Form and Context.: Case of Readapted Museums in Nairobi CBD

FORM AND CONTEXT.
CASE OF READAPTED MUSEUMS IN NAIROBI CBD.
UNIVERSITY OF NAIROBI
School of the built environment
Department of architecture and building science
MWINZI OLYVIA WAENI

B02/31715/2014
DECLARATION
This thesis is my original work and to the best of my knowledge has not been presented for the award of a degree to any
other university or institution.
AUTHOR: MWINZI OLYVIA WAENI SIGNATURE:
DATE:
This thesis is submitted in part fulfillment of the requirements for the award of the degree of Bachelor of Architecture in the
Department of Architecture and Building Science, School of the Built Environment, University of Nairobi.
TUTOR: DR ARCH RALWALA ANTHONY ODOUR YEAR CO–ORDINATOR: ARCH NOBERT

MUSYOKI
SIGNATURE: SIGNATURE:
DATE: DATE:
The Chairman Department of Architecture and Building Science, School of the Built Environment.
ARCH MUSAU KIMEU
SIGNATURE:
DATE:
i
DEDICATION
To God the father almighty, the giver of life and knowledge, In Him am thankful for the far He has brought me.
To my parents Cyprian Mwinzi Kavivya and Marietta Mumbua Mwinzi and my siblings Cornelius Munyao and Antonina Kuthea.
To my aunt Sister Margaret Mumbua.
To myself for not giving up.
ii
ACKNOWLEDGEMENTS
I would like to thank God, the father almighty for the life, strength and opportunity to study architecture. I am thankful to my
parents Cyprian Kavivya and Marietta Mumbua and my siblings Cornelius and Antonina for the endless love and support. I
am also thankful to my aunt, Sister Margaret Mumbua for your presence and support throughout my life.
I recognize my tutor, Dr Anthony Ralwala for his insight. I appreciate his input and critique that motivated me to learn and
explore.
I acknowledge the lecturers in the Department of Architecture and Building Science - University of Nairobi for their selfless
effort throughout the six years of undergraduate study. Prof. Robert Rukwaro - Dean, Arch Musau Kimeu - Department Chair,
Arch Norbert Musyoki - Year Master, Prof. Tom Anyamba, Arch Erastus Abonyo, Dr. Edwin Oyaro, Nobert Musyoki, Kigara
Kamweru, Eliud Liku, Dr. Kamenju, Githitu Mahinda, Dr. Laban Shihembetsa, Arch Adnan Mwakulomba, Dr. Kassim Omar, Arch
Pami Thathi, Arch Yusuf Ibrahim, Arch Caleb Mutali, Arch Yasir Brek, Arch Joseph Kamenju Arch Florence Nyole, Arch Margaret
Njoroge, Arch Bob Njoroge, Arch Victor Mahinda, Arch Wairimu Mumbi, Arch Peninah Mutonga,thank you.
Thank you for my team in studio : Jill Adhiambo, Maureen Gitonga, Julie Gura, Verona Kibe, Carolyne Bor, Emmanuel Msagha,
Moses Kibet and all my other classmates for making architecture school amazing, and worthwhile.
iii
2.6.1 Environmental perception ....................................................... 18
Table of contents 2.6.2 Environmental meaning and symbolism ................................ 19
FORM AND CONTEXT. ................................................................................
2.6.3 Sense of place ........................................................................... 20
DECLARATION ............................................................................................ i
2.7 The social dimension ....................................................................... 21
DEDICATION .............................................................................................. ii
2.7.1 People and space .................................................................... 21
ACKNOWLEDGEMENTS ........................................................................... iii
2.7.2 The public realm........................................................................ 21
ABSTRACT ..................................................................................................1
2.7.3 Safety and security ................................................................... 22
....................................................................................................................2
2.7.4 Accessibility and exclusion ...................................................... 22
CHAPTER 1: Introduction..........................................................................2
2.8 The visual dimension ........................................................................ 23
1.1 BACKGROUND STUDY ....................................................................3
2.8.1 Aesthetic preferences .............................................................. 23
1.2 PROBLEM STATEMENT .........................................................................4
2.8.2 Urban space .............................................................................. 24
1.5 JUSTIFICATION OF THE STUDY.............................................................5
2.8.3 Urban architecture ................................................................... 25
1.4 RESEARCH QUESTIONS .......................................................................5
A. Appreciation of urban architecture .................................... 25
1.3 RESEARCH OBJECTIVES ......................................................................5
2.8.4 Hard and soft landscaping ...................................................... 29
1.6 SIGNIFICANCE OF THE STUDY ............................................................6
A. Floorscape ............................................................................... 29
1.7 SCOPE AND LIMITATIONS ...................................................................7
B. Soft landscaping ..................................................................... 30
1.8 DELIMITATIONS AND EXCLUSIONS .....................................................7
2.9 The functional dimension ................................................................ 31
1.9 DEFINITION OF KEY TERMINOLOGIES ................................................8
2.9.1 Public space and the public/private interface .................... 31
1.10 ORGANIZATION OF STUDY ...............................................................8
2.9.2 The social use of space ............................................................ 32
CHAPTER 2: Literature Review. ................................................................9
2.9.3 Privacy ........................................................................................ 34
2.1 Form and context.............................................................................11
