P O R T F O L I O
ARCHITECTURE PORTFOLIO Chepkoech Viola Langat
To me the drawn language is a very revealing language: One can see in a few lines whether a man is really an architect. -Eero Saarinen
CO NT ENT S CU R R I CU L U M V I TAE 6 NAI RO BI MU S I C PAR K 10 L AMU MEAT AND V EG ETABL E 18 MAR KET FAMI LY H O ME 24 O L AKI R A L U X E S AL O N & S PA 26 R EH ABI L I TAT I O N O F TO M 28 MBOYA S QUAR E S T R AT H MO R E L AW S CH O O L 30 AU DI T I O R I U M
Architecture to me, is more than just building(s). It is both building beautifully and well. Great architecture can stir us more deeply than any of the other visual arts as it is a three-dimensional art into which we enter and feel ourselves to be an integral part. Beyond the delight of the beholder, I see architecture as an actual record of true history-not just of bricks and mortar, but of human lives lived in these spaces and habits cultivated because of these spaces that we, as architects create. To aspire to the name of architecture, the building itself must truly fulfill it’s purpose while delighting the beholder. As a designer, I am deeply moved by the beauty and complexity of African cultural heritage, the relics of Africa’s troubled past, its current reality and its vast potential. I am deeply committed to sustainability in design and I believe in an interdisciplinary approach in solving design problems. Other arts more often than not inform my design process. This collection of work reflects an ongoing exploration of architecture and design. Each project is treated as a new opportunity to explore new ideas, respond to new challenges, and build skills and knowledge both in the studio and in the workplace. Thank you for taking the time to view my portfolio. I look forward to continuing this process with your firm.
V I O L A L A N G AT Graduate Architect/Designer
CURRICULUM VITAE ET STUDIORUM c o ntacts + info +254 722 36 58 44 9551 00100 Nairobi, Kenya kokilangat@gmail.com violalangat@icloud.com www.behance.net/veelangat www.violangat.tumblr.com
Nationality: Kenyan Date of Birth: 03 February 1989 Marital Status: Single PERSONAL SKILLS Analytical Skills Communication Skills TIme Management Skills
E D UC AT I O N University of Nairobi /2013-2015 Bachelor of Architecture(Second Class Hons: Upper Division) University of Nairobi /2009-2013 Bachelor of Architectural Studies (Second Class Hons.: Upper Division) Strathmore University /2007-2008 ACCA PART 1 & 2 Precious Blood Secondary School, Riruta /2003-2006 KCSE(Mean grade: A)
I NT E RN E X PE R I E NC E ADVENTIS INHOUSE AFRICA /July 2011 -Aug 2013 Adventis Inhouse Africa (AIA) Limited is a firm of Consulting Architects and Interior Designers based in Nairobi, Kenya. Key Responsibilities: +Preparation of presentation, scheme and working drawings. +Site supervision +Preparation of interior design detail drawings KENYA NATIONAL COMMISSION FOR UNESCO /May 2009-Sep 2009 KNATCOM is a government Secretariat aimed at ensuring the permanent presence of UNESCO in Kenya; encouraging participation in the formulation and execution of UNESCO’s programmes and implementing UNESCO’s activities and budgeted programmes.
English
Key Responsibilities: +Setting up of the KNATCOM-UNESCO Youth Forum to encourage participation of the youth in cultural and national issues pertinent to the secretariat +Administrative functions in the Culture Department-letter, minutes and proposal writing pertinent to the Lamu World Heritage Site.
Swahili
PROF E SSI O NAL E X PE R I E NC E
ad d i t i o nal infor mation LANGUAGES
French
COMPUTER SKILLS Archicad Sketchup
STUDIO 42 /Oct 2013-Current Founding Member and Creative Director Studio 42 is a newly established design firm specialising in graphic design, interior design and product design. Key Responsibilities: +Company formation from idea conceptualization to actualization. +Lead designer +Supervision of implementation of projects
Rhino
Projects: +La Belle Inn Naivasha-Refurbishment and furniture design +On Cue Digital-Office Refurbishment and furniture design +Rio Salon and Spa- Refurbishment and furniture design
Artlantis
OTH E R RE S P ON S IB IL ITIES
Revit
VRay QGIS
Secretary General /2012 - 2015 University of Nairobi - Architecture Students’ Association. The Architecture Students Association is the link between students of the Department of Architecture and the administration. Key Achievements: +Setting up of supplemetary income-earning ventures for the association such as a large-format printing station as well as sale of merchandise and stationery. +Revamping of the Department of Architecture Alumni organisation providing opportunities for mentorship and apprenticeship through attachment and internship.
