JUNE / JULY 2017
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Evolution of the Mall Architecture – The Hub Karen Dedicated To Quality, Life Changing Development - Architect Tim Vaulkhard Louisiana Hamlets Pavilion turned educational facility in Kibera, Nairobi How is the SGR project impacting development and economic growth in Kenya? Buildesign Magazine Ι Issue 025/2017
www.buildesign.co.ke
Buildesign Magazine Ι Issue 025/2017
Buildesign Magazine Ι Issue 025/2017
PUBLISHER'S NOTE
I
took some time off this May to visit the global capital of fashion and design, Milan in the Lombardy region of Italy. As an architect, I had already set up my itinerary that included visiting some of the most popular architectural and historical attractions like Duomo Di Milano (Milan Cathedral), La Castello (Sforza Castle) and the Art Deco Centrale (Central Railway Station). I also wanted to see how the modern and contemporary part of the city, Porta Nuova, was fused with the rest of the city that was ‘stuck’ in the past at least from the exterior. I had planned visits to Lake Como, which is still within the Lombardy region not far off Milan, and Venice, the city with no roads, just canals. What impressed me the most was Milan’s public transport system. Moving around was fast and easy whether on short or long trips. At any point wherever you were, you would have access to either a bus, a tram, an underground metro train or a surface train. The linkages between the various routes was made possible through key stations where these routes would converge and one could easily change trains or buses depending on where they were headed. The city centre was also fascinating. Much of it largely pedestrianized, thanks to the efficient public transport system. Streets were wide, most without vehicular access. This opened them up to a lot of pedestrian friendly activities, most of which spilled over from the buildings along the street. Ground floors of all buildings were transparent, with glass openings that enhanced the interaction between the building and the street. One would almost feel like getting into every shop or restaurant in every street they walked. Each of buildings I visited would require its own article to give a brief review. Duomo Di Milano and the Art Deco Centrale Railway Station were the most fascinating to me. The Duomo, said to have taken two centuries to build is the fifth largest cathedral in the world. To date, there is still some construction going on and thus working with the construction commencement date of 1386, one can argue that it has taken six centuries to build. One of the striking features of the Duomo is the intricate detail of sculpture and art that adorns the building on all sides, externally and internally from the floor to the ceiling. The highest pinnacle of the Duomo has a bronze statue of Virgin Mary which is one of the symbols of Milan. I also took some time to visit one of Europe’s top schools of architecture, Politecnico Di Milano, and spent some time in their third year studio led by Prof. Camillo Magni. It was a great experience sharing with the students and their lecturers and drew a lot of similarities on how the trade is taught and practiced. We are however still a far cry away in terms of infrastructure for our schools. In practice though, most architects I spoke to were not happy with their market which had more renovations and fit outs than new construction projects. Some are looking into Africa and Asia for commissions. Milan is a city worth visiting. And I plan to visit again, soon. Martin Tairo
Publisher: BUILDesign Africa Ltd Howse & McGeorge Centre P.O.Box. 60540-00200, Nairobi info@buildesign.co.ke Distributors: Jetsam Distribution Ltd Mai Mahiu Rd, Off Lang’ata Rd info@jetsamdistribution.com www.facebook.com/BUILDesignKE www.twitter/BUILDesignKE www.instagram.com/buildesign/ Copyright ©: Architecture Kenya Media Ltd
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Publisher:
Martin Tairo tairo@architecturekenya.com
Editor:
Wendy Kinya wendy@buildesign.co.ke
Assistant Editor:
Julie Bungei julie@buildesign.co.ke
Marketing Executive:
Felister Mugambi felister@buildesign.co.ke
Technical Assistant:
Brian Munene brian@buildesign.co.ke
Design & Layout:
Raphael Mokora dockrapho@gmail.com
Photos:
BUILDesign Team info@buildesign.co.ke The HUB management Iwan Baan
Selgascano Architects Hello Everything Antony Trivet Contributors:
Advertising:
Stephen Lutta Nyambura Nugi Eric Loki David Bruce Mugola Irene Wanjiku Samuel Kerongo (+254) 722 387 110 (+254) 720 650 898 (+254) 725 075 993
DISCLAIMER No part of this magazine may be reproduced in any form or stored on a retrieval system without the permission of the publisher. The publisher cannot accept responsibility for any errors that may appear or for any consequences of using the information contained herein.
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Buildesign Magazine Ι Issue 025/2017
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CONTENTS
CONTENTS 08
20 08
MAIN FEATURE The Hub Karen
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FEATURED ARCHITECT Timothy Vaulkhard
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TIMBER SERIES Engineered Woods
32
ARCHITRAVEL Standard Gauge Railway
34
SPECIAL FEATURE Kibera Hamlets School
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EDITORIAL
W
hile forums on sustainability, façade technology and other current agenda continue to take prime attention within the field of building today, evoking issues of the desperately poor in the slums and refugee camps remain on the back seat. Without getting into the many political disputes about informal settlements and slum upgrading projects, I’ll note that environments of those millions of our fellow citizens who live in conditions that deprive them of opportunities for health and happiness must be the object of architecture and the core of any ethical system to lever a world more humane. The slow task of improving cities, settlements, institutions and infrastructure should also be at the core of the work of architects seeking to redress both sudden and long-term issues of inequality and scarcity - and not just by individuals within the design community but all of us. In this issue, we revive this agenda by gathering perspectives on transformative architecture; design that goes beyond shelter provision to changing lives. From the decent neighborhood of Karen to the desperate community in Kibera, it shows that the primary role of the architectural profession is to create inspirational spaces that improve life and raise expectation, asserting a right to architecture for all and helping form the shape of aspiration. Featured in our building review is The HUB Karen - a reinvention of the conventional lifestyle center, taking the form of a grand suburban home where the Kenyan middle and upper class can live, socialize and work. In the midst of a genuine paradigm shift of what a retailer is and does, this millennial shopping center has excelled in not only a robust design but also four other crucial areas that lure the 21st generation shopper in malls today. Discover these
factors and more on the evolution of the mall architecture in our main feature on page 12. Kibera Hamlets School on the other hand is a transformation project with a twofold agenda: to improve the school’s health profile, currently among the country’s poorest urban zone, and to create a social meeting point across age and interest for the entire local community. The colourful pavilion perched in the heartbeat of Kibera Slum is not simply a service but a signal. I hope that the inspiring work by the collaboration of Selgascano Architects, Hello Everything and Studio 14 at the school will inspire you to a practice predicated on the urgency of compassion and the eternity of kindness. Our featured architect, Tim Vaulkhard, once again reminds us that architecture is not just about building to provide shelter but participation in the mission of ameliorating the environments of those with least power. Good quality development is about improving and changing lives. Indulge his fulfilling career journey and more of his perspectives on different aspects in the industry as he shared with our team. We have a new contributor! Joining our team is Bruce Mugola, an amazing author and landscape architect, with a particular interest in the African architectural context. In line with our theme, he kicks off with an analytical inquiry into the conundrum of informal settlements. Get to understand the misconceptions surrounding the situation and how he feels designers can work with informality. You’ll find more thought provoking reviews on the eclectic interiors, pavement design, the leaking roof, engineered woods and the SGR project among others. We always love to hear from you. Send us your feedback regarding the content we share via info@buildesign.co.ke Have a lovely May! Wendy Kinya
LIST OF CONTRIBUTORS
Irene Wanjiku Director, REXE Roofing
Nyambura Nugi Interior Designer, Zidaka
Eric Loki David, Architect Environmental Design
Samuel Kerongo Landscape Architect
Stephen Lutta, Architect & Travel Enhusiast
Bruce Mugola Landscape architect
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MAIN FEATURE
Evolution of the mall architecture, The Hub Karen
I
n the midst of a genuine paradigm shift of what a retailer is and does, shopping alone doesn’t cut it as an enticement in malls today. The 21st generation of shopping centers must excel in four areas: extraordinary design, hyper levels of service, internationalization of brands, and the decentralization of food and beverage. These factors have to be coupled with efficiency, comfort, convenience, safety and quality. Entertainment, dining and leisure components are now crucial in luring the millennial shoppers. Perched 100m from the junction of the Karen-Dagoretti roads in the uber cool Karen suburb, The Hub Karen exhibits this concept in grandeur.