2.10 History of museums in an urban context..................................... 36
2.2 Definition of context ........................................................................13
A. Europe .......................................................................................... 36
2.3 History of context..............................................................................14
B. Africa ............................................................................................ 39
2.4 Relationship between context and dimensions of urban design.
c. Nairobi .......................................................................................... 42
..................................................................................................................15
2.11 Museum and context in an urban setting .................................. 44
2.5 The morphological dimension ........................................................16
2.12 Dimensions which inform the analysis of the case study
Urban morphology .............................................................................16
museums. ................................................................................................ 45
2.6 The perceptual dimension ..............................................................18
CHAPTER 3: Research methods............................................................ 47
iv
3.1 Introduction.......................................................................................48 5.1 Introduction ...................................................................................... 88
3.2 Research objectives ........................................................................48 5.2 CONCLUSIONS.................................................................................. 89
3.3 Research questions ..........................................................................48 5.3 RECOMMENDATIONS. .................................................................. 91
3.4 Research purpose ............................................................................48 5.4 AREAS OF FURTHER STUDIES. ............................................................ 92
3.5 Research approach ........................................................................49
3.6 Research design ...............................................................................49
3.7 Census survey ...................................................................................49
3.8 Sources of data ................................................................................50
3.8.2 Secondary data ........................................................................50
3.8.1 Primary data ..............................................................................50
3.9 Research instruments .......................................................................52
3.10 Presentation of data ......................................................................52
CHAPTER 4: Findings and analysis. .......................................................53
4.1 Introduction.......................................................................................54
4.1.2 Perceptual dimension...............................................................58
4.1.3 Social dimension........................................................................60
4.3.4 Visual dimension. .......................................................................78
4.3.5 Functional dimension. ...............................................................79
4.4.4 Visual dimension. .......................................................................85
4.4.5 Functional dimension. ...............................................................86
CHAPTER 5: Conclusions and recommendations. .............................87
v
vi
ABSTRACT
Museums today are a center of culture, education and entertainment. Museums play a key role in terms of the image and attractiveness
of the city they are located. However in Nairobi this is not the case. Most museums in Nairobi are located within the central business
district along major nodes and circulation routes but they are alien and distant to the people and urban fabric. The areas around them
are severely active and dynamic while they are dormant and invisible. This is an investigative study of readapted museums located within
the Nairobi Central Business District. It seeks to define the relationship between form and context, fit of a museum in an urban context
and determine the planning and design guidelines. Parameters derived from the literature review are based on the dimensions of urban
design which are morphological, perceptual, social, visual and functional dimensions. The study of local museums in Nairobi aims at
exploring a new approach in understanding their fitness within their context through observation and recording. The study documented
the existing readapted museums within the Nairobi CBD and how they fit within their immediate context within the dimensions mentioned
above. The case studies carried out included the Kenya National Archives, Judiciary museum, Nairobi art gallery and the Nairobi Railway
Museum in the dimensions mentioned above. Among the case studies, Kenya National Archives was most successful as it was located at
a strategic location. Public space design within museums with reference to existing museums is a possible area of further study. The
process of identifying the relationship between form and context, fit of a museum within an urban context and determining planning
and design guidelines can be applied to any other city. This will provide a basis for comparison and will also add to the body of
knowledge about museums in an urban setting.
1
CHAPTER 1: Introduction
2
1.1 BACKGROUND STUDY
Humans need to feel a sense of connection with their surroundings to have a positive mental
health. Buildings do not exist in isolation as they are conceived to house, support, and inspire
a range of human activities in response to socio cultural, economic, and political needs.
Therefore, buildings just as human beings also need to have a conversation with its
surroundings, both in its historical and physical setting. If we are to feel that intrinsic connection
to our surroundings, a building should link itself to what is existing (physically, historically, and
socially).
FIGURE 1.1 MUSEUM OF LUBOMIRSKI PRINCES SHOWING