ad d i ti o nal infor mation COMPUTER SKILLS (cont.) Adobe Photoshop Adobe Illustrator
+Organising student trips to gain exposure such as the August 2014 trips to Durban South Africa, for the UIA 2014 convention as well as the August 2014 Dubai-Abu Dhabi trip. +Organising talks and lectures by notable visiting architects and professionals on current affairs in the industry.
RE SE AR C H Researcher and Author /2015
Adobe InDesign Microsoft Office
MUSIC AS INSPIRATION FOR ARCHITECTURAL FORM A Comparative Analysis of Mijikenda traditional Architecture and Music.
The thesis takes a comparative look at the compositional techniques occuring in both music and architecture in the case of traditional Mijikenda society. INTERESTS
RE F E RE NC E S
Reading
Arch. Erastus Abonyo // Lecturer-University of Nairobi
Music
Address: 30197 00100 Nairobi, Kenya Phone: +254 722 424 331 Email: eabonyo@uonbi.ac.ke
Art Travel Theatre Photography Graphic Design Swimming
Arch. Evans Gitobu // Director-Adventis Inhouse Africa Address: 13310 00100 Nairobi, Kenya Phone: +254 722 445 427 Email: gitobu@adventis-africa.com Eng. Wille Langat // County Chief Officer-Environment and Water Address. 444 Kericho, Kenya Phone. +254 722 831 057 Email. wlangat@kericho.go.ke.
AC ADEMI CPRO JEC TS
NATIONAL MUSEUMS OF KENYA
NGARA
K
KENYA BROADCASTING CORPORATION
KI
KENYA NATIONAL THEATRE UNIVERSITY OF NAIROBI
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[B.ARCH THESIS : ACADEMIC YEAR 2014/2015] location | John Michuki Memorial Park, CBD, Nairobi, Kenya tutor | Arch. E. Abonyo
nairobi music park site and method
Road Networks Topography
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Vehicular Traffic
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Cultural Spots And Hotels
Sunpath
Pedestrian Route GSPublisherEngine 0.0.100.100
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pathways and landscapes
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Educational Institutions
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The site is located in the Nairobi CBD. It is currently being used as a leisure park known as the John Michuki Memorial Park in honour of the late Minister of Environment and his efforts in unclogging the river at this point and ensuring the cleanliness of the river is maintained. Located at the boundary of the upper CBD and Ngara area, the site borders the National Museum and is located behind Kijabe street, which has maintained its colonial street character. There are various cultural facilities within a 500m radius from the site making the general area potentially a cultural district. The Nairobi River, running through the site was not considered an important urban feature by the colonialists when the master plan was drawn up and served to separate the upper areas from Ngara. The river was used as a dumping ground for rubbish. Environmental factors and urban rejuvenation are therefore key in the conceptualisation of the plan for this site.
Analysis of the site revealed the best accesses to the site and the general direction the area should take. As the site is primarily a park, priority was given to pedestrianisation and all parking for the facilities are below ground. There are some street parking slots. Pathways within the park are usable by pedestrians and cyclists and the paving is permeable for good drainage.
architecture+music TO EXPLORE ABSTRACTION OF ARCHITECTURAL FORM FROM MUSICAL CONCEPTS
artist+space TO CREATE SPACES THAT INSPIRE, STIMULATE AND ENHANCE THE ARTIST.
Objective
designobjectives MUSIC + ARCHITECTURE
The project, drawing from musical principles will be important in illustrting the various possibilities that the relationship between architecture and music has to offer. It will open up methods of conceptualisation geared towards achieveing symbolism in architecture through music, a cultural source.