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Brief The client wanted a community lifestyle center with strong features of the toned down Karen feel where people can meet, shop and engage in other activities. The key requirement in the design was to ensure that the building did not appear imposed in the area. In response, the architect sought uniqueness, elegance and conformity to its location as its defining characteristic. An open air village, the neo modern complex exudes grace and warmth organized around courtyards as the central features successfully unifying its disparate sections.
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Design Typical of the Karen residential architecture, the complex takes the form of a grand suburban home with a minimal height comprising of two storeys, a pitched shingles roof, dormer windows on the top floor, earthy tones on the exterior finishes, large green spaces and airy common spaces. Designed to achieve the essence of a lifestyle center where the Kenyan middle and upper class can live, socialize and work, The Hub Karen is a collection of several blocks linked together by bridges. To create interest in every corner of the mall, the design incorporates leisure activities and food courts evenly distributed in varying intervals to provide dining options and a greater experience for the shoppers. Other features that make the common areas more inviting include a gaming center, the children fountain pool, the artificial lake and garden with walk ways, boat riding, fishing, and golf. The choice of materials used was also guided by
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MAIN FEATURE
required in the public spaces. Incorporation of openness also ensures that all the shops are well aerated, easily visible and accessible and naturally lit except for aesthetic purposes by individual tenants. Additionally, the lighting arrangement is all LED coupled with motion sensors in the common areas. To compliment the city council water supply, a sewer treatment plant has been installed on site to treat the grey water. In that regard, 80% of all the water used in the mall is recycled. In addition, it was a mandatory requirement for all the food outlets in the mall to install dishwashing machines to save on water. Floor cleaning and gardening uses recycled water only. Taps and flashing systems in the washrooms are also sensor controlled. In terms of drainage, the terrain allows for storm water to flow in one direction and in turn avoiding floods and drainage complications. Security measures With safety a major concern in shopping centers in Kenya, The Hub Karen has embraced the latest security technology. There are two screening systems at all access points ensuring that both the walk in and drive in persons undergo personal security check up. Additionally, CCTV with external backups are installed to monitor the state of security around the mall. A complete installation of automatic detectors for vehicles is also available at the mall, including a bollard system to ensure thorough inspection of all the vehicles accessing the mall. The project came to Bowman & Associates based on previous working relationship with the client. Concept development and design took one and half years. Construction began in December 2013 and was completed towards the end of 2015. Official handing over was done in February 2016. “Space layout
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MAIN FEATURE
Site Layout
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the design concept. For instance, stone cladding on the shop fronts, arches, main stair cases and the courtyard flooring, timber cladding on parts of the walls and interior flooring, textured special effects finishing on the walls, brown wooden looking glass on the windows, stone tiles and moldings on the ramps, were all inspired by the traditional concept that has strongly been developed across the entire design. Capacity The built area covers 64,000 sqm of the 20 acre piece of land with a gross lettable area of 31, 800 sqm and 20,000 sqm of ample parking, accommodating a total of 1185 cars; 646 cars on the basement, 87 cars on the lower ground floor and 452 cars on the upper ground floor. The gently sloppy terrain of the site allowed for multiple levels and consequently the entry points which also impacted the parking arrangement; the lower ground entry at the lowest point and the upper ground entry at the higher level. Occupying 2000 sqm, the courtyards on the ground
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R12.470
MAIN FEATURE
Elevation
Section
level and the upper level are designed as open air multifunctional spaces for different activities and events, creating central points of convergence within the interior space layout – an arrangement that allows flexibility and more activity in the complex such as parties, sports, antique market, holiday market, shows, music events, dance performance, art exhibitions and related events. There are four blocks of three levels each. The anchor tenant, a hypermarket, alongside entertainment, fashion & beauty stores, food courts, a health club, furniture retail and related shops occupy the ground and first floors while banks, medical facilities and the management offices occupy the second floor. Sustainability The mall assumes an open plan that allows for passive ventilation which positively impacts the energy foot print in the building as well as the cost of maintenance since there is no mechanical ventilation
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MAIN FEATURE
and most of the details in the design of a mall are tenant guided. Meeting all the requirements and standards for the diverse tenants resulted to planning changes and space adjustments in some areas but we managed to achieve the task on time and within the budget� remarks Architect Morrison, the architect in charge of the project. The Hub Karen cost approximately Kshs. 5B.
Project Data
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Client
Broll Property Group Kenya
Architect
Bowman & Associates
Project Manager
Betts & Townsend (Pty) Ltd
Main Contractor
Laxmanbhai Construction Ltd
Quantity Surveyor
Integrated YMR
Mechanical, Electrical, Structural & Civil Engineers
Sutherland Engineers SA & Loadline Engineers Services Kenya
Soft Landscape Architect
Ecoscapes Kenya
Hard Landscape Architects
Insite Group, SA
Environmental Consultant
Green Key Environmantal Solutions
We are proud to be associated with the Hub Karen shopping mall Our Contacts: Menelik lane, Naivasha, hwa road 0786 195899 Tel: 254-20-2138191 Cell: 0704 646 664 / 0731 068 184
Eldoret, 0738 597660
Kitengela, 0733 965520
THE ROOF DIARY
Help my roof is leaking!
Irene Wanjiku
contractor. Have regular checkups of insects that make their home on the eaves. Ensure that you clear off huge tree branches around your property. It goes without saying: If a tree limb crashes on your roof, you’re in trouble, even without crashing, if the branches rub against your roof on a daily basis, they can scratch the surface and wear down the top layer over time. At the very least, it’s safer for you and your roof if trees are trimmed so no branches are resting on top of your home.
F
rom minor leaks to major cracking, roofs can suffer from a number of common ailments that demand immediate attention. To help you out, I have listed a few of the most frequent problems that will force you to call a roof doctor. Remember that, repairing roofs is not only complicated but can be dangerous and it is better to get a professional who will do the right job safely instead of trying to fix the issue yourself. Roof Leaks This is probably the single most common roofing problem facing homeowners and developers today. They arise from cracked or damaged flashings, broken tiles, cracked metal sheets, poor roof slopes among many other reasons depending on the type of roof and product used. Most of the roof leaks have a tendency to occur around the chimney, under damaged tiles, at flashing points, along water harvesting gutters, at skylights and around solar panels, around vents and pipes, on low slopes due to water stagnation and along the roof valleys If you see signs of a leak, which includes discolored ceilings, damp walls and water drops, contact a roofing specialist immediately as unrepaired leaks can cause extensive damages that will be more difficult to repair left unattended. Stagnant Water When water begins to stagnate, or form little ponds on the roof, it can cause problems in the long run. This problem is prevalent on flat roofs. The solution is to ensure proper and adequate drainage slopes are provided and downpipes are unclogged. This will allow water to run off keeping you and your roof happy, free from water damage. Punctured roofs Anything from foot traffic, falling branches to wildlife can scrap, puncture or cause huge cracks on your roof. Insects drilling holes on the eaves and contractors walking on the roof can puncture your roof exposing the roof structure to moisture. Only use qualified roof contractors to inspect your roof to safeguard yourself from further damages from an inexperienced
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Shrinkage Several roofing products will tend to shrink, when this happens, it leads to a host of difficulties such as cracking, pulling apart along the flashings among other issues. Shrinkage is common with synthetic rubber materials. The solution is to ensure that you carefully consider the technical properties of your preferred roofing product on expansion and contraction with the help of your roofing specialist and thereafter make an informed decision. Cracking and Discoloring Roofs can develop cracks, blisters and discoloration. This mainly depends on the quality of roofing product you have installed. It is common to find a developer picking a roofing product based solely on price without considering the quality. The solution is to concentrate on quality first because the roof is an integral part of your project and any saving you might consider making in the short term might be a heavy investment on repairs and replacement over time Poor Installation Inexperienced or poorly qualified roofing specialists will cost you money, happiness and time in the long run. It is no surprise that shoddily installed roofs remain one of the reasons for short life expectancy, repairs, leakages and misaligned roofs. Clogged Gutters If your gutters are poorly installed, clogged, broken or defective, water will eventually find its way into your eaves, leading to roof rot. Gutters need to be routinely checked for debris and broken parts. It is important to install gutter screens on the openings to prevent twigs and leaves from getting into the gutter system. Poor Maintenance and inspection Just like most problems in life, when caught early, the vast majority of roof problems are easy to fix. Bypassing routine inspection, on the contrary, is the surest way to turn a minor concern into a major disaster. For sustainable results, stick to a yearly maintenance and inspection schedule with a qualified roofing contractor. In the upcoming issue of BUILDesign magazine, we shall discuss factors to consider when choosing your roofing contractor. The author is a roofing specialist most commonly known as ‘The Roofing Queen’ and Managing Director of Rexe Roofing Products Ltd. She can be reached via www.rexeroofing.com