Modern architects were criticized for their tendency to be indifferent to location, and their
HOW IT HAS MAINTAINED IMPORTANT VIEWS OF THE desire to make of every work a prodigy. Context is sacrificed to build an artificial identity. Both
ORIGINAL SQUARE BY DIVIDING ITSELF INTO VERTICAL
SLITS. in function and formation, our buildings are affected by their surroundings, be they natural or
Source:
urban.
http://www.one-desk.pl/projects/eng/ossolineum.html
The particular location of a museum could materially affect its standing and its outlook in a
multitude of different ways. (Forgan, 2005). Museums are usually located along major
circulation routes and nodes. This study helps to formulate a greater understanding of the built
form's relationship to the urban environment to identify principles which help existing
readapted museum buildings fit in their context and also inform successful design of new
museums. This is achieved by studying relationship of the museum’s exterior and its context
followed by an investigation on which aspects of context are the most important to consider.
Figure 1.2 SUZHOU MUSEUM, A MODERN ICON WITHIN A

VERNACULAR CONTEXT.
Source:
https://www.archdaily.com/894202/ad-classics-suzhou-
museum-im-pei-plus-pei-partnership-architects
3
1.2 PROBLEM STATEMENT
Most museums in Nairobi are located within the central business district along major nodes
and circulation routes but they are alien and distant to the people and urban fabric. The areas
around them are severely active and dynamic while they are dormant and invisible. Firstly,
they were not designed as museums but were converted from previously residential and
governmental buildings (Kiarie, 2019). Modifications were heavily influenced by the western
conceptual frameworks of display (Nyawo, 2013).
Secondly, museums were established during the colonial era to serve the interests of the
colonizers. These museums were alien and had little to offer to the indigenous Africans a
FIGURE 1.3 SHOWING NAIROBI ART GALLERY NEXT TO
KENYATTA AVENUE. scenario leading to the lack of interest in this institution by most Africans (Mawere, African
Source: Museums in the making., 2015). It is this colonial legacy that led to the irrelevancy of museums
Author
to the contemporary African communities they purport to serve (Fogelman, 2002).
Thirdly, museums are fenced off from the general public leading to lack of physical
connection with the locals isolating the museum in the process. The outside environment is
what people see as they pass by and probably influence their decision on whether to pay a
visit to the museum or not. The external environment should therefore send the right message
by looking relevant to the community it purports to serve (Nyawo, 2013).
Finally, the colonial rule hired foreign architects to design major public buildings in the
neoclassical style with the aim of exerting their rule and therefore imposing the locals with the
FIGURE 1.4 SHOWING KENYA NATIONAL ARCHIVES grandiose scale. There were no attempts to represent the local culture which resulted in
ALONG MOI AVENUE.
creating buildings that were foreign, hence they could not identify with them.
Source:
AUTHOR
This study seeks to observe the selected study cases in their individual context and understand
why they are dormant and invisible to the public.
4
1.3 RESEARCH OBJECTIVES
To explain the relationship between museum form and its context.
To investigate the goodness of fit between selected museum forms in their individual urban
contexts.
To propose planning and design guidelines for museums in Nairobi CBD.
1.4 RESEARCH QUESTIONS

What is the relationship between museum form and its context?
FIGURE 1.5 ILLUSTRATING INFOGRAPHICS SHOWING
What factors determine the goodness of fit between selected museum form and their
RESEARCH OBJECTIVES.
immediate individual urban context?
Source:
https://blog.commlabindia.com/elearning- Are there any additional planning and design guidelines that can be proposed for museums
design/defining-learning-objectives-in-elearning
in Nairobi CBD?
1.5 JUSTIFICATION OF THE STUDY

Museums today are a center of culture, education and entertainment. Museums play a key
role in terms of the image and attractiveness of the city they are located. The situation locally
says otherwise with the audiences ageing and declining this is evidenced by a nose dive of
visits from 290,544 in the year 2016 to 250,000 in the year 2017.
Museums in Africa are becoming platforms for expressing living communities’ feelings and
expectations; with the disappearance of cultural and spiritual spaces, communities are
beginning to regard museums as alternative spaces for cultural activities and community
performances. (Abungu, 2006).However this has not been successful as museums in Nairobi
cbd do not express meaning to the locals.
FIGURE 1.6 ILLUSTRATING INFOGRAPHICS SHOWING
RESEARCH QUESTIONS. Therefore the study seeks to explore how a museum through analysis of context could best
Source: express the museum as a cultural and iconic symbol.
https://www.10mmt.com/2011/performance-appraisals-
and-performance-reviews/performance-appraisal-
what-do-i-write-on-the-form/
5
1.6 SIGNIFICANCE OF THE STUDY
Currently, more than half the world’s population lives in cities contributed heavily by rural to
urban migration of people, in search of job opportunities, however this has led to significant
challenges to ones’ identity and culture (Visser, 2016).As guardians of culture, museums are
ideally placed to help us understand a world of shifting identities.
Museums in Nairobi can be used to increase the sense of power and arouse feeling of pride
in the community for their shared heritage. The museum forms embodies the aspirations of the
community and capture the common ideals between the members of the community.
FIGURE 1.7 SHOWING THE OUTDOOR DISPLAY BY THE
KENYA NATIONAL ARCHIVES TO CELEBRATE THE LIFE OF
LATE FORMER PRESIDENT DANIEL ARRAP MOI AT THE TOM Establishing a good fit of the selected museums in their context enables the museums to play
MBOYA SQUARE.
a dual role as custodians of national heritage and forums for cultural development and
Source:
exchange. These museums not only respect new national identities, but also portray the past
https://nairobinews.nation.co.ke/chillax/kenya-national-
archives-hosting-grand-exhibition-of-mzee-mois-life through exhibitions and public programs to instill a sense of identity, and pride in the people
who patronize them. (Abungu, 2006)
Museums that are designed to fit their context are able to take a central role in the political,
economic and social discourses since locals identify with them. Hence, the museums can play
proactive and significant national roles. They serve as educational facilities, platforms for
dialogue, space of memory and common identity, to areas of resistance against oppression
or a venue for economically and environmentally sustainable activities for local communities
(Abungu, 2006).
Therefore, the study of form and context is relevant to existing museums and those which will
be commissioned in the future. This makes the study, sensible and timely, on the basis of the
FIGURE 1.8 KENYA NATIONAL ARCHIVES HAS PLAYED A
ROLE IN CUSTODIANS OF NATIONAL HERITAGE
above discussion.
Source:
https://nairobinews.nation.co.ke/chillax/kenya-
national-archives-hosting-grand-exhibition-of-
mzee-mois-life
6
1.7 SCOPE AND LIMITATIONS
The design areas to be studied will be limited to the investigation of readapted museums
located within the Nairobi CBD as this is the only type of museums that exist in Nairobi. National
Museum of Kenya will not be considered since it is not within the CBD.
The limitations the study is likely to encounter are:
 Inability to find relevant and suitable local examples of museums in Kenya,

 Financial and time constraints in the expected frequent visits to the local and regional
museum examples.
 Lack of museums which are designed as originally as museums and not converted from
Figure 1.9 SHOWING THE NEW NAIROBI CENTRAL
BUSINESS DISTRICT BOUNDARY.
historical buildings of other functions.
Source:
Nairobi integrated urban development masterplan
1.8 DELIMITATIONS AND EXCLUSIONS
We shall be giving no deep thought to the internal organization of the form as such, but only to
the simplest premise and aspect of that organization: namely that fitness which is the residue of
adaptation across the single form-context boundary we choose to examine. (Alexander, 1964).
While it may seem that there are no actual museums in the Nairobi CBD because they were all
previously residential and governmental buildings and not originally designed as museums, they
will nevertheless remain as study cases, since they are located on major important nodes which
have a huge impact on the locals.
Figure 1.10 MUSEUMS LOCATED IN NAIROBI CENTRAL