Objective
CULTURAL PRESERVATION
artist+city TO REJUVENATE AND REVITALISE AN URBAN AREA THROUGH MUSIC AND DESIGN
Objective
design philosophy This project will serve as a chance to demostrate the abstraction of forms from musical ideas. The written thesis, Music as Inspiration for Architectural Form explored characteristics of music and their expression in architectural form. In addition. works by architects who have used music as ordering principles, images, metaphors or methods were looked at. This project will demonstrate the unlimited potential that an interdisciplinary approach to design has in enriching the discipline of architecture. Deconstructivist phiosophy, whose tenets involved the rejection of that which is known and familiar was a starting point for this project. The design of a concert hall often calls for expressive architecture that stands out and is memorable. African is natural, conformist with nature and often involves using what you find. What would deconstruction be in Africa? What will cause a new wave in the understanding of architecture?
URBAN RENEWAL
The introduction of a large cultural project of this magnitude aims to positively alter the image of Nairobi city and establish it as a creative capital. The specific location of the project in the CBD which is degrading rapidly aims to revitalise the area and create a vibrant urban atmosphere in the area.
Creative industries are also key bearers of cultural traditions, moral values and ideas. Africa is largely absent in the global market of ideas, values and aesthetics that are conveyed through creative arts. Africans therefore tend to imbibe ideas, perspectives and values embedded in foreign creative goods. Investment in our own creative industries will lead to preservation and promotion of our cultural values.
FUNCTIONAL SPACE
The project aims to solve the functional issues of spaces specifically designed for the performance and enjoyment of African music by coming up with architectural solutions for the unique performance style. The spaces are also intended to stimulate and inspire creativity. This will hopefully lead to an architecture that the people can relate to and have a strong connection to.
ECONOMIC DIVERSIFICATION
Creative industries, such as music and performing arts, hold great potential for developing countries seeking to diversify their economies. Africa is rich in talent and creativity but lacks infrastructure and expertise necessary for the development of these talents into sustainable and profitable enterprises. The development of this project provides facilities to develop the creative sector and in turn grow the economy.
projectsignificance
The development is intended to catalyse other supporting developments and influence the transformation of the older buildings along Kijabe Street and Kipande road towards a sustainable mixed use environment consistent with the principles of new urbanism.
MUSIC PAVILLION
A music pavillion for smaller outdoor performances is provided for
PEDESTRIAN BRIDGE
Pedestrian bridges are provided at 4 points to encourage explortion of the park.
AMPHITHEATRE
A shaded outdoor performance venue seating 800.
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PARK FACILITES
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Park amenities such as toilets, drinking fountain and kiosks are provided in a compact design that is located at 4 parts of the park.
BUS PARK
The bus park is for touring musicians and schools and can be used as a service yard.
BELOW GROUND PARKING
To preserve as much green park space as possible parking is provided underground. There are three basement parkings, one under each hall and this one which has a garden atop it.
ENTRY TO BASEMENT PARKING
The river serves as a point of reference- datum, from which all other functions and paths branch out. A promenade is introduced on both sides of the river and ideally should run along the river at least through out the area conceptualised as a ‘cultural district’, that is up from museum hill and downwards into the CBD.Having music at the heart of the project, an organic approach to planning, based on natures organic curves and gentle rhythms are introduced. GSPublisherEngine 0.0.100.100
K I J A B E
S T R E E T
CONCERT HALL 1
This concert hall houses an auditorium seating 1200, support facilities and a restaurant.
HYDRAULOPHONE
This musical instrument in the landscape is available to be played by all visiting the square. It marks the point from which the venues radiate from.
CONCERT HALL 2 This hall seats 600 and the building also houses a gallery space and learning facilities
masterplan
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BARRIER FREE ACCESS: O
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Ramps are provided into the building and access into the auditorium is provided for the disaled. Elevators allow movement to other levels. The elevators allow for a wheelchair to make a turn.
PARKING:
Below ground parking is provide for to save on green space.
FOYER
PRIVACY GRADIENT:
FORECOURT
Privacy between front and back of house are maintined.
FOYER
STAGE
SERVICING:
Servicing is carried out from the basement.
buildingvisualisation
nairobi music park
architecture as a series of harmonic spaces The planning of the concert hall required careful thought and a proper understanding of the various functions involved. In exploring the relationship between architecture and music, the concept of harmonic spaces, spaces that relate well with each other both in terms of proportion and logical flow of function was central to the planning. The basic sketches were take off points in exploring the functional relationships of the main spaces and their various support functions. Due to other functional considerations such as acoustics, it was necessary to explore these functions not only in plan but in section.