ENVIROMENT
Design for dust - A case of Nairobi’s dusty environment
Eric Loki David
D
esigning in a dusty environment is very tricky, especially because natural ventilation & passive cooling is required. On dusty sites in Nairobi, I have noted the following features to be of great help: 1. Use a courtyard plan arrangement: This will allow openings into the courtyard while minimizing (if not avoiding altogether) any openings on the walls facing away from the courtyard. I have noted this to be very successful in many schools located in Nairobi’s downtown where dust & noise is a big problem. A courtyard enclosed by a low-rise block (no floors above ground) allows for adequate cleaner air flow through the building. Openings at the roof level can further help increase airflow if required. Openings facing the dusty side should be kept as high and small as possible. Bigger lower but openable windows can still be located on this side for day-lighting as well as livening the elevation if required. These however require regular cleaning which can get expensive. 2. Plants: Having greenery around the buildings, say a band of up to 6 meters of green landscape (trees, grass, shrubs etc) will help capture most of the dust. Keeping the landscape well-watered will also keep the soil moist, reducing dust levels. Planted driveways allow for less loose dirt, keeping dust levels low. 3. Use ‘wind watchers’: If you require a lot of airflow for cooling (depending on how hot the site is) then roof level ‘wind catchers’ can be very helpful. These can be raised to a height that allows for cleaner air intake, with the supply openings kept low. (I am sure you are familiar with Hassan
Fathy’s desert cooling wind catchers). Filters, e.g. Simple pieces of cloth, can be used to trap dust at both air entry and exit points. These can however get complicated but definitely worth a try. 4. Locate buildings away from busy and dusty roads: This option is not always available especially in high density areas, but where the land is big enough, buildings should be located away from roads etc to keep dust levels to a minimum. 5. Wind flow: The wind flow direction of a site must be noted early in the design process to ensure all major openings are located away from the wind direction. Wind breakers along the direction of wind flow help to reduce wind speeds reducing dust levels. 6. Responsive windows can help reduce dust levels as well when all openable panels are located at a sufficient height above the ground where dust levels are highest. Whereas breathing low levels of household or urban dust does not cause health problems to most individuals, people with existing respiratory and heart conditions, including cigarette smokers, are at a greater risk of developing long-term health problems. Dust particles however cause irritation of the eyes, coughing, sneezing, hay fever and asthma attacks in many individuals. Babies, young children and elderly people are more likely to develop health problems from long term exposure to high levels of dust. The author is a practicing architect. M.Phil (Environmental Design in Architecture) Cantab, B.Arch (Nairobi), LEED Green Associate
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Buildesign Magazine Ι Issue 025/2017
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ARCHITECT PROFILE
Dedicated to quality, life changing development - Architect Tim Vaulkhard
R
aised in England, Tim Vaulkhard is a typical English countryman. Over the past four and half decades, he has lived on his farm in Kiambu County. Now retired, Tim enjoys riding a horse around the farm on a weekend or driving around with frequent stops checking on growth of the many
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indigenous trees he has recently added to the steep slopes of the farm. On a more relaxed weekday morning, he’ll be sipping tea in his farm office as he runs through schedules and the farm records. ‘I don’t fancy suburban living.’ he notes. Tim’s interest with natural environments goes back many years. Growing up in rural England, Tim enjoyed tranquility surrounded by nature and hence the passion
ARCHITECT PROFILE
Garbatula School for the surroundings of his current home. His direction into the discipline of design was influenced by his mother who was an artist. Upon completion of his architectural training at the University of Nottingham in England, Tim decided to travel. Though he’d no prior interest outside England, Tim found himself in Kenya for the first time in 1969, courtesy of the Voluntary Service Overseas (VSO) – a British organization that sends skilled people to developing countries to work on projects that help the local community. His first job was at the Ministry of Works in Kisumu; this was when David Mutiso was the chief architect. Later Tim came to Nairobi and was recruited by Braz Menezes becoming part of the team planning Buruburu. Upon completion of the contract, Tim decided to travel overland across Asia to England to advance his career. In the 1970s England was not an attractive place to pursue architecture and Kenya held happy memories for him. He received a job offer from Triad Architects and it took little to convince him to accept it. “The firm was in a bad shape. The founding partners, Graham McCullough, member number one of AAK and Amyas Connell, designer of Parliament building, were just retiring and so we had to reinvent.” Tim recalls. In 1975, he championed the formation of the new Triad together with the late David Bristow and Daniel Mutiso. They became the partners in the new practice, kicking off with commissions to design the KPCU building and the Norfolk towers in Nairobi.
Tim has lived in Kenya and practiced in the same firm since then. “I didn’t need to change my job for new experiences because I got a new challenge every time a client came in.” Tim notes. He added that “with a very good succession plan, the firm has since groomed more partners and grown into one of the leading architectural practices in Kenya and the region”. The former director at Triad largely devoted his part of the practice to projects that benefited lives of people in rural areas and projects outside Nairobi. “Buildings are not only about providing shelter but changing the lives of the people that use them. I just like development in areas where there is none and seeing the impact it has on the community. My satisfaction is not the big houses or estates in large suburbs, I’m proud of projects that could really help people and anyway they’re much more fun to do” Tim notes with a chuckle. “I might not be known around town for spectacular designs but it is pleasing to see the joy and transformation that the projects I work on bring in people’s lives,” adds Tim who is down to earth and very passionate about all his work. “Most architects claim projects as their own. They forget that it is the effort of the team, something that is very important in the delivery of quality projects. As an individual I don’t lay claim to projects because it all takes teamwork; client, designers and builders. I insist on teamwork because each consultant and builder contributes to the delivery of a project. Delivering a building is not a one man job” he clarifies. According to Tim’s old partner,
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ARCHITECT PROFILE
Nairobi National Museum entrance
David Bristow, architecture is 5% inspiration and 95% perspiration and Tim lays claim to the perspiration bit. In a career that spans nearly 50 years, it is difficult to pick out favourites but Garba Tula School, recognized as the best educational buildings since independence; Isiolo Hospital; Nairobi Business Park at the Race Course; the Nairobi National Museum; the ICRAF head quarters; the Moi University library, and the recently completed Cathedral in Kericho, winner of several international awards, are some of the projects that Tim is proud of as the lead architect out of the two thousand or so that Triad has undertaken over the last 45 years, but he finds equal satisfaction in small dispensaries built in inhospitable areas such as the Kaisut desert or in remote parts of Southern Sudan. You might gather that Tim enjoys travelling. Despite a lucrative career, the journey has not been without its challenges. “As all architects know work is not guaranteed every day. Half of an architect’s time is spent looking for work and hence continuity of work for architects is a major challenge that I have experienced over the years,” explains Tim. “I wish architects could give more time to their commissioned work.” Architecture industry in Kenya
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“I am disappointed just how badly architectural design services are procured in Kenya and the result is the poor quality of so many of our buildings. In many cases you find that reputation and quality doesn’t count in awarding a job. “I always say, as an architect, your reputation is as good as your last project” notes Tim, “but this doesn’t seem to count”. Poor designers appear to be rewarded by more work and the most deserving architects are left on the shelf. Societies reward is too many badly designed, uninspired and inefficient buildings. Architects with poor track records end up getting jobs that should be entrusted to talented professionals with proven track records. The fascination with getting a low fee prevails without considering the risks of employing inexperienced architects. The regulatory bodies not only need to ensure that fair fees are paid but also reinforce the quality of the profession. “Local architects can do much better and Kenyan buildings ought to be winning international prizes, yet few do. Design workshops and competition should be encouraged as well as international training and benchmarking to promote creativity and improve quality in the architectural profession in Kenya.”