BUSINESS DISTRICT.
Source;
Google earth
7
1.9 DEFINITION OF KEY TERMINOLOGIES
INTRODUCTION Form -Refers to the shape or configuration of a building.
Context-Refers to the character and setting of an area within which a project scheme will sit.
Fit-Refers to relation of mutual acceptability between form and context.
LITERATURE REVIEW
1.10 ORGANIZATION OF STUDY

The research thesis is organized into five chapters as follows:
Chapter One – Gives a brief introduction to the research topic, the objectives research
RESEARCH METHODS questions, study justification and significance, scope and limitations definition of key
terminologies.
Chapter Two: Discusses the literature review that involves review of both published and
unpublished written material such as precedent theses on the subject matter. This chapter will
involve the disaggregation of the subject matter based on the following sub topics;
FINDINGS AND ANALYSIS
Chapter Three: Defines the process of research design, giving a detailed account of the
various research tools and methodology used in data collection.
Chapter Four: Gives a detailed account and analysis of the findings of the different variables
researched on with an in-depth discussion of the results.
CONCLUSION AND
Chapter Five: Outlines relevant conclusions logically deduced from the study, summary of the
RECOMMENDATION
findings, recommendations and further areas of research references.
Figure 1.11 Organization of study

Source: Author
8
CHAPTER 2: Literature Review.
9
Figure 2.0 SHOWING A STONE PLACED ON A SURFACE.
Source: Contextualism: Urban Ideals and Deformations
Man put stone on the ground in order to recognize place in the

midst of the unknown universe and thereby measure and modify it.
Vittorio Gregotti
10
2.1 Form and context
The form is a part of the world over which we have control, and which we decide to shape
while leaving the rest of the world as it is. The context is that part of the world which puts
demand on this form; anything in the world that makes demands of the form is context. It is
then legal to say the context is fixed and only the form is variable. Therefore, it means if there
is a bad fit between the context and form, it is logical to adjust the form until it fits within the
context and also study this context in detail so that it can properly inform the form.
Figure 2.1 SHOWING THE KAFD GRAND MOSQUE WHERE
THE URBAN CONTEXT WAS USED AS THE MAIN CONCEPT
Form itself relies on its own inner organization and on the internal fitness between the
FOR THE PROJECT.
pieces it is made of to control its fit as a whole to the context outside (Alexander, 1964).
Source: https://omrania.com/insights/form-context-
kafd-grand-mosque/ The rightness of form depends, on the degree to which it fits the rest of the ensemble
(Alexander, 1964).
The real object of discussion is not the form alone, but the ensemble comprising the form and
its context and whether the form fits in its context. Fitness is a relation of mutual acceptability
between these two.
The context and the form are complementary. The unitary description of the context is
also a description of the required form.
Therefore it is logical to use Tim Carmona’s dimensions of urban design to understand and
analyze the context within which these museums and to see whether the museums fit as
they are. If not, propose the ideal form that these museums will take in order to fit
Figure 2.2 SHOWING IMAGE ILLUSTRATING A CONTEXT seamlessly.

BASED FORM LANGUAGE FOR MAIN STREET BUILDINGS
USING HUMAN SCALE AND PROPORTION.
Source:
https://www.cnu.org/publicsquare/2019/03/27/context-
based-form-language-mixed-use-main-street-buildings
11
There are many ways in which an urban setting can be analyzed such as visual, perceptual,
or social perspectives and so forth. In order to understand what context or urban structure a
built form exists in its only reasonable to use the same perspectives so that ill-fitting buildings
can use these perspectives to fit into their context.
In order to create a comprehensive understanding of the urban context, it would be a

practical approach to combine all the areas in analyzing urban structure into a unified
framework.
The dimensions which will become the main framework of the study is adequately practical
to understand a city structure. These dimensions will help in placing the case studies into an
urban context and how the dimensions have an effect on the activeness on the selected
Figure 2.3 A HISTORIC TOBACCO FACTORY IN TANGIER
IS OVERWHELMED BY THE STANDARDISED buildings.
INTERNATIONAL STYLE OF THE TALL BUILDINGS
Source: There is a need to put context and the museum form into frictionless coexistences to
ARCHITECTURE IN CONTEXT: DESIGNING IN THE MIDDLE
EAST
enable them to attract more local visitors and be a step closer in solving the architectural
aspect of the problem.
This chapter will look at the relationship between museum form and its context, how a form
can fit within a context by giving detailed definition of context and list the different dimensions
of context which will be analyzed to see whether the museum form really fits in its context.
The purpose is to devise a scheme for ordering the variables that constituted “context” so as
to develop a method of design free from all the preconceptions that had hampered previous
efforts to achieve truly functional design. (Forty, 2000)
Figure 2.4 SHOWING DESIGNING WITH THE DEMANDS OF

THE SITE IN ORDERTO GENERATE A LIVING LANDSCAPE
Source:

EAST
12
2.2 Definition of context
Context is the interrelated conditions in which something exists or occurs (Forty, 2000). It can
also be defined as the character and setting of an area within which a project scheme will
sit. It is its natural and human history, its location, buildings and spaces; its ecology and the
routes that pass through it.
Context is not only concerned with place in a physical sense, but also with the people that
create, occupy and use the built environment, how communities are organized so that
citizens become real participants in the project development. A thorough appreciation of the
overall site context is the starting point for designing a distinct place (Matthew Carmona. Tim
Heath, 2003).
Some architects and theorists saw context as a relationship between urban solids
(buildings) and voids (public spaces), as was the case for Colin Rowe and Fred Koetter in the
1978 book Collage City (Forty, 2000).
Context can not only be the immediate surroundings, but the whole city and its surrounding
region. It includes patterns of land use and land value, topography and microclimate, history
and symbolic significance and other socio-cultural realities. (Matthew Carmona. Tim Heath,
2003).
Figure 2.5 SHOWING SITUATION, LAYOUT AND ELEVATION Therefore to understand the urban context within which museum form exist in Nairobi, one has
OF AL HAJARA VILLAGE IN HARAZ MOUNTAIN, YEMEN.
consider the natural and built environment, people and their culture, history, and circulation.
Source:

EAST
13
2.3 History of context
The term ‘context’ was introduced by Ernesto Rogers during the post modernism era as part
of the first critique of works of modern architects. He criticized their tendency to be indifferent
to any project location. Rather, architecture should be as a dialogue with its surroundings,
both in the immediate physical sense and historical setting (Schumacher, 1971).
It first appeared in architectural work in Christopher Alexander’s Notes on the Synthesis of

Form of 1964, Alexander used “context” as a synonym for “environment”. He wrote every
design problem begins with an effort to achieve fitness between two entities the form in
question, and its context. The form is the solution to the problem; the context defines the
problem. He emphasizes the aim of design is not to meet the requirements in the best possible
way, but to prevent misfit between the form and the context (Forty, 2000).
Context was distinguished by history whereas in other cases it was formal, marked in particular
by its study of figure/ground relationships as introduced by Rowe’s Cornell studio in 1963. An
individual work should be treated as a building block that related to its zones, district or
community, and not as an isolated object. The deeper understanding of a context requires
the penetration into the spirit of a place and also the attention to the traditional grain (Forty,
2000).
FIGURE 2.6. SHOWING THE EFFECT OF GIANT SCALE IF

DESIGNED AT AN INTIMIDATING GIANT SCALE, WITHOUT
UNDERSTANDING THE CONTEXT, BUILDINGS
REMAIN INCOMPREHENSIBLE TO USERS.
Source:

EAST
14
2.4 Relationship between context and dimensions of urban design.
Urban design has its origins in the relationship between private and public domain. Build by
the side of a road and you immediately have the problem of relating the building to the road,
whether by placing the front wall along the edge of the road or by setting it back and finding
other means of defining the front boundary (Matthew Carmona. Tim Heath, 2003).
The opportunity for urban design becomes much greater when buildings face one another
across the public domain of a street or square and a space is created between buildings. A
rich set of relationships becomes possible, not only of one building to another and of the
buildings as a whole to the space between them, but also of vertical to horizontal planes, hard
to soft landscaping, edges to surfaces and of one free-standing object to another. Thus the
opportunity for urban design exists wherever such relationships become (Matthew Carmona.
Tim Heath, 2003).
In order to properly understand the context that a form exists in one must use the dimensions
of urban design as a starting to point. This is because these dimensions are informed by the
context and therefore the reverse is true. Therefore it is going to be a backward process from
picking the dimensions of urban design on site which in turn will define the context. One helps
define the other.
Carmona et al (2003) suggested a breakage into six different dimensions: perceptual, social,
FIGURE 2.7 SHOWING A DIAGRAM ILLUSTRATING THE
RELATIONSHIP BETWEEN CONTEXT AND DIMENSIONS OF visual, functional, temporal and morphological, In order to easily analyze what encompasses
URBAN DESIGN.
the activity of urban design. These dimensions have been employed in the case study analysis
Source:
PUBLIC PLACES -URBAN SPACES. THE DIMENSIONS OF

of Nairobi cbd museums in this thesis.
URBAN DESIGN
15
2.5 The morphological dimension
Carmona et al (2003) defined morphological dimension as the layout and configuration of
urban form and space.
Urban morphology
Urban morphology is the study of the form and shape of settlements. Physical setting of an
urban context can be analyzed in terms of land use, building structure, plot and street pattern
(Matthew Carmona. Tim Heath, 2003).
A. Land uses
Changing in uses lead to redevelopment and the creation of new buildings, plot
amalgamations, subdivisions and changes in the street pattern.
Museums in Nairobi CBD are housed in formerly residential, commercial and governmental
buildings. Figure – ground diagrams are used to show the different patterns of urban spaces.
Museum forms can occur either as constituent elements which define the streets or as
separate free standing mass with coarsely meshed road grids.
B. Building structure
Public buildings such as museums, churches and cathedrals last longer than others due to
several reasons such as greater investment- in terms of financial and symbolic, in their design,
construction and ornamentation.
FIGURE 2.8 SHOWING FIGURE GROUNDS OF PARMA AND
SAINT DIE. THE FORMER SHOWS BUILDINGS AS
CONSTITUENT ELEMENTS WHICH DEFINE THE STREETS WHILE
THE LATTER SHOWS BUILDINGS AS SEPARATE FREE Museums may become particularly meaningful to residents and visitors, and often
STANDING MASS WITH A COARSELY MESHED ROAD GRID.
symbolically represent the city.
Source:
COLLAGE CITY.
16
C. The plot pattern
Urban blocks are defined by streets and they are divided into smaller plots which may be
back to back, each having a frontage onto the street with a shared boundary at the rear.
Plots may face onto main streets at front with service alley at the rear. In few cases there are
plots with frontage onto a main street at each end (Matthew Carmona. Tim Heath, 2003).
The plot ratio and plot coverage planning regulation contribute significantly to the scale of
buildings within the Nairobi CBD.
D. The cadastral (street) pattern

The cadastral pattern is the layout of urban blocks defining streets between them. Size of
FIGURE 2.9 SHOWING THE STREET PATTERN OF CENTRAL

urban blocks determine both the physical and visual permeability of an area. Visual
FLORENCE RETAINS THE LAYOUT OF THE ORIGINAL
permeability refers to the ability to see the routes through an environment, while physical
ROMAN SETTLEMENT
permeability refers to the ability to move through an environment (Matthew Carmona. Tim
Source:
PUBLIC PLACES -URBAN SPACES. THE DIMENSIONS OF Heath, 2003).

