., & Brahman, S. (2013). Effective Factors in Shaping the Identity of Architecture. Middle-East Journal of Scientific Research. https://doi.org/10.5829/idosi.mejsr.2013.15.1.2357 Urban, T. S., & Bani, M. O. (2015). Critical regionalism: studies on contemporary residential architecture of Khartoum – Sudan, (November 2015). Waters, S. (2017). Modernism. Retrieved September 19, 2018, from https://www.architecture.com/knowledge-andresources/knowledge-landing-page/modernism Yim, R. (2013). Reconnecting Cultures. (J. N. DeHoff, Ed.). London: Artifice books on Architecture. Stiff + Trevillion. (n.d.). India - Critical Regionalism. Retrieved October 8, 2018, from http://www.stiffandtrevillion.com/blog/indiacritical-regionalism
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