ARCHITECT PROFILE
Kericho cathedral
He cites the fascination with selection of inappropriate materials and poor detailing. We do not need so much un-shaded glass in buildings in Kenya because we are in a tropical climate with high solar gain. We ignore the benefits of cross-ventilation and instead install expensive mechanical cooling systems to counter heat gain that should never find its way into a building. I urge architects to keep this in mind as they design fronted glass buildings.” Tim remarks “Because it is cheap, it doesn’t need to be nasty. There are so many natural and affordable building materials in Kenya. We don’t need to use so much imported stuff.” Tim advises. He also adds that professionals must ensure they use materials that are suitable for the design of the building and consider the detailing of roof. “Don’t make a roof onto a “water tank”, and why do architects design roofs with so many hips, valleys and weak points?” he asserts. The regulatory bodies like AAK and BORAQS needs to stiffen their rules and regulations in order to improve the quality and state of building in Kenya.” Tim notes. Do we ever strike off members of the
profession for mistakes and poor conduct? Planning of the Nairobi and our towns is being ruined by politics. Land grabbing is a major challenge that needs to be resolved if we are going to preserve public open space.” says Tim. He lamented the failure to take back the stolen land at Nairobi City Park into public ownership. Good succession planning is important for the continuity of every practice to ensure that young architects obtain enough experience and can see their way to long term and fulfilling career. “A practical, smooth and efficient transition of leadership is something that we took seriously at TRIAD and it has enabled us emerge among the best architects in the country. Without a succession policy in place, there’s no allegiance or continuity. Young architects never have time to develop their skills before they are off to set up their own companies, often before they are ready to do so. Other architectural firms in Kenya should learn from this.” Tim advises. “There should also be some travel awards for young architects in order to motivate them to produce better quality architecture and learn from
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ARCHITECT PROFILE
Isiolo DH1 other cultures”, he adds. In conclusion, Tim, who has always been driven by passion encourages young architects to be attentive to detail and quality in design and delivery. Once again, he emphasizes the importance of team work. “The only way to deliver quality projects on time is through team work, something that all architects should keep in mind.” Now retired since 2014, the 71 year old is currently a consultant to TRIAD Architects where he also handles small pro bono works and some legacy projects. “Most projects that I have undertaken and will continue to do pro bono are those that impact on the lives of the community. In the near future, Tim hopes to also build his retirement house in Limuru, whist travelling and spending time with his family in other parts of the world.
KPCU
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ARCHITECT PROFILE
Nairobi Business Park
Moi University
ICRAF Labs
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TIMBER SERIES
Engineered wood the rennaissance of timber across the world Julie Bungei
E
ngineered wood play a significant role in the building and construction industry. Many articles on timber as a building material have been written but what about engineered wood? This article will discuss engineered woods at length and their significance in the building and construction industry. Studies indicate that engineered wood is the renaissance of the timber industry across the world. Until the 21st Century, the functions and uses of timber as a building material were limited but with new technology, stronger, efficient and more quality building materials such as Medium density fiberboard (MDF), laminated timber, plywood, Particle board, OSB and many more have been made out of timber. Today, engineered woods which were embraced a decade ago are the go to materials. Engineered wood products are derived from both soft and hardwood. They are made of layers of wood, bonded together with adhesive materials under intensive heat and pressure. Particle board is made mostly from eucalyptus and pine chips that are compressed together and are mainly used for cabinets such as wardrobes, kitchens and office furniture. MDF on the other hand is made from very
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fine wood fibres that are compressed. Plywood is made from thin sheets of wood that are spliced from the trunk and resulting sheets are layered on top of each other and pressed together under extreme heat and pressure. “Driven by the demand for diverse wood products, engineered woods are preferred because of their quality in terms of functionality and durability,” explains Dipan Mediratta, the Sales & Marketing Director of PG Bison, one of the leading suppliers of wood based panel products in Kenya. “For instance, compared to natural timber, engineered woods are easier to install, less expensive, resistant to moisture and heat and are also more stable in humid conditions. This advantage works well for a variety of products. In addition, they bring out the look of natural wood into a home.” He adds. MDF and Particleboard have gained popularity in Kenya and are more sustainable compared to exotic woods. Another type of product is Engineered Wood Flooring. These are solid layers of hard wood – typically 4-6mm that are fused to a thick ply base of approximately 12mm, resulting in a plank of wood flooring that’s ready polished and grooved and cheaper, more stable and consistent than solid wood flooring. Due to scarcity of timber in Kenya, importation of
TIMBER SERIES
wood based panels/sheets such as MDF and Particleboard is on the increase – this is then used in manufacturing facilities and machined to the client’s needs. “Economies of scale and the lack of forests in Kenya makes importing engineered wood products cheaper than manufacturing them locally,” explains Dipan. “The growing threat of deforestation has led to the rise in the cost of timber, thus popularizing the use of engineered wood products which are slightly cheaper and readily available compared to timber,” he continues to explain. In terms of sustainability, engineered woods can be made out of recycled wood thus conserving the environment. This makes engineered woods less costly in terms of maintenance. Some engineered wood like MDF give you the flexibility to have a product that can be machined by CNC and shaped in any form and finish. Solid woods are susceptible to moisture and are therefore not the best to use for flooring especially at the basement. On the other hand, engineered wood flooring is water resistant and can thus be used in any part of a building including the basement. Moisture levels for engineered woods vary and one has to consider this before choosing from the numerous engineered woods that exist. Engineered woods are strong and therefore can be used as trusses since they’re able to withstand harsh conditions such as strong winds and earthquakes. They are also versatile, designed for different purposes and are specific
to specific use. They are also very flexible and can thus be used for curvy designs of areas like walls. These features that are unique to engineered wood products increase their demand not only in the Kenyan market but globally. In conclusion, the revolution of technology in the timber industry over the years has led to the manufacture of engineered wood products that have played a major role in bringing out the effectiveness of timber as a building material. Environmental friendliness, affordability and accessibility boosts the credibility of engineered woods in most countries, with Kenya picking up the pace. Engineered wood products have textured effects that cannot be achieved through the use of natural timber woods. They enhance creativity and being affordable, they are quickly gaining popularity in the building and construction industry.
Particleboard & MDF: Correct application What is Particleboard & MDF? Wood based panels such as Particleboard and MDF are the result of mixing wood chips and fibres, with a resin. Both Particleboard and MDF are created in a similar way, though with different types of wood trimmings. Particleboard is made from ground down wood chips and particles. MDF is made from steam separated fibres; these particles are dried and then mixed with a binder - a resin that holds the wood debris together. The wood resin mix is heat pressed into sheets, then sliced, sanded and trimmed. The sheets are also upgraded with surface materials such as melamine decor, wood veneers and paper or PVC foils. Particleboard is more economical and does not compromise on quality. MDF is more versatile and expensive compared to particleboard.
Nairobi Kampala Road, Industrial Area Nairobi, Kenya Tel: +254 722-763947 / 733-726855 info@pgbison.co.ke
Particleboard structural strength
PB
MDF MDF
particleboard is engineered to provide structural strength for carcass application.
