SCHOOL DESIGN PORTFOLIO by Pablo Creative Studio

SCHOOL

A R C H I T E C T U R A L . P O R T F O L I O

COPYRIGHT 2019 BY PAUL MUNGAI MWANGI THE AUTHOR RETAINS ALL COPYRIGHTS IN ANY TEXT, GRAPHIC IMAGES AND PHOTOS IN THIS BOOK. NO PART OF THIS PUBLICATION MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY MEANS, ELECTRONIC OR MECHANICAL INCLUDING PHOTOCOPYING, RECORDING OR ANY INFORMATION STORAGE AND RETRIEVAL SYSTEM WITHOUT PERMISSION IN WRITING FROM THE AUTHOR ALL COMPANY AND/OR PRODUCT NAMES MAY BE TRADE NAMES, TRADEMARKS AND/OR REGISTERED TRADEMARKS pablocreativestudio@gmail.com AND ARE PROPERTIES OF THEIR RESPECTIVE OWNERS T: +254 (0) 725 637290

About me I believe in the ability of architecture, research and design thinking to effect good in the world. My travel to the Northern part of the country have made me believe in the power of holistic good ideas that are inspired by the local cultures and contextual forces with the goal of better shape the built environment through creation of beautiful, functional architecture. To this ends, I will continue to work, learn and immerse myself in the eld in order to create the best of my ability.

We create our buildings and then they create us. Likewise, we construct our circle of friends and our communities and then they construct us. Frank Lloyd Wright.

PAGE INTENTIONALLY LEFT BLANK

SCHOOLPROJECTS 01.

Handi Crafts Centre

02.

Affordable Housing

03.

Urban Design

04.

MUD

05.

Mambrui Homes

06.

Affordable Housing

07.

Urban Design

08.

MUD

09.

Mambrui Homes

T A B L E O F C O N T E N T S

Handi-Craft Centre, Loiyangalani, Kenya Amalgamation of Built form and Culture; “Good modern architecture seeking some sort of formal character and regional identity adapts aspects of traditional architecture of that region that are worth preserving.” (Write) Kenya is a country with diversied cultures, art and traditions. These diversied cultures and traditions are reected on the art and craft of the country which not only species the identity, but has become one of the most important nancial gains of the country. Their craft traditions is part of the inherited heritage and knowledge that expresses their cultural identity. The Lake Turkana handicraft center is a one stop craft destination which offers visitors a unique variety of craft-related activities and programs. The visitors will learn about communities of the region through their craft demonstrations and hand-on interactive sessions. This Project will encompasses products that are handmade by the artisans of that region. The Project will provide local crafts people with a place where they can make, share and learn ideas related to hand made traditional crafts as well as sell their crafts work directly to consumers. As a result, the project will create wealth and jobs in the villages through capacity building, a solution to poverty migration, giving them a chance to survive and prosper without uprooting themselves. The government through vision 2030 aims to create a visionary project that will foster tourism in the region and attract investors. With the rich and diverse cultural heritage and the unique yet picturesque geographical features, this project aims to transform the lake region into a thriving cultural and economic hub.

Site Location

he architecture of the lake Turkana region has lately been disregarded especially with the upcoming developments by the government like the Lake Turkana Wind Power Project, causing the loss of the knowledge handed down by the local population on how to create comfortable built environments with local resources. The project is set out to investigate, analyze and understand the inuence of culture on the built forms in Loiyangalani. Various ndings from the research thesis have been developed. 1. Understanding the local traditional knowledge and social values and how it has been incorporated into built forms gives a more cultural signicance to African architecture of a region. This knowledge can be used by designers to create architecture that has roots and gives a sense of identity to the region. 2. Using local construction materials and technology in the design of the local built forms portrays a rich culture and history of the community. This feature must be incorporated into modern designs. They assert community identity and can signal different messages known to the communities. 3. The communities have learnt to solve their problems by collaborating with nature. This is represented through planning, construction materials, building geometry and construction technology. The porous wall in Lekulo’s home for instance, not only protects them from the intruders, but also the elements. During the day, it acts as thermal mass protecting the interiors from the desert heat but at the same time, due to its porous nature, it also allows cool and dust free breeze to ventilate the interiors. Loiyangalani is suffering from serious drawbacks such as poverty and lack of basic infrastructure for their craft industry. Although the region boasts of rich and diverse culture, the picturesque physical features and the fact that the region is home to cradle of mankind, not much has been done to fully catch its potential and develop the area into an income generated source. This indigenous communities living in Loiyangalani constantly lack the resources and technical capacity to sustain themselves economically and escape poverty. The communities remain under developed and challenged by poor infrastructure, lack of technological progress, weak educational and health facilities and deciency of nancial institutions that would support them. Most of their handicraft products is produced in households and only displayed during cultural festivals or on request. The working conditions in these households is not ideal and may affect production of their hand crafted products.