URBAN DESIGN
Carmona et al (2003) notes that small sized street blocks offer greater choices of routes,
increased visual permeability creating a more permeable environment hence they have a
fine urban grain.
Nairobi CBD is a coarse grain urban environment with generally much bigger plots and with
plot ratio of the area currently standing at 6.
FIGURE 2.10 SHOWING PERMEABILITY-FINELY MESHED

GRIDS OFFER MANY DIFFERENT WAYS TO GET FROM
PLACE TO PLACE WITHIN THE GRID. COARSER GRIDS
OFFER FEWER WAYS.
Source:
PUBLIC PLACES -URBAN SPACES. THE DIMENSIONS OF

URBAN DESIGN
17
2.6 The perceptual dimension
Carmona et al (2003) defined it as exploring how people perceive environments and
experience places,
2.6.1 Environmental perception

Perception involves the gathering, organizing and making sense of information about the
environment. The four most valuable senses in interpreting and sensing the environment are
vision, hearing, and smell and touch (Matthew Carmona. Tim Heath, 2003).
A. Vision
Orientation of museum forms are visually reliant on distance, color, shape, textural and
contrast gradients (Matthew Carmona. Tim Heath, 2003).
B. Hearing
Hearing is information poor, but emotionally rich. We are strongly aroused by, for example,
scream, music, thunder, and soothed by the flow of water or the wind in the leaves (Matthew
Carmona. Tim Heath, 2003).
C. Smell
Carmona et al (2003) states as with hearing, the human sense of smell is not well developed.
Nevertheless, while even more information poor than sound, smell is probably emotionally
richer.
D. Touch
Much of our experience of texture comes through our feet and through our buttocks when
we sit down, rather than through our hands (Matthew Carmona. Tim Heath, 2003)
Mental maps and images of Nairobi CBD are used to understand the perception of museum
FIGURE 2.11 SHOWING A MENTAL MAP OF LONDON forms from the locals’ eye.
Source:
PUBLIC PLACES--URBAN SPACES. THE DIMENSIONS OF

URBAN DESIGN
18
2.6.2 Environmental meaning and symbolism
Carmona et al (2003) stated meanings attached to the built environment become modified
as social values evolve in response to changing patterns of socioeconomic organization and
lifestyles. Symbolism can be understood in two layers of meaning. The first layer is the object's
primary function. The second layer and secondary function is of a symbolic nature.
The symbolic role of buildings and environments is a key part of the relationship between
society and environment which usually embody patterns of power and dominance. Power is
manifested in two ways: through awe, which intimidate the audience with majestic displays of
FIGURE 2.12 SIGNS, SYMBOLS AND SETTINGS: A
FRAMEWORK FOR ANALYSIS power and through admiration, which divert the audience with spectacular design effects
Source: (Matthew Carmona. Tim Heath, 2003).These strategies are evident in the Kenya National
URBAN DESIGN
Archives and Judiciary Museum in Nairobi CBD, due to their imposing neo-classical
architecture.
Carmona et al (2003) emphasized that the purpose of symbolization is to legitimize a particular

ideology or power system by providing a physical focus to which sentiments could be
attached. The physical focus for this study is the museum building.
FIGURE 2.13 ILLUSTRATING THAT PRODUCERS AND

MANAGERS HAVE POWER TO CREATE MEANING
Source:

URBAN DESIGN
19
2.6.3 Sense of place
Sense of place commonly referred as genius loci, is one’s attachment to the spirit of place.
Concepts of place often emphasize the importance of a sense of belonging, of emotional
attachment to place. People need a sense of identity, of belonging to a place and/or
people. Individuals need to express a sense of belonging to a collective entity or place, and
of individual identity, which may be achieved by physical separation, distinctiveness, or a
sense of entering into a particular area (Matthew Carmona. Tim Heath, 2003).
FIGURE 2.14 ILLUSTRATING A DIAGRAM BY JOHN PUNTER

SHOWING HOW URBAN DESIGN ACTIONS INFORM A
Individual identity is associated with personalization. The threshold or transition between public
SENSE OF PLACE.
domain and private domain is emphasize by small scale design details which contribute to
Source:
the symbolism of a space (Matthew Carmona. Tim Heath, 2003).
URBAN DESIGN
Carmona et al (2003) identified three design strategies to create a sense of place for people:
• Creation of an environment responsive to people’s behavior and values.