screw holding
PB
MDF
inner core structure of particleboard increase screw holding capacity
surface upgrade flat finishes PB
MDF
particleboard is perfect for flat surfaces with melamine & veneer finish Mombasa Lumumba Road, Mvita Mombasa, Kenya Tel: +254 717-545114 / 731-609474 info@pgbison.co.ke
www.pgbison.co.ke
door / wardrobe frontals PB
MDF
MDF is ideal for kitchen and wardrobe frontals that have mouldings
routing / moulding
PB
MDF
MDF can be profiled and routered to give desired results of different designs
surface upgrade with profile PB
MDF
MDF is perfect for upgrading 3D surfaces with spray paint finishes Kampala - Uganda Seventh Street, Industrial Area Kampala, Uganda Tel: +256 756-636306 / 756-636305 info@pgbison.co.ug
LANDSCAPING
Pavement design in landscape architecture Samuel Kerongo
P
avement is any hard natural or artificial surface material consciously placed on the ground plane of an outdoor space to establish a durable surface while also satisfying design objectives. Examples of pavement include gravel, brick, tile, stone, concrete, asphalt and, in some cases, wood decking. Pavement is comparatively non pliable, relatively fixed and therefore provides a good structural material to support intense uses on the ground plane. It is relatively expensive as compared to other ground surface materials such as vegetative material. Disadvantages Pavements are not without their disadvantages. For example, they tend to be much hotter than vegetative ground surfaces exposed to the sun. This contributes to the urban heat island depending on the size of the paved area. Another negative quality of some pavement types is that they are impermeable to percolation of water. Consequently, they create more surface runoff than would occur from a lawn. Used in great quantities such as in urban areas, this quality of impervious pavement can cause flooding. Finally, pavements can give an impersonal, barren quality to the outdoor environment if overused or poorly detailed. Many urban areas suffer from ever present, inhuman expanses of hard paving. Functional Uses In combination with other landscape elements, pavements have a number of functional uses in the outdoor spaces. These include: first and foremost accommodating constant, intense use on the ground plane without immediate deterioration. Secondly, a pavement can be used to give direction and indicate movement when used as a thin strip or in a linear manner on the ground plane. In addition, a linear layout of pavement can influence the rate and rhythm of movement. A use of pavement opposite to giving direction is to create a sense of repose and rest. Pavement can suggest a stationary experience when it occurs in relatively large, non-directional forms or patterns. It can also be used to signify varying uses and functions in the landscape by altering color, texture, or the pavement material itself. On the contrary, pavement, if used well, it can unify a diverse composition. This use of pavement is successfully applied in urban environments to visually unify a complex of buildings and related outdoor spaces. Lastly, pavement can be used to establish spatial character. For instance, different pavement materials and patterns can create and reinforce such diverse spatial feelings as refined, rugged, quiet, aggressive, urban, or rural. One last use of pavement in the landscape that can easily be incorporated with other functions is to serve as an element of visual interest. As people
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LANDSCAPING
walk through a space, their attention naturally gravitates downward toward the ground plane. Design Considerations When designing pavement, one should consider using a simplified number of materials to achieve unity. Too much variation in a pavement material and/ or pattern can easily create visual chaos and disorder. One pavement material should dominate in a design with other materials added for visual contrast and variety. The selection of pavement material and the design of the pavement pattern should be undertaken simultaneously with the selection and organization of the other elements of a design to help insure that the pavement is visually and functionally integrated into the entire scheme. Another important consideration in pavement design is that the edges and lines of a building should be coordinated with the pavement next to the building so that it visually connects to the pavement. In addition, the pavement selected for a particular space should also be suitable for the type of intended use, anticipated intensity of use, and desired spatial character. Cost usually has some bearing on what pavement is selected. Another guideline for using pavement in the landscape is that it should not be changed from one area of a design to another without a specific purpose. If pavement is to be different in two adjoining spaces, there should also be a level change to separate and demark the two pavement types. The level change functions as a transition and avoids the potential problem of having the two pavements directly above each other. A third, visually neutral material in between the first two adjoining materials can also be used to separate the two pavements. Lastly, smooth-textured pavement should generally predominate within a space because it is quieter and visually less aggressive. This is usually desirable so the pavement does not detract from other elements of a design. Rough textured pavements can be used in smaller quantities for accent and variety. It is imperative to consider the form or shape the pavement will take in the outdoor spaces. This depends on the design language the designer decides to use in the design of the entire outdoor space. The pavement form is important for both functional and aesthetic uses. For instance, meandering paths of driveways suggest a reduced speed in the circulation. At the same time this design language if articulated well can be aesthetically appealing. One can explore rectilinear or curvilinear pavement designs depending on the site. Rectilinear walkways are formal while curvilinear pavement designs on another hand tend to be informal and bring a more natural look. Materials There are numerous pavement materials available for use in the landscape. Generally they fall into three major groups: loose pavement such as gravel, unit pavers such as brick, tile, or stone, and adhesive pavement held together by a binding agent as in Portland cement concrete or asphalt. Each of these categories and specific types of pavement have their own unique characteristics and potential uses in landscape architectural design. Pavement materials such as concrete, cut stones, brick pavers and
tiles are best in an formal setting such as driveways, building frontages, outdoor usable spaces, public open spaces and high traffic areas. Gravel, stepping stones and wood chippings give a rustic informal finish. They are ideal for low traffic areas and garden design. Gravel is one of the least expensive pavement materials, available in a range of shapes, sizes and colors. The main advantage of using gravel is that it allows surface runoff to percolate through to the underlying soil. When choosing the material finish it is important to consider universal access. This is with a view of accommodating the young, old, abled and disabled users. Loose surface materials are difficult for users on wheelchairs and also those in high heeled shoes. The type of outdoor space will therefore dictate the type of pavement material to use. Pavement fulfills both aesthetic and utilitarian functions in the exterior environment. It may simply be used to accommodate intense use on the ground plane and structurally support pedestrian and vehicular circulation. Beyond this, however, pavement may provide an exterior space with a desired feeling and character owing to its color, texture, and pattern. Samuel Kerongo Landscape Architect/Urban Designer/EIA Expert. M. Arch UON, B. Landscape Architecture JKUAT Landtek Studios (Nairobi/Mombasa). landtekstudios@gmail.com.
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INTERIORS
Ultimate guide to interior design styles – eclecticism Nyambura Nugi
E
clectic comes from a Greek verb meaning “to select” and was originally applied to ancient philosophers who were not committed to any single system of philosophy; instead, these philosophers selected whichever doctrines pleased them from every school of thought. Later, the word’s use broadened to cover other selective natures. The dictionary defines eclectic style as a selection of what appears to be the best in various doctrines, methods or styles. What is eclectic style in interior design? Towards the end of the 19th Century and until the mid of 20th Century, the design professionals designed both skill and enthusiasm for imitation of works of the past. Historicism, meaning relying on history for inspiration and detail has been common since the Renaissance and is a natural part of progressive development in design. Revivalism refers to efforts to return to a particular historic Styles – Greek and Gothic revivals of the 19th Century. Traditionalism then came into use to describe an alternative direction as opposed to modernism. The public often came to believe that a choice between “traditional” and “modern” had to be made. Traditionalism expressed the new belief that design was primarily the work of imitating any historic period. Thus “period styles” came
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to be viewed as stockpiles of possibilities to inspire every new project. To define eclecticism, we may therefore say: eclectic style is a combination of elements of styles from different time periods and different origins in order to design an environment, which would have a great look, artistic taste, and a specific connective element, that would make the whole design look as one piece of work within a single project to have a harmonious style. The style created and produced by a designer during a certain period was derived from a wider range of historic style. The style in each instance often being chosen for its fancied appropriateness to local tradition, local geography, the purpose to be served and / or the cultural background of the client or project. It is the style that allows us to display treasured sentimental items of furniture, holiday tresures and family heirlooms and incorporate them alongside chain store accessories without one item standing or looking out of place in our living homes or hotels spaces. One might wonder how it is possible for such a completely different variety of things to be mixed together and still remain a one piece of the design style. Of course, a lot of efforts, thoughts, and creativity is necessary in order to make the project in eclectic style look great and at the same time logically interconnected. This however does not make eclectic style easy to create or replicate. Mixing and matching elements from different styles is not as easy as it
INTERIORS