EXISTING DESERT MUSEUM

LAKE

PROPOSED SITE LOCATION

Views to Loiyangalani Town

Datum

Community Spine

Main Access

Views to Mount Kulal

Existing Axis

Views to Lake Turkana

Community Hall Performance Area Museum To Lake Turkana

Crafts Workshops Visitors Sector

Fluidity As Design Concept Inspired by place and the cultures within this region, Fluidity is represented as a Socio-Spacial Manifestation:- how materials, function, spaces and behaviors conjoined smoothly in relation to social and contextual forces. 1. Building Technology: This manifest in the: Social and Cultural Aspects (Traditional knowledge) 2. The Landscape: The Undulating Desert Landscape and the saline lake represents the hardship of life in the region and their Resilience in nding ways of Adapting. Engaging with the natural topography help creates spaces that blur the difference between building and landscape. 3. The Social Life: The outdoor space forms the social life for the people of this region. This is also where most of the handicrafts products are made. The communities use the outdoor space for multiple programmatic needs such as: Story telling, Food Preparation, Community Gatherings, Cultural Rituals and for Recreational activities.

Sekuye

Turkan

Burji

buru

Sam

ran

Access

Performance Cultural Spine

ille

Ga b

1. The spaces are designed in an incomplete loop that forms a spline that follows the natural landscape. The existing museum denes a spline which forms a node at its centre.

Cultural

2. The spline is divided into 8 segments representing the 8 communities living in lake Turkana region

3. The spline is then fragmented further by introducing rectangular forms perpendicular to each segment forming a rhythmic pattern that denes space all relating to the centre of the circle.

Built form

Exhibition Galleries

Histori

cal

Natural

Resource Area

Reception

Crafts Workshop

Main Exhibition Space

Hallway

Access Road

Crafts Workshop

Restaurant

Prevailing Winds

4. Positive Vs Negative

6. Adding different variations and fragmentation borrowed from the El Molo traditional settlements.

5. Program

ERIE

GALL

GALLERIES

IES LER GAL

URCE RESO RE CENT

Sculptural Exhibition

IES

Cairns Cairns

Water Point

WOR

KSHO

WORKSHOP

P Water Point

Performance

Main Access

RECEPTION

Public Exhibition / Market

Main Entrance RECEPTION Performance

WORKSHOP

WOR

KSHO

P CA

RIA

F CA

Secondary Entrance Semi-Public

IA ER

MIN

7. Breaking the formal organization.

PLANNING CONCEPT

Servicing

vice

Ser

vice

AXIS

MIN

Roa

Ser

Servicing

8. Increasing the dynamism and complexity of forms without losing continuity, creating series of interconnected courtyards that can be used for outdoor activities and also allows the workshops to receive enough day light and cross ventilation

9. Final Iteration

Roa

LAKE TURKANA

14 15

Site Section

Legend

1. Main Entrance

12. Exhibition Gallery

2. Public Parking

13. Museum Block

3. Entrance Foyer

14. Curators Office

4. Private Parking

15. Community Library

6 1

10 7

5. Service Bay

16. Research Lab

6. Reception Block

17. Shed for Relaxation

7. Crafts Workshop

18. Pedestrian Walkway

7 4

9 23 5

8. Administration Block 19. Wind Turbines

9. Kitchen

20. Performance Stage

10. External Dining

21. Material Storage

11. Service (Storage & Toilets)

22. Staff Quarters

23. Camp Site

SITE DESCRIPTION The existing form of the Desert museum denes a central point that acts as focal point for organizing activities. In order to reduce the cost of construction, the building is designed to sit on a at pad to minimize on escavation thus strategically positioning the building on top of the semi circular cliff providing scenic views to the lake Turkana and the desert landscape. This also positions the building at a vantage point where it can easily be seen as you enter Loiyangalani town.