• Participation of future users in the design of their environment.
• Creation of environments that users can modify and adapt.
These design strategies have been used as a criteria to analyze the readapted museums in
Nairobi CBD, to gauge if people have a sense of place when they are around the museum
forms.
FIGURE 2.15 ILLUSTRATING A DIAGRAM BY JOHN

MONTGOMERY SHOWING HOW URBAN DESIGN ACTIONS
INFORM A SENSE OF PLACE
Source:

URBAN DESIGN
20
2.7 The social dimension
Space and society are related as they have a relationship which is a continuous two-way
process in which people create and modify spaces while at the same time being influenced
by them in various ways. There are key aspects of the social dimension which are people and
space, public realm and public life, safety and security and accessibility (Matthew Carmona.
Tim Heath, 2003).
2.7.1 People and space

Carmona et.al. (2003) state that the physical environment has a determining influence on
human behavior. Human behavior is embedded in physical, cultural and perceptual contexts
and settings.
2.7.2 The public realm

The public realm has physical and social dimensions. The physical public realm is the spaces
and settings that support public life and social interaction. The activities and events occurring
in those spaces and settings can be termed the socio cultural public realm (Matthew
Carmona et.al. (2003) emphasize that public realm or public buildings such as the museum
ideally functions as a forum for political action and representation as a common ground for
social interaction.
FIGURE 2.16 ILLUSTRATING HIERARCHY OF NEEDS.
Source:

URBAN DESIGN
21
2.7.3 Safety and security
Security relates to the protection of oneself. Lack of security, discourages the use of the public
realm and the creation of successful urban environments. A sense of security and safety is,
therefore, an essential for a successful urban design (Matthew Carmona. Tim Heath, 2003).
Increased security has often been attained by privatization, and retreat from the public realm
by means of segregation through physical distance, walls, gates and less visible barriers to
exclude the outside world, and also by means of policing strategies and the use of
FIGURE 2.17 SHOWING THE NAIROBI ART GALLERY WHERE
A METAL GRILL FENCE HAS BEEN USED TO EXCLUDE THE surveillance cameras (Matthew Carmona. Tim Heath, 2003).
OUTSIDE WORLD
Source:
Carmona et.al. (2003) argues that the entire public realm should be considered when gating.
Author
Gating benefits the private entity but at the expense of those left outside leading to significant
public and social costs.
2.7.4 Accessibility and exclusion

The public realm should be accessible to all. Exclusion often establishes a message of
exclusivity or security through the control of space and access to it (Matthew Carmona. Tim
Heath, 2003).
Carmona et.al. (2003) identify three forms of access:

• Visual access where if people can see into a space before they enter it, they can judge
whether they would feel comfortable, welcome and safe there.
FIGURE 2.18 ILLUSTRATING PEACE GARDENS IN SHEFFIELD,
UK,MANAGEMENT STAFF CONSIDERED HOW TO REGULATE • Symbolic access where individuals and groups perceived either as threatening, or as
ITS USES BUT QUICKLY APPRECIATED THAT PROVIDED THE
SQUARE WAS NOT BEING DAMAGED SUCH FREE comforting or inviting, may affect entry into a public space.
BEHAVIOR SUGGESTED A FEELING OF OWNERSHIP AND
AFFINITY WITH THE SPACE. • Physical access concerns whether the space is physically available to the public.
Source:

URBAN DESIGN
22
2.8 The visual dimension
Carmona et.al. (2003) state that architecture and urban design are often described as
public, art forms. In their daily activities, people must pass through and experience the
public parts of the city environment. The focus is on four key areas, aesthetic preferences,
urban spaces, urban architecture, hard and soft landscaping.
2.8.1 Aesthetic preferences

Aesthetic appreciation of the urban environment is primarily visual and involves all our
senses (Matthew Carmona. Tim Heath, 2003) .Aesthetic appreciation has four distinct
components:
FIGURE 2.19 SHOWING COLONNADES WHICH PROVIDE
RHYME AND PATTERN, CONTRIBUTING TO CHARACTER
AND IDENTITY, IN CENTRAL BOLOGNA 1. Sense of rhyme and pattern:
Source: Carmona et.al. (2003) define rhyme involves some similarity in the elements and patterns.
https://www.shutterstock.com/search/bologna+vector Over time, as the mind organizes and makes sense of the information, the patterns become
more dominant.
2. Appreciation of rhythm
Carmona et.al. (2003) state that rhythm is produced by the grouping of elements to create
emphasis, interval, accent and/or direction. Contrast and variety are essential in achieving
interesting rhythms.
3. Recognition of balance
Balance is a form of order generally related to harmony among the parts of a visual scene or
FIGURE 2.20 SHOWING FACADE RHYTHMS IN SAN
MARCO'S PIAZZA, VENICE, ITALY. environment (Matthew Carmona. Tim Heath, 2003).
Source: Carmona et.al. (2003) further state that asymmetrical compositions may also use elements of
https://cellcode.us/quotes/hand-drawing- symmetry to achieve visual balance. Balance can also be perceived in highly complex
proportions.html
organizations of colors, textures, and shapes, which cohere into a state of balance.
23
4. Sensitivity to harmonic relationships:
Harmony refers to the relationship between different parts of a building, and how they fit
together to form a coherent whole. Perspective effects may be used to suggest that building
elements are taller, more slender, or more elegant than they actually are, while deliberate
strategies of distraction may concentrate attention on some aspects of the design rather than
others (Matthew Carmona. Tim Heath, 2003).
2.8.2 Urban space

Positive and negative space
Carmona et.al. (2003) state that outdoor space can be considered in terms of positive and
negative spaces:
• Positive, relatively enclosed, outdoor space has a definite and distinctive shape. It can be
Figure 2.21 SHOWING NOTRE DAME WHICH IS DESIGNED
USING THE GOLDEN SECTION. measured, and has definite boundaries. Its shape is as important as that of the buildings
Source: https://www.goldennumber.net/architecture/ surrounding it.
• Negative space is shapeless, the amorphous residue left over around buildings which are
generally viewed as positive. It is continuous and lacking in perceivable edges or form.
Where outdoor spaces are negative, the buildings are the figure and outdoor space is the
ground (Matthew Carmona. Tim Heath, 2003),
Figure 2.22 SHOWING THE PRINCIPLE OF FIGURE AND

GROUND REVERSAL.
Source: PUBLIC PLACES--URBAN SPACES. THE

DIMENSIONS OF URBAN DESIGN
24
2.8.3 Urban architecture
Urban architecture means architecture that responds and contributes positively to its context
and to the definition of the public realm (Matthew Carmona. Tim Heath, 2003).
Carmona et.al. (2003) state the design of facades should ensure to fulfill the following to fit
into the context:
• Create a sense of place.
FIGURE 2.23 SHOWING RICHMOND RIVERSIDE, LONDON.