seems. Simply taking the elements you like best in each style and throwing them together randomly is not enough. It’s so easy to love, yet a bit trickier to achieve. THE DO’S AND DON’TS OF ECLECTIC STYLE In every design work, pieces, features and constituent elements play a big role for the final result. The same is recognized in this extraordinary style. Every element in creating eclectic style is a part and connection to the whole big project. Do: Consider layout When planning out an eclectic style space, it›s easy to get caught up in which colors, textures, and patterns will bring the look together. However, don›t forget about placement. Layout is one of the most important things in a room, more than the color or the fabrics. The furniture layout is what will make it comfortable and feel like a room you want to be in. Therefore before you start purchasing decor for the room, nail down where each piece of furniture will go. You may find you actually don›t have space for that quirky floor lamp or 19th-century chest. The furniture is an important element that gives a frame for the eclectic piece of art if we speak about interior design. Taking interior décor as an example to illustrate the process of eclectic style creation, it is necessary to say that an artist first creates kind of a “skeleton”, where lines, finishes and materials of the furniture pieces in a room are tied together or a more refined finish which is then decorated and brought into one piece of work by means of color, fabrics and finishes to fill it up and make it one creative stylish work. Don’t: Forget a focal point When you arrange your layout, remember; though eclectic style does involve combining styles and periods through a wide variety of items, the curated look shouldn’t lack focus. Creating a focal point or accentuating an existing one with an eye-catching element — say, an accent wall, fireplace, or bold decorative item. Do: Consider utility Eclectic style is characterized by a multitude of fabrics, patterns and textured art items. Home accents like rugs, paintings, art objects and throw pillows are convenient ways to bring a considered mismatch into any room. Fabric is a big component to the design of eclectic style. The use of fabric creates an “eclectic look” to the whole piece of work. If your harmonising elements are fabrics, choose a color scheme and stick with a neutral as your grounding force, and add to it with colored and textured solids and patterns and trims, tassels or fringe. In addition, as you determine the decor you’ll incorporate into your eclectic design, don’t forget that the room is meant to be lived in. Let utility inform your decorations. Think of how you use a room to help pull it together by considering baskets, bookshelves, drinks trays, and card tables. These
elements lend a cozy, lived-in atmosphere to your room. Don’t: Be inconsistent The nature of eclectic style is varied, but each room should still complement the others to create flow. The designed space will look disjointed if the style changes abruptly from one room to the next as in eclectic style each room must carry the same design throughout the project. A combination of finishes and textures sets an eclectic look apart from the rest. Do: Pick one go-to color Colour plays an important role in pulling things together in this creation. A variety of colours can be used in eclectic style but if paint is your unifying element, it is better to use one neutral color to serve as a unifying factor throughout your design in order to avoid the chaotic look with the other features of the design. Let color serve as the great equalizer, pulling together the overall look. Whether your goto color is an olive green or off-white, consistently return to it while decorating for a cohesive look. Don’t: Compare hues When you’re picking your go-to color, don’t be tempted to sample paints on the wall, making your decision from a lineup of colors. The colors tend to do weird things to each other, and it will get very confusing. Idealy, paint the colors you like onto boards, then look at them in isolation. Painted boards also come in handy for reference when you’re shopping for decor or fabrics. Do: Practice balance Make it a goal to find balance in scale and symmetry. Similar lines create design harmony, even if the pieces are different styles, textures, or from different periods. Don’t: Mistake eclectic for “anything goes” Styling eclectic rooms doesn’t mean tossing every rule. “There’s a very fine line between layered and collected to busy and distracting.. Put a cap on the number of contrasting styles in one room to avoid things feeling random.” Do: Give new styles a chance When you try a new eclectic style and don’t like the outcome, don’t give in to the temptation to change it right away. Wait until the room is complete and live with it for a while. The things that feel like a big deal when you are first decorating a room like an unexpectedly bright paint color fall into the background once the space becomes filled with furniture and other items. The author is the head designer at Zidaka Interiors. She can be reached via sales@zidakainteriors.co.ke
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ARCHITRAVEL
How is the SGR project impacting development and economic growth in Kenya? Stephen Lutta
K
enyan beauty lies, among other areas, within the highlands, the mountains, the lakes, the game parks, the reserves, the deserts and below sea level. With vast stretches of land hard to explore, it would take one a couple of weeks to drive around its perimeter. The population however occupy less than a third of the country’s surface area, leading to a strain on the few resources in these areas, and hence unequal distribution of the wealth of the country. Most of the towns and cities are concentrated in the few areas with proper infrastructure, leaving many parts of the country unexplored and unexploited. In an effort to interconnect the country and spur further economic growth in the region, Kenya has established its
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largest infrastructure project since independence – the standard gauge railway project. Connecting the port of Mombasa to Nairobi, SGR is the first stage of a country wide network aimed at halving the cost and time it takes to move produce from the hinterland to the port and vice versa. A secondary railway shall be constructed from Lamu to Addis Ababa & Juba, tagged the LAPPSET, after important lessons in constructing, running and monetizing the SGR are learned. The first phase of the SGR has seen the railway snake itself all the way from Mombasa to Nairobi, weaving through several remote towns across the counties. It is hoped that new industries and city settlements shall be created in these areas, with the help of several drive factors like devolution and tourism. Most of these stations are in already long-established towns, which stand to gain from
ARCHITRAVEL
the new crop of cargo and passengers who shall have easy access to these areas, to invest or simply be passers by tourists. Under an Engineering, Procurement and Construction arrangement, the Mombasa to Nairobi section of the project included the construction of a single line with a total track length of 609 kilometers over a stretch of 472 kilometers connecting Mombasa to Nairobi; construction of the main freight and passenger exchange stations at Mombasa and Nairobi; construction of intermediate passenger stations at Mariakani, Miaseny, Voi, Mtito Andei, Sultan Hamud and Athi River, and construction of 33 crossing (passing) stations, where trains can pass each other when in transit in different directions. “The contractor shall also supply 56 locomotives, 40 passenger coaches and 1,620 freight wagons,” reported Martin Leitich of Edon Consultants, during our interview. Edon Consultants are the ArchitectProject managers tasked with the delivery of the several terminals along the route. “The project launch is slated for 1st of June 2017, and is set to not only revolutionize the way Kenyans travel, but also open vast swathes of the Country, previously too inconvenient for capital to reach.” Station Network Mombasa station at Miritini, shall be connected to the island via a light rail system to be developed by the County government of Mombasa. Its focus being the cargo at the Port of Mombasa, it has additional tracks leading to the docks. Mariakani is already shaping up to become a major industrial center with several industries producing cement and steel being stationed there and serving the whole of the East and Central Africa region. The major focus of the station shall be for executives with business at these industries as well as cargo dispatches to the hinterland of East and Central Africa. Voi Town, as the gateway to the Tsavo Wildlife Ecosystem, is touted to double in size with increased activity from local and regional tourism and act as an access town for produce headed to Taveta and Wundanyi. Transit time to these towns will reduce and see increased investments in real estate and tourism. Local industry in these areas will also benefit from these kinds of increased activity. Mtito Andei Station is set to open up the vast stretches of Makueni and Kajiado Counties, and shall be the node connecting Kibwezi, the Chyulu Hills National park, Oloitoktok & Mt Kilimanjaro, the Amboseli wildlife stretches and the northern parts of Tsavo East National Park. Tourism shall be a big winner, especially since it already is one of the leading foreign exchange earners in Kenya. Sultan Hamud shall create a link to the marble and stone quarries in Kajiado County and the vast coal reserves that Dangote Industries is gearing up to exploit in Kathonzweni & Wote in Makueni County and Kathungi area in Kitui County. Athi River Town has a well-established industrial
setup that serves Nairobi and the Central Kenya region. The station set up here, is going to shift much of the urban population from the center of Nairobi and aid in decongestion of the slum areas as more industries move to Athi river Town. More investments in real estate and education likely to crop up in this region. Finally, the Nairobi station shall be an intermodal setup where goods and passengers shall be shifted to the old meter gauge railway for further transit into the city center of Nairobi and further to Uganda, before the second phase of the SGR to Malaba is completed. In future, the SGR shall go all the way to Malaba, meeting a similar railway that the Government of Uganda is planning to put up. This shall see it eventually branching out and reaching KampalaKigali and Jinja-Juba. The second stage of this massive network, the LAPPSET, is aimed at opening up Lamu County for tourism and coal resources, Garsen and Garissa Counties with enormous potential of irrigated agriculture and the vast areas up north in Samburu, Isiolo, Mandera, Wajir and Marsabit Counties, to exploit the potential for commercial ranching and game tourism, as well as the oil & water rich Turkana county where the future cities of East Africa shall be stationed. Although the financing for these projects is shrouded in controversy, the future promises to be very interesting for all AEC professionals in East Africa. The author is a graduate Architect and a travel enthusiast at info@africanatravel.co.ke
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SPECIAL FEATURE
Humanitarian architecture Louisiana Hamlets Pavilion turned educational facility in Nairobi
K
enya is a place where long entrenched cultural traditions interact with the fervor of urban modernization. Both in the heart of Nairobi, and at the peripheries, the line is contentious, sharply delineating a country into the past and future. In moments, the global repertoire of modern construction techniques becomes bound in a Kenyan vernacular, where an old approach is expressed with contemporary parts. The remodeled Kibera Hamlets School is a befitting illustration of a transformation project with a twofold