Curved roof on steel trusses with SAFLOK interlocking roof sheeting
3150
3150
3150
3600
ROOF LEVEL +13950
Steel curved sunshading member . THIRD FLOOR LEVEL +10350
Glass fibre reinforced concrete wave motif lattice work painted to approval for shading
SECOND FLOOR LEVEL +7200
Steel curved beam over entrance cladded to approval
FIRST FLOOR LEVEL +4050
Spider fixed glazing to detail
GROUND FLOOR LEVEL +900
side elevation
The building form is infomed by the waves of the river cutting through the site and the flowy nature of music. In an attempt to explore rhythm, steel fins echo the wave movement, emphasizing the dynamism of the form. To introduce further
Ventilation louvres
rhythmic variance (polyrhythm), egg-crate sunshading in a wave motif is introduced, creating more visual interest. This being my first experience with curvilinear forms, I was able to fully understand how to approach the creation of these shapes both from a conceptual perspective
and a technical one- the use of more dynamic software exposed me to a deeper understanding of solid element operations and gave me insight into thinking about shapes.
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Curved steel truss to detail Curved roof on steel trusses with SAFLOK interlocking roof sheeting
Ventilation cowl Gutter at lowest roof point FOURTH LEVEL
BREAK OUT AREA
RECITAL ROOM THIRD LEVEL
SECOND LEVEL
STUDIO RECEPTION MANAGEMENT OFFICES RECEPTION
FIRST LEVEL
CLOAKROOM STAGE
GROUND LEVEL
FOYER
Convex GFRP panel with grooves Steel curved sunshading member . Acoustic curtains to absorb focused sound Glass fibre reinforced concrete wave motif lattice work painted to approval for shading Steel curved beam over entrance cladded to approval 750mm high mahogany terrace divider with patterned surface for maximum diffusion
BASEMENT 1
BASEMENT 2
architecture as a musical instrument
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For a successful performance, the concert space must fulfill the following: • The audience must clearly hear all of the music with the proper balance between instruments, and the proper tonal balance for each instrument. • The performer must clearly hear himself and the other performers. • Reverberation should be appropriate to the style of the music. • Extraneous sounds must be inaudible in the concert space. • The sound of the concert should be inaudible outside of the concert space. The above issues were dealt with by manipThe elliptical vineyard style audito- The introduction of terrace partitions rium creates made from carved mahogany greatly VINEYARD STYLE an increased sense of Sound Sound diffusion increased ulation of the shape of the performance hall. VINEYARD STYLE diffusion is increased byis the VINEYARD STYLE Sound diffusion is increased by the by the The arrangements of the auditorium in terraces ofdiffusion terrace The arrangements of the auditorium in terraces introduction ofintroduction terrace thatpartitions arethat The enclosure arrangements of the auditorium inelliptical terraces introduction of partitions terrace partitions arethat are similar to the perincreases sound improving This was by wall, flooring and ceiling intercreates an increased sense of enclosure 750mm high. partitions These partitions areof made of creates creates an increased sense ofsense enclosure similar 750mm750mm high. These are made an increased of enclosure similarsimilar high.partitions These areofmade formance spaces in African traditional themahogany overall sound ofthe the toperformance the elliptical performance of mahogany and the surface is to the elliptical spaces of mahogany timber and thetimber surface is hall. ventions to ensure a rich sound. to the elliptical performance spacesspaces of timber and surface is traditional traditional African society. societies. traditional AfricanAfrican society.society.
differentiated in the pattern differentiated in the pattern shown below. differentiated in the pattern shown shown below. below.
Serrated, convex, GFRP panels maximiseReflections reflections and Acoustic and diffusions are also maximised andReflections diffusions are also maximised Reflections anddiffusions. diffusions are also maximised by theofintroduction convex wall panels by the introduction convex panels byare the introduction of wall convex wall panels curtains introduced at of their point made from GFRP that also made from GFRP that arethat also serrated on theserrated made from GFRP are alsoare serrated on the on the of surface meeting to absorb any focused surface to aximise diffusion. These wal to aximise diffusion. These wal surface to aximise diffusion. These wal elements have acoustic curtains elements acoustic curtains at their sounds orhave acoustical shadows. elements have acoustic curtains at theirat their points of meeting to absorb any focused points of meeting to absorb focused points of meeting to any absorb any focused sounds or acoustical shadows. sounds sounds or acoustical shadows. or acoustical shadows.