Public Parking

Drop Oﬀ

Main Entrance

Reception Block

Crafts Workshop

Restaurant

Meeting Place

Resting Area

Outdoor Performance Area

Landscaping

Cultural Intergration The facade integrates the use of natural materials such as stone and timber to reect the surrounding landscape. The wooden saplings and thatched roof used in the design symbolizes a connection to their crafts tradition and more so from their building technology. The pattern is derived from the ideologies and principles in their built forms such as repetition, rhythm, order and hierarchy. The rectangular hollow section is integrated into the structural design of the roof but most importantly acts as a support for the wooden screen.

Top of Roof Level

Beam Level

Ground ﬂoor Level

SIDE ELEVATION

Top of Roof Level Beam Level

Ground ﬂoor Level

FRONT ELEVATION

Top of Roof Level Beam Level

Ground ﬂoor Level

BACK ELEVATION

Top of Roof Level

Beam Level

Ground ﬂoor Level Ground Level

FRONT ELEVATION

5. Roof Thatch

6. The courtyard

Use of low water assumptive and drought tolerant shade trees like the Doum Palm tree and Salvadora persica.

Keeps the harsh direct sun away and facilitates passive cooling of the building while maintaining free ow of air through cross-ventilation.

The roof prole is designed such that it minimizes the surface area exposed to sunlight.

Dry stone walling technique used in the design is porous to allow air movement and reduce solar gain keeping the interiors cool.

Locally grown and harvested doum palm thatch is layered on top of the wooden timber saplings providing a low cost and sustainable building solution representative of traditional construction techniques.

Integrating craft work spaces with vegetation to help reduce high desert temperature by creating a cool natural microclimate.

6. Courtyards

Desert Trees

Roof Material

4. Thermal Mass

Dry Stone Wall

3. Geometry

Roof Geometry

2. The Roof Overhang

Roof Eaves

1. Vegetation

SU S AY

Cross Ventilation

ENVIRONMENTAL DESIGN

WORKSHOPDESIGN

“Inspired by the Traditional El Molo Builtform (Shed), the workshop re-interpretes a working environment in the Lake Turkana Region.” Architecture of the craft center is based on a design language that creates buildings as an extension of the environment and that their three dimensional form should depend upon the properties of materials. Vernacular cultures exhibit the art of perfection when it comes to their craft (dressing, decorations, music, architecture and even cuisine). Their understanding of locally available materials, the limitations of site, climate and environment, is interpreted into their built forms that makes them suitable for their region.

Courtyard

BUILT FORM Courtyard Courtyard

BUILT FORM

Prevailing Winds

ENTRANCE

1. TRADITIONAL DESERT PLANNING

2. TRADITIONAL EL MOLO SETTLEMENT

3. BREAKING THE MASS INTO FRAGMENTS

4. ADDING ARCHITECTURAL COMPONENTS

Organization is around the main courtyard. The courtyard is usually provided with water or plants to act as a cooling source and for cross ventilation.

The semi-compact planning inspired by the traditional villages. The oblique angle to the prevailing winds maximizes on natural ventilation.

Adding variations and fragmentation to increase the dynamism and complexity of the spaces. This creates a series of interconnected courtyard that can be used for making crafts.

The walls explores the outdoor experience in hot and dry environment by acting as shading devices making the spaces conducive for working.

1. Thatch Roof The shape of the roof is designed to allow for cross ventilation which removes much of the heat from the sun. Its geometrical shape is formed as a result of blending two lines of opposite direction at the centre, creating a curved surface that mimics the traditional built forms in the region. The thatch used is harvested from the doum palm trees that grow in the region but also mos importantly as a symbolic connection to their craft tradition.

2. Wattle Framework

ROOF STRUCTURE

Saplings from Salvadora persica plant will be used to create the structural framework that holds thatch together. Salvadora persica tree (tooth brush tree)

Air Gap

3. Tapered Rafters The main structural elements are made of glued laminated wood. The rafters forms the main secondary beam support for the roof. Each rafter is designed differently to correspond with the geometrical shape of the roof and INTERLOCKS with the primary beam at the centre creating a strong T- joint.