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agenda: to improve the school’s health profile, currently among the country’s poorest urban zone, and to create a social meeting point across age and interest for the entire local community. The old facility was characterized by lack of basic facilities such as toilets, drainage, electricity, adequate roofing, furniture and stationery among others. Upgraded with a contemporary architectural design, the learning institution that serves up to 600 orphaned children is now an outstanding feature in the depths of Kibera slums. The project came about after photographer, Iwan Baan, visited the dilapidated Kibera Hamlets School early in 2016. Struck by the adverse conditions that the children endured
SPECIAL FEATURE
to study, Iwaan approached SelgasCano architects to partner in rebuilding the school. Brought together by the need to transform the lives of the children in Kibera, the Spanish duo, architects Jose Selgas and Lucia Cano (Selgascano Architects), Kenyan architect Abdul Fatah Adam and a New York architecture Studio, Hello Everything decided to put up the new Kibera Hamlets School. The design for the project was borrowed from a pavilion that had been designed for an art museum by architects Selgascano. The project came about after photographer, Iwan Baan, visited the dilapidated Kibera Hamlets School early in 2016. Struck by the adverse conditions that the children endured to study, Iwan approached SelgasCano architects to partner in rebuilding the school. Brought together by the need to transform the lives of the children in Kibera, the project emerged out of the collaboration of a Spanish duo, architects Jose Selgas and Lucia Cano (Selgascano Architects), New York architecture practice, Hello Everything and Kenyan architect Abdul Fatah Adam of Studio 14, the photographer and co-organizer for the project Iwan Baan, with
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SPECIAL FEATURE
Construction sequence
sponsorship by Second Home, a London cultural venue and workspace. Originally commissioned as a pavilion for the Louisiana Museum of Modern Art in Denmark, the project traveled over 11,000 km by sea to be reborn as a school for youth in Kibera, Kenya. Louisiana Hamlet Pavilion is an act of architectural misconstruction, formulated out of universally available scaffolding components organized into sets of modular assemblies defined by modifiable parameters. A strategy of onsite constrained improvisation allows a crowd-sourced model to productively amplify errors and idiosyncrasies as drivers of aesthetic variation. Reconfigurable connections and identical elements extend the afterlife of the project enabling an adaptive response to the wide range of cultural and the economic constraints of both of its sites: in Kibera, Nairobi and the Louisiana Museum in Denmark. At work is a reformulation of existing ideas inherent in the global construction industry, exploiting scaffoldings periodic life-cycle towards an architecture of reuse and variation. Both a pavilion in a museum setting as well as a Hamlet in Kibera, Louisiana Hamlet school asserts contemporary architecture’s imperative for adaptability, expressed as dual manifestations of a common methodology. In Denmark, the project is a form of prototypical architecture, challenging the tectonic and formal possibilities of conventional construction assemblies. In Kenya, it is a
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school, equipped to engage severe economic and logistical constraints in the production of an engaging educational environment. The result is an atmosphere, enriched in its color and material texture as well as an attitude for new global adaptable collaborations. The project depicts a positive attitude and strong resilience to promote learning in a conducive environment. The facility is managed by a community based organization called Kibera Hamlets, which was founded in 2004 by youths from Kibera to serve the underprivileged in their community. The school is one of the projects run by the organization and through outside funding, the children are able to access education and basic facilities in the school. The project was intended to illustrate how architecture can transform the lives of the disadvantaged in the community. It is also used for social gatherings such as weddings and hence, benefiting the lives of the one million estimated population in tremendous ways. Challenges One of the major challenges the team faced was on the shipping of the pavilion to Kenya. Due to custom duty regulations on importation of goods in Kenya, Selgascano and his team experienced a 6 week delay due to customs procedures.
SPECIAL FEATURE
Site features The structure was two storey, consisting of eight classrooms and administration offices with no windows hence no adequate lighting or ventilation. Cracked boundary walls of the old Kibera School were made of old corrugated sheets, unstable timber cut offs and nails – exposing the students to the sewage which run alongside the classrooms. Walls were made of flooring and the stairway were made of uneven and unstable dangerously built blocks of wood with gaps. Leaking iron roofs exposed the students to elements such as rain, wind and other harsh weather conditions. Interior partitions of the classrooms were made of broken recycled soft boards offering little sound insulation. The open space that formed the courtyard was based on a muddy slope. The cooking area was based on an open compound within the courtyard, on a wood fire stovethe smoke and fume gets into the classrooms, making it very difficult to study. About Selgascano Architects Based in Madrid, Spain, Selgascano are an architectural Spanish duo best known for socially focused projects. They’ve also worked on a vaccination clinic elsewhere in Kenya. Both architect Selgas and Cano are hands on designers who like to be part of the very physical process in all their projects.
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TECHNOLOGY
What should an architect consider when buying a computer?
S
ince we started this series we’ve been discussing the software components of technology and the programs that we use to design. I therefore felt it was about time we look at the machines in which we run these soft wares. I’ve been using different machines for the last 6 years for design related purposes. I’ve had the chance to compare different machines and their specifications and determine which work best for various jobs. In this issue we’ll discuss some of the basic specifications that you should consider when choosing a computer for architectural design work. The Processor The Central Processing Unit, CPU, is the part of the computer that controls all the processes and operations. It is basically the brain power behind your computer. The processor determines how fast the tasks are carried out. With the evolving technology, these processors keep getting an upgrade very so often. For any basic architectural work, I’d recommend an Intel i5 processor. This is the minimum capacity that can run most of the design softwares with ease. Most i5 processors come as either duo core or quad
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core. I prefer a quad core with hyperthrerading. With this, your computer can run multiple tasks simultaneously at maximum speed. You also need to consider the clocking rate. You can get an i5 processor that clocks anywhere between 1.3GHz to 3.8GHz. I’ve found that for optimum productivity, a processor that clocks at least at 2.5GHz for each core and above is ideal. The RAM RAM is an abbreviation for Random Access Memory. This is simply storage space for frequently used program instructions. This is the dedicated memory to an open application or program. It allows all calculations for that particular running program to happen. The bigger the RAM, the easier it will be for the calculations to be done to run the program. For the most basic 3D softwares or even the 2D draughting soft wares, it is advisable to have a minimum 4GB RAM to achieve optimum efficiency. You’ll notice that when you work with machines with a small RAM, the software keeps stopping and at times even crashing or lagging if you are playing a game. This is because the small memory takes longer to work out the calculations for a particular task and transmit the data. Crashing happens when the space is too burdened by
TECHNOLOGY
all the tasks being carried out at that particular moment. Therefore anything not less than 4GB of RAM will be okay for most of your work. The Graphics Processing Unit This is among the most critical components in my opinion. Abbreviated as GPU or the Graphics card, this is the part of the computer that works out the calculations and tasks that make it possible to view the 3D models we all use on a day to day basis. In the basic design soft wares, the GPU works out the polygons in any model and creates the 3D model. It is responsible for enabling you to see images on the display device. Simply put, this is what determines whether or not and if so, how fast your computer gives 2D and 3D imaging output. When you pan a 3D model, every time you move the camera the graphics card has to recreate all the 2D images as you move along. Its size determines how fast that happens. There are a couple of factors to consider with the GPU. The first is the make. I strongly advise on either NVidia or Amd Radeon cards. These two cards have been the best since graphic cards were incorpotared in computers. The next thing you need to take into serious consideration is whether the card is dedicated or integrated. Avoid anything with an integrated graphics card. Get a machine with a dedicated graphics card for rendering. There are a couple of benchmarking websites that you can visit on the web to help you identify the preferred card for your machine.
Physical Storage Another critical specification that needs serious consideration before buying a computer is the actual physical storage space available for the hard disk. 500 GB is the minimum if you want to work comfortably. For optimum performance, I’d suggest a 750 GB – 1 TB Hard disk. You also need to remember to partition the disk as you set up the computer into two or even three partitions. You can have the primary one for the operating system and program files and the rest to store your actual work and files to avoid losing all your data in case of failure. Note that data not saved on the primary disk can easily be retrieved in case of loss or corruption as compared to the main disk. Battery Life Get a machine that guarantees at least a minimum of 4 – 5 hours of battery life while the computer is at optimum performance. The battery life applies to laptops only. A hack that I’ve been using with my laptop is using the machine without the battery. Using direct power. This reduces overheating which slows down the processor and also kills the battery cells which cause battery damage and you’d have to keep replacing the battery every now and then. Hopefully with these basics, choosing your next computer will be a lesser hassle and you’ll get a machine that will serve you efficiently. The author is an architectural assistant and visualizer at Architecture Kenya Media Ltd.