• Mediate between inside and out and between private and public space, providing
ALTHOUGH THE FACADE SUGGESTS A NUMBER OF
SEPARATE BUILDINGS, THIS DEVELOPMENT ACTUALLY
gradations between the two.
CONSISTS OF A FEW LARGE OFFICE BUILDINGS WITH
OPEN OFFICE FLOORS EXTENDING ACROSS WHAT
• Have windows that suggest the potential presence of people and that reveal and 'frame'
WE ARE LED TO ASSUME ARE PARTY WALLS
internal life.
Source: https://www.thestage.co.uk/
• Have character and coherence that acknowledge conventions and enter into a
dialogue with adjacent buildings.
• Have compositions that create rhythm and repose and hold the eye.
• Have a sense of mass and materials expressive of the form of construction.
• Have substantial, tactile and decorative natural materials, which weather gracefully.
 Have decoration that distracts delights and intrigues.
A. Appreciation of urban architecture

The criteria is used to inform an appreciation of urban architecture in order to understand
FIGURE 2.24 ILLUSTRATING GLASGOW, UNITED KINGDOM.
MANY TRADITIONAL URBAN FACADES ARE ORGANIZED what makes a good building (Matthew Carmona. Tim Heath, 2003).
INTO THREE ELEMENTS (I.E. 'BASE', 'MIDDLE' AND 'TOP'). THE
GROUND FLOOR IS OFTEN MORE RICHLY DECORATED AS 1. Order and unity
THIS IS THE PART THAT PEDESTRIANS ARE BETTER ABLE TO
SEE AND APPRECIATE, THE MIDDLE IS OFTEN MORE Order is manifested through such means as symmetry, balance, repetition, the grid, the bay,
VISUALLY RESTRAINED, WHILE THE TOP AND SKYL INE ARE
AGAIN MORE VISUALLY COMPLEX TO DETAIN THE EYE. the structural frame. Unity is created from repetition of an architectural style, underlying design
Source: PUBLIC PLACES--URBAN SPACES. THE patterns or motifs, unifying elements such as building silhouette, consistent plot widths,
fenestration patterns, proportions; massing, the treatment of entrances, materials and details
25
2. Plan and section
There should be a positive relationship between a building's facade and its plan and section.
This is important due to two reasons.
First, a building is designed as a totality in which the facade reconciles the street in front and
the plan and section that lie behind. Second, the relationship of section, plan and local
context is fundamental in terms of the volume of development a site can accommodate i.e.
the plot ratio.
FIGURE 2.25 SHOWING TORONTO DESIGN EXCHANGE.
THE NEW BUILDING HAS BEEN PLACED BEHIND RETAINED
FACADES, THE NEW BUILDING'S HEIGHT GENERALLY
NEEDS TO BE SIMILAR TO THAT OF THE BUILDING BEING
3. Detail
REPLACED
A detail is what holds the eye; it creates an experience which brings us into close contact
Source:
with a building where we can admire the beauty of the materials and the skill of the craftsman
https://www.bostonglobe.com/lifestyle/travel/2012/11
/03/reader-rave-toronto-design or engineer.
exchange/Y7QAomUtyr2peO6N3NBaIK/ story.html
Facades can be appreciated in terms of their visual richness (the interest and complexity that
holds the eye) and elegance (a function of the proportions that the eye finds pleasing and
harmonious).
Detail and visual interest help humanize environments. As buildings are seen in different ways
- near and far, straight on or obliquely, detail is required at varying scales, depending on their
position in the townscape. Small scale detail is especially important at g round floor level to
provide visual interest for pedestrians, while larger-scale detail is important for viewing over
longer distances
FIGURE 2.26 SHOWING THIS BUILDING IN CENTRAL

EDINBURGH, UNITED KINGDOM, IS RICHLY DETAILED AT A Typically, detail intensifies about windows and doorways and at building corners, while
SERIES OF DIFFERENT LEVELS.
appropriate emphasis of entrances allows users to 'read' the facade, facilitating movement
Source: PUBLIC PLACES-URBAN SPACES. THE DIMENSIONS
OF URBAN DESIGN from the public to private realm
26
6. Integration
Carmona et.al. (2003) define integration as the harmonization of a building with its
surroundings. They proposed certain principles apply that enable new buildings to harmonize
better with the existing context.
ii. Siting
Carmona et.al. (2003) stated that respect for existing street patterns and block /plot sizes
help harmonious integration plot amalgamation. They further stated respect for the
established building line and street frontage is important in ensuring the continuity and
Figure 2.27 SHOWING PERSPECTIVES FOR MASSING AND definition of external space. Highly sculptural buildings, objects in space should be
VOLUMETRIC COMPOSITION PLANNERS AND ARCHITECTS
SHOULD FIND A BALANCE BETWEEN URBAN PLANNING, exceptions and major incidents in the townscape.
URBAN DESIGN