Lamu
A classic is a work which relegates the noise of the present to a background hum, which at the same time the classics cannot exist without. A classic is a work which persists as a background noise even when a present that is totally incompatible with it holds sway. [Italo Calvino, “ Why read the classics?�]
[ARCHITECTURAL DESIGN STUDIO 4 : ACADEMIC YEAR 2012/2013] location | Lamu, Kenya tutor | Prof. R. Rukwaro
lamu meat & vegetable market context Lamu Old Town is the complex and charming result of a 700 year old trading town, foreign occupation and modern life. Despite there being only two cars on the archipelago-an ambulance and the Chief’s landrover, the town has numerous internet spots, tv and life goes on as it would in any small Kenyan town. Being a UNESCO world heritage site, Lamu architecure is protected and there are conservation ordinances to be observed when developing property in Lamu. Being a coastal town, the hot, humid climate is a central matter to address in building design and the practical solutions are found in the older buildings with their thick coral walls, small openings and high ceilings. I personally was greatly inspired by the vibrant culture of Lamu island, especially during the festivals. In the preservation of the town the culture also seems to have remained intact and the authenticity of it’s inhabitants was moving.
site The market site is adjacent to the Lamu Fort and accessed through the town square. The site was previously home to two buildings, a vegetable market and a separate meat market. The meat market was on two stories.
LAMU MARKET LAMU FORT
concepts 1 = 3,000
2 3
20 x
150
4 5 6 7 8
9 10 11 12 13 14 15 16 17 18 19 20
9 8 7 6
TOW N SQUARE
9x
150
= 1,350
5 4 3 2 1
The design for the market plan was inspired by the general urban fabric of Lamu old town. There is a general departure from the regular orthogonal form and the spaces between buildings are often irregular. In addition the use of the courtyard form, which most Swahili homes are built around was implemented for natural ventilation and thermal control of the building. The use of mashrabiya, based on geometric patterns was used as a substitute for glass windows which are not workable in this climate. Porosity of the market is ensured with openings at all four corners of the building. 2. Physical model showing view of model from top
1. Physical model showing main entrance to market.
3. Physical model showing side view of model. The ratios of the openings and the mashrabiya are in accordance with the 1;2 ration used in swahili architecture.
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environmental sustainability The following interventions were decided upon to ensure thermal comfort of the market building as Lamu experiences hot and humid climate: 1. a courtyard is used to facilitate stack effect. All rooms have windows on two sides opening up into the courtyard. The windows allow cool air from outside the building to flow into the courtyard and rise up as hot air. The vacuum created by the rising hot air pulls even more cold air in creating a cool draft. 2. All rooms open up to the outside or to a courtyard avoiding double bunking. 3. The walls are 500mm thick ensuring high thermal mass that slows down heat gain. 4. Window openings have no glass and are not large to prevent heat gain and to allow for cooling. 5. High ceiling height-3600mm per floor allows for cooling.
space planning Roof Level: The roof is supported on columns to allow free flow of air in the open eatery below. The roof is of a local thatch, carefukky sealed to prevent leakages.
Second Floor: The second floor level houses a food court, with four lettable restaurant kitchen spaces with a storefront and general seating. The walls at this level only go up 1100mm allowing for free circulation of air and a direct view of the town and the sea beyond it. First Floor: The first floor of the market building has lettable space for more exclusive shops and offices, including a banking hall.
COURTYARD OPEN TO SKY
Part Section sketch illustrating stack effect: Warmer indoor air rises up through the courtyard and escapes at the top through the courtyard. The rising warm air reduces the pressure drawing cold air in through either open doors, windows, or other openings and passively cools the building.
Ground Floor: The ground floor is where the bulk of market activities take place. The market has two sections; a green produce section, indicated in green and a meat and poultry section indicated in pink. At the front of the building is a tourist information centre as required by the brief. The market has four access routes allowing easy flow in and out of the market and easy departure from the market in times of emergency. A fire escape is also provided for.