4. Structure The columns and the beam forms the workshops main structural support. The main materials include the glued laminated wood for its rigidity and large spans and light weight structural steel for column support. The main goal is to create large spans with minimum spatial requirements.

4. WALLS

Timber BEAM (Primary Support) Light weight steel COLUMN Timber Cladding T-Nut Joinery

5. The Wall Two types of wall system are used. The Dry Wall Construction- Made from stacking stones collected from the surrounding area and arranging them in a gabion like structure of steel rod mesh. The wall is tted with a sink to provide water in every crafts station. Ÿ The wall furniture- This is a combination of storage, exhibition and selling function into a wall system while still screening from the desert sun.

FLOOR

WORKSHOP

6. The Floor Black volcanic soil is used as the main oor material and rock pebbles for circulation. The soil when wet can be used for evaporative cooling keeping the work space conducive for making crafts and social interactions.

DESIGN STRATEGIES The design of the workshop redenes the outdoor work space that forms the social life for the people of this region. The aim of construction is using the low cost construction approach with use of local materials where possible and the potential of the local community and local available technology. The workshop design borrows from the nomadic lifestyle where the entire structure can be dis -membered and re-assembled or re-arranged depending on the users liking, as a way of reinterpreting the temporary nature of their built form.

PROJECT DESCRIPTION The design has taken a contemporary design approach with simple geometrical form free from clutter and clever use of building materials used to tie the project together and still create a sense of place and origin. The protrusion creates a shadow effect naturally dressing the facade.

9 1 11 7

2 8

10 11

Exterior 4

1 Access Road 8

2 Walkway

11 9

3 Parking 4 Courtyard 5 Void

2 2

6 Planters 8

7 Ramp

8 Building Entrance 9 Gardens 10 Seats 11 Staircase

1 9

The Cluster

1 SCALE 1:200

Green Spaces

habitable wet areas

Function

3 bedroom 2 bedroom 1 bedroom

Block Typology

Vehicular Circulation

Circulation

DESIGN STRATEGIES Use of Natural Locally Available building materials- Different variation of Bricks and the common Nairobi Yellow and Blue stone have been used to reduce on manufactured stone and also to create a sense of place in the development. Every block and part block has a different shade of stone to create a unique aesthetic appeal as you drive or walk through. Low floor to ceiling height 2.4m. Typical units with standard dimensions. Use of standardized building materials and their manufactured sizes in designing can help economize on the building materials used hence less wastage. The blocks are linear, narrow and oriented to ensure thermal comfort and Natural day lighting is achieved. Openings on the opposite side of the block allows for cross ventilation, this solution saves on cost of artificial lighting and air conditioning.

1 Design Magnets The project is base on Three Major Zones:Function, Recreation and The People, and connecting them using the already existing paths. The major roads connecting the site through major Gateways at their intersections.

PLAY

WORK

3 Figure / Ground

Land Use

A mixed program has been used to maximize on Functions with more programs allocated vertically.

Spatial continuity in the site is achieved through street walls and articulated public spaces, creating a mixed-use Urban environment that fosters pedestrian activity.

LIVE CULTURAL CENTER

COMMERCIAL

CIVIC

HOTELS

PUBLIC AMENITIES

GREEN

RESIDENTIAL

MIXED USED

BUILDING MASS

SPACIAL VOID

VE IA MO

CBD

SR OA D

R TO SEC Shauri Moyo SI

S ILE

VE EA

FACTORY STREET

JOGO

O RO

Railway Yard For Future Urban Developments

SITE

WO AD

Kaloleni

RIS

Y WA

Railway Golf Course

L CIA

N Upper Hill

Nairobi CBD

Nairobi South SCALE 1:2500

Commercial Frontage

Courtyards

The Park

Water Feature

Public Open Space

4 . T H E T O W E R 4

12 5

7 11 4

T FAC

1 12

2 3

11 8

12 11 10

S I T E L O C A T I O N

PROJECT DESCRIPTION The proposed project is a mixed use development constituting of Residential apartments, entertainment and cultural activities, ofces and commercial activities, that is set to become the Business hub in the region connecting its activities to the park directly via a bridge. The building has a unique, bold monolithic style that appears to be placed on glass plinth giving the illusion that the iconic building is lighter than air, hovering in place. The deck level is separating the podium with retail activities and the tower with a Coffee shop opening to the terrace providing views over the city. The facade of the building takes on a minimum approach with only two material, the white stucco plastered on the extruding walls and the glass on steel frames. This is to enhance the contrast with the surrounding creating a sculptural quality of the building as a whole. The windows are full height to ensure maximum natural lighting and cross ventilation.