OPINION
Understanding informal settlements
R
esilience is the ability to bounce back from shocks and setbacks. It can also be defined as the ability to properly adapt to stress and adversity. In nature, resilience exists as a process, in which natural ecosystems are able to reorganize their structures in order to resist disturbances or adapt to unexpected changes. Informal settlements are those communities that are regarded by planners/designers as unplanned or whose existence was not anticipated. Thus the expression mushroomed settlements or sprawl development. It is my view here that I see informality as a true representation of resilience in the urban context today. Its ability to bounce back from shocks when tried to be regulated and controlled and also to inevitably adapt to disturbances and unexpected changes posed to it makes it resilient in every sense.
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Buildesign Magazine Ι Issue 025/2017
Kibera Slums in Nairobi
Bruce Mugola
The misconception It is often the norm for designers and urban planners to view informal growth/development as a surface nuisance – the residue of planned, ordered and structured design. The by-products of development! So we (as designers) often set ourselves to the task of organizing the disorder that we see in an attempt to understand it. The need for informal settlements I am of the idea that we need informality and we need to see it more often. The vain attempt to master and control informality with a view of making it ‘formal’ and structured reproduces similar problems. If not directly, at least the conditions breeding the problem. As case in point; residents from informal settlements are relocated to constructed apartments in an attempt to do away with the informal settlements, only for them to move back to the informal settlements and rent out their new apartments. The problem here feels economical, at least to the residents. Rather than structural or environmental. Of
OPINION
course there are a lot of factors influencing such behaviors; political, social and economic. This example shows a particular lack of understanding on the part of designers and planners on handling such complexities. Anticipating informal settlements As designers, we can anticipate informality. But we cannot plan for it. Because by so doing we make it formal and thus fall victim to the vicious circle that is: how to plan for informality. Designers can only work and live with this uncertainty. By so doing we will understand what we don’t know (the informal), and that we cannot know everything about everything. The uncertainty here with informality emanates from its randomness in nature and ability to change unexpectedly over time. Working with informal settlements The first thing we should take into account when dealing with informality as a problem is that a problem such as this is not necessarily a problem. It is also an opportunity. How? The existence of it in itself is evidence that it serves a particular purpose. For example: to the disenfranchised, the informal system is a means by which they earn a living, acquire food and also shelter. As planners, part of dealing/working with informal settlements is the art of not knowing too early which type of solution to apply. A designer has to use judgment not a set of solutions. Not to find the truth but to improve.
Temporary Weekend Maasai Market at Supreme Court Parking in Downtown
Systems design and analysis One key aspect in understanding the issue of informal settlements is through system thinking and design. The designer looks at an informal settlement as a system that exists in space. By drawing up a model, the designer is able to understand the components within the system, the system’s boundaries and forces working within and outside the systems boundaries. Fig: Jaan-Henrik Kain. The above diagram is a model in which a designer can formulate in order to understand informal settlements as a system. ‘Solving’ the problem The designer in this case should aim to strike at the root cause of the problem instead of merely addressing the obvious symptoms. Key to achieving this is asking WHY? For example, why do informal systems exists? (Picture IV) In conclusion, although systems thinking is an alternative to solving the problem, it cannot fully in itself solve the problem (offer the solution). What we can do best when confronting such a problem is to realize how the very way we formulate the problem can be part of the problem itself. The art of formulating problems in the right way is as important as the art of finding the answers to the problem. The crucial point is not finding the right answers, it’s
finding the right questions concerning the problem. A key aspect is that one cannot solve a problem with the same kind of thinking that caused it. The author is a landscape architect who writes analytical and innovative pieces on African architectural context. He is also the founder of archlandblog.wordpress.com
Buildesign Magazine Ι Issue 025/2017
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ADVERTORIAL
APEX STEEL pioneering customized ‘cut and bend’ steel
T
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Buildesign Magazine Ι Issue 025/2017
CUT HERE
he new KEBS regulation that was implemented effective 1st. April 2017 prohibits the manufacture and sale of twisted bars in Kenya for building construction. This quite simply means that square twisted steel which was not scientifically correct will no longer be available in hardware shops within Kenya. Deformed Bars also known as Ribbed Bars are now making their way to Hardware shops all over Kenya. However, the critical aspect even with deformed bars; one must be careful to ensure the steel being purchased is within the KEBS allowable tolerance limits. APEX STEEL is the only company in the region that manufacturers Deformed Bars – BS: 4449 – 2005; GRADE 500+ that conforms to ISO 6935-2 since the past decade. It has many ‘firsts’ to its credit. It’s the first company to get the KEBS certification and subsequently the ‘Diamond Mark’ of Quality. It took the leadership in selling its steel by weight than ‘number of pieces’ just so that the customer was paying for what they got in the steel as per the ‘allowable tolerances’ approved by KEBS. Apex Steel demonstrated its confidence in the quality of the steel it manufactured and went on to brand its steel since 2006. Every one meter of the rod bears its name APEX TMX; it also indicated the Grade and the diameter on this rod. Apex Steel’s appetite to engage in continuous improvement of its product and processes led it to become the first company to have its manufacturing processes ‘LEED’ certified; making it the only steel that qualifies for ‘Green Buildings’. The company is also the first to have a ‘stateof-the-art’ in-house testing facility to test the manufacture of steel with regular and consistent testing of the manufactured steel in the region. As a consequence of these credits; APEX TMX is considered ‘EAST AFRICA’s Choice’ and this earned it the prestigious status of being recognized as a ‘SUPERBRAND’ for four consecutive years in a row. For the benefit of end users; the table below illustrates the sizes of steel and it’s standard weights as per the global standards of BS: 4449 – 2005 for Grade 500+ steel that is KEBS certified as specified below.
CALL +254 20 6969000/1/2, + 254 733 640150 / 722 828850 EMAIL sales@apex-steel.com WEB www.apex-steel.com POWER TO BUILD
Size of the
Theoritical
Debar-diameter
weight in kilos length
in mm
of 12 meters per rod
D8
4.74
D 10
7.39
D 12
10.66
D 16
18.95
D 20
29.59
D 25
46.25
D 32
75.76
D 40
118.38
The allowable tolerance for the weight of each rod is +/- 6% in the size of D 8All andsteel +/- 4.5% of all other sizes. by Apex Steel conforms to manufactured
the length and weight of KEBS norms; consistently. Apex TMX is also the only manufacturer within the region who manufacturers D 40mm. Hence for multi storied projects with deep running basements; high rise buildings and complex structures; Dams and Infrastructure projects; Structural Engineers have the flexibility to design it with D 40mm. A few years ago; Apex Steel introduced ‘Cut and Bend’ services and several projects now are subscribing to this arrangement. ‘Cut and Bend’ steel – cut and bent as per the Bar Bending Schedule (BBS) ensures minimum or no wastage and not only reduces cost; but fastens the project and customized and precise steel is delivered to site. Recently it has scored yet another first to introduce Bartech Couplers which is an efficient alternative to the ‘overlap’ for projects. Apex Steel continues to be the leader in bringing innovation and pioneer the availability of world class manufacturing locally.
THE ORIGINAL DEFORMED BAR YI E L D S T R ENGTH 500N /M M ² -60 0 N/ MM²
SU P ERI OR ELONG AT I O N 1 2 %- 2 6 %
CONSISTENT TO L ERA NCE % GE R M A N T E C HN OLOGY
Apex means the top, or the highest point of something, the pinnacle. That was the goal we set for our structural steel in East and Central Africa. It was attained through constant innovation and an B S:4 4 4 9 -2005 E AS To bAs eFRI s s i o nCA’S w i t h qNO. u a l i t y1 . 2 r o o fDEFORMED , A p e x S t e e l w a sBAR t h e r s t s t e e l m a n u f a c t u r i n g c o m p a n y i n K e n y a tKENYA o m a k e dN e f oIrSmO e d 6935bars, C H OI CAEs pOF BS 4449. First to earn KEBS certication. First to be awarded ‘Diamond Mark of Quality.’ First and only to awarded LEED certication. First and only to achieve Superbrand status. To m a i n t a i n t h i s p o s i t i o n , w e b e g i n e v e r y d a y c o m m i t t e d t o e a r n i n g t h e t r u s t o f o u r c u s t o m e r s b y living up to our name.
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C A LL + 2 5 4 2 0 6 9 69000/1/2, + 254 733 640150 / 722 828850 E M A I L s ales @ apex- s t eel.co m W E B www.ape x -ste e l. com