FR EELANCE WO RK
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BEDROOM 1
KITCHEN YARD (quarry tiles)
BEDROOM 2
PANTRY
(laminate boards)
GUEST ROOM
(laminate boards)
KITCHEN
(ceramic tiles)
BATH
FAMILY ROOM
void
18 17
(laminate boards)
19
DINING
(laminate boards)
16 15 14 13 12 11 10 9 8
MASTER BATH
void
OFFICE
(laminate boards)
LOUNGE
(laminate boards)
MASTER BEDROOM
TERRACE WALK IN CLOSET
W.C
(Cer.Tiles)
high level window
1. Ground Floor Plan 2. Upper Floor Plan 3. Perspective Image 4. Section
FOYER
(laminate boards)
PORCH
(Quarry Tiles)
BEDROOM BATH WALK IN CLOSET
FOYER GUEST BATH
The massing of the building is rectilinear, with the living room mass rotated at 300 to better conform to the narrow site. The living room volume is also considerably larger than the other rooms with a floor height of 3900mm. The materials to be used in the construction of the house are masonry bloacks cut from ble stone and decra roofing tiles.
[RESIDENTIAL HOUSE: MARCH 2015] location | Kiambu, Kenya client | Cpt. Kanuri Murigu
traditional charm concept This project is a residential house for a young family in the expanding Kiambu suburbs. The client was keen on a house that had traditional charm but was well suited to modern life. The narrow site was a challenge and seemed rather desperate for a modern approach, however, working with a careful system of proportions led to the development of a relatively traditional and restrained form with dynamic spacious interiors, according to the client’s brief. The project required my input right from site analysis stage-which was important given site challenges such as poor drainage at the lower end of the site and steep topography at the ohter, right through to concept design, scheme design, approval stage, working drawings and now is at construction supervision stage. I was able to learn a lot from this project due to it’s unique constraints and the delicacy of balancing a client’s desires and practicality.
BATHROOM AREA W.C
SHWR
SHWR
Platform to detail STEAM ROOM Textured wall using gypsum filler to approval Wall painted to approval with cut out text signage STAFF LOCKERS
Arched entryway to nail spa made from cypress timber planks measuring 30mm by 100mm to detail
WORKSTATIONS
KITCHENETTE
FIRE ESCAPE
WASHING STATION
RECEPTION
STORE
NAIL SPA SPA RECEPTION
Timber plank screen to detail
MASSAGE ROOM 3
OFFICE
MASSAGE ROOM 1
New gypsum walling
BARBER
MASSAGE ROOM 2
General Plan Scale
1:100
Nail Spa
Reception Area: Display cabinetry and a reception desk were fabricated on site
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Reception
Salon & Barber
Nail Spa Entrance: A cypress timber screen defines the entrance to the nail spa area,
Spa Lounge
Massage Rooms
Washing Stations: Diagonal shelving for towels is provided in the salon area.
Office
Steam room & Bath
Pedicure Station: A high back pedicure station was custom designed for the space with cushions for extra comfort.
[INTERIORS : AUGUST 2015] location | Nairobi, Kenya client | Olakira Luxe Salon and Spa
the architecture of beauty context Olakira is conceptualised as a boutique salon and spa, a space to make the modern Nairobi woman feel and look beautiful. The design concept was woven around a feeling of calm luxury. Mauves, deep purples and woody tones were selected for the colour pallette. Metallic accents were introduced to give the space a luxurious feel. The space was initially an office space and I was contracted after re-partitioning of the space had been done by the client. A lot of the design problems were based on this repartitioning and involved defining the various activity zones and creating cosy spaces that do not feel too office-like. The scope of the project included conceptualisation, working drawings for the space and furniture requirements, construction supervision and sourcing of items to complete the look. The highlight of the project was furniture design as a lot of the required furniture were custom pieces. The project also included conceptualisation of the image and identity of the salon including logo design and signage.
LIFE ISN始T PERFECT BUT YO U R H A I R CAN BE.
Moodboard
PUBLIC TOILET
POWER SUBSTATION
PUBLIC TOILET
TO M
PHASE 1: MONUMENT AREA
ET RE ST YA BO MM
POWER SUBSTATION
PHASE 2: SEATING AREA
Hedge in planter to screen off pubic facilities
STANDARD CHARTERED BANK
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STANDARD CHARTERED BANK
MB OY
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AV
Due to financial and political constraints, the project was phased. The area around the statue would be dealt with first, providing for an adequate plinth that could serve as a platform for other activities and screening off the public facilities in the area. The second phase would be paving the floors and creating seating adjacent to the Standard Chartered Bank building. The third phase would be pedestrianisation of the area outside the National Archives and raising the floor level of the current road to meet the square paving and create a larger space free of vehicular circulation. The on street Archives parking would be moved to Tom Mboya street. As the site of Tom Mboya’s assassination, the site holds a lot of significance and the artist intended to retain symbolism. The artistic screen is to communicate some of his achievements and the floor pattern links the various points of significance and the chaos that resulted after the shooting.