Work

Public

Culture

The public space bridges the tower to the cultural center proving areas for meeting, relaxation and an opportunity to create dining areas for the adjacent shops thus creating quality experience and value to the spaces. The building has been designed with no obvious front and rear facades in order to make most views of the park and the rest of the Central Business District.

ENTERTAINMENT

RESIDENTIAL

OFFICE

BREAK COMMERCIAL + SERVICING

PARKING LEVEL

WALKWAY

COURTYARD

SERVICE RD

WALKWAY

CONCEPT DEVELOPMENT

PROPOSED BUILDING

FACTORY STREET RD

The main design objective was to Fuse Nature with Architecture. A bridge to connect the building with the Recreation Park, Public Square to fuse the three main activities (The Park, The Tower and The Cultural center). The Square has been used to as the main pedestrian entrance into the building. The facade is dened by clear horizontal lines that gives an illusion of the building oating in space. The recessed pattern has functional role of screening the building from the sun while allowing for un-disrupted panoramic views over the city. Trees have been largely used in the roof gardens, podium and even the Square to simulate an extension of the park and also to bring nature close to working and living environment.

GREEN PARK & RECREATION

WATER FEATURE

01 Single duplex Mass nature privacy context views

02 Rotate, push&pull transform

MambruiH mes Where Various points meet one Center ; Located at the coastal town of Mambrui, Malindi county, the homes are designed with a contemporary Swahili theme in a diverse culture and Islamic rural setting that endeavors to employ a vibrant interaction of man and space. The project seeks to connect nature and community. Mambrui Homes have a Modern Approach with respect to the social and cultural aspect of the community with the aim of creating an emblem in Mambrui Town in Time sharing sector. The project has explored the use of a central courtyard and roof gardens to evoke the traditional architecture of Coastal East Africa region with the intent of creating habitable outdoor living spaces.

Breaking the form in different volumes and interlacing them amalgamates various activities from indoor to outdoor and with the form itself.

03 Final concept transformation The nal breakthrough involves a semi public courtyard with a swimming pool centrally placed. The club house acts as a gate through to the scheme by linking the parking spaces and the courtyard.

04 Roof gardens & courtyards More green spaces are created as a result of model transformation as to reclaim the space used by the building.

PROJECT DESCRIPTION The brief demanded for a building that reects on the culture and the spatial limitations provided by the site vis a vis the extensive program required. Emphasis was on: -The design for Thermal control -Local dimension -Cultural context -Design principles Mambrui Homes aims to maximize on Views, Social vibrancy by creating well loved public spaces that are comfortable and accessible. Another key feature was to pedestrianize the site and having the parking lot only at the site entrance. Location: Mambrui, Kenya Typology: Residential Duplex Year: 2016

"The time sharing homes offers a unique interlace of contemporary Swahili design ideas in a more rural setting." The character of the elevations and the building as a whole has borrowed almost directly to what’s on the surrounding neighborhood with a contemporary approach. The architecture of Mambrui Homes considers the qualities of the light and views throughout the day and seasons. The houses are interlaced creating a courtyard that provides indirect lighting and outdoor recreation activities.

8 3

spaces

44 4

1 walkway

2 5

3 dining

4 clockroom

5 bedroom

1 4

7 8

4 44

2 lounge

6 kitchen 7 balcony 8 garden 9 master ensuite

55 9

2 6

2 5

4 5

Bungalow

Duplex

A ground floor

2ndfloor

Balcony

1 floor

M.Bedroom

M.Bath

Bath

Bedroom

Bath

Bedroom

Bath

Bedroom

Living Area Bedroom

Balcony

M.Bedroom

M.Bedroom Living Area

Bedroom

M.Bath

ay rw

i Sta

Balcony Bridge M.Bedroom

Bath

Living Area

Ramp

Porch 1

GARDEN

BUILDING

COURTYARD

BUILDING

GARDEN

We create our buildings and then they create us. Likewise, we construct our circle of friends and our communities and then they construct us. Frank Lloyd Wright.

MWANGI P. MUNGAI