UE
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Raised concrete platform to detail with steps to allow seating and movement. Decorative screen (Artist initiative)
ET
KENYA NATIONAL ARCHIVES
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Monument Plinth
KENYA NATIONAL ARCHIVES
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PHASE 3: PEDESTRIANISATION OF SLIP ROAD AND PARKING
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Public area seating to detail
[URBAN DESIGN : FEBRUARY 2016] location | Nairobi, Kenya client | The GoDown Arts Centre
rehabilitation of Tom Mboya Square context Tom Mboya square, along Moi Avenue Nairobi is home to the Tom Mboya monument which is placed at the exact location of his assassination. Over time, the statue has been damaged by demonstrators and its fibreglass base broken in several places. The objective of the project was to raise the monument further on a more durable plinth and invigorate the square ensuring those in the square can relate with the monument. It also involved landscaping the area, creating seating areas and shade for the square and giving it better definition. The design problems to be solved included creating a relationship between the monument and the square while still keeping the actual sculpture out of the physical reach of users. Definition of the square included rethinking of even the floor plane of the square and introducing ornament at that level that would aid in scaling the square and directing pedestrians and highlighting the monument.
AS B U I LT S E C T I O N
Ceiling The current ceiling is the upper floor slab soffit finished in plastered concrete. The surface is even, hard and reflective and will result in uneven distribution of sound as well as focusing and cancelling out of sound.
Stage area The stage area is open and continuous with the rest of the space with the exception of a 45omm rise. The ceiling will require some gypsum panelling from the top to conceal services.
Sightlines WIth the existing rake of the floor, the audience is unable to properly see what is going on on the stage without tilting neck upwards leading to discomfort.
P R O PO S E D S E C T I O N
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Concealed services such as projector screen
Stage Performance stage with wooden plank floor for controlled reflection of sound and timber screen detail at back for absorption GSPublisherEngine 0.80.100.100
Custom fabricated curved gypsum ceiling panels for controlled reflection of sound Gypsum false proscenium to conceal services above stage.
Reflective Panel 2400mm wide gypsum panelling tilted outwards at angle of 9 deg and with textured paint finish for maximum dispersal of sound
The old section shows the existing shape of the space in an attempt to properly understand the acoustical challenges to be dealt with. The ceiling height is limited and therefore sightlines can only be improved to a certain extent.
Beam
Raked floor to slightly improve sightlines
Floor Finish ThE floor is yet to be finished but the architect specified a granite tile finish for the floor which will not work for the auditorium due to the presene of already reflective surfaces.
The new section explores interventions to correct the acoustical performance of the hall. The ceiling and wall panelling greatly improve the shape for optimal acoustic performance. Proposed raking of the floor minimally helps with the sightline problem.
[ACOUSTICS AND INTERIOR DESIGN: FEBRUARY 2016] location | Nairobi, Kenya client | Strathmore Law School
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17,000
250
Timber slat screen with mineral wool/sack filling to absorb reflected sound.
S-01
14,800
250
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The Strathmore University Law School included an auditorium in their new faculty building on their main campus. The space is located in their basement of the new building. Typical of general spaces designed as halls, the space was initially finished in smooth concrete, the flooring being smooth granito tiles. In addition the walls are parallel and no intervention was taken to make the ceiling more acoustically friendly. The faculty therefore consulted me on how their various acoustical and aesthetic challenges could be dealt with. In aiming to achieve good acoustic performance of the spaces, I introduced serrated gypsum walling on the sides as shown in plan and introduced curved gypsum panels for further reflection of sound. I proposed that the flooring be changed to a material that is absorbent such as carpeting. For aesthetics, I stuck with the schools, red, black and white theme introducing a touch of timber to balance it out.
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auditorium acoustics
P RO PO S ED FL O O R P L A N
S-01
Stage Performance stage with wooden plank floor for controlled reflection of sound and timber screen detail at back for absorption
Reflective Panel 2400mm wide gypsum panelling tilted outwards at angle of 9 deg and with textured paint finish for maximum dispersal of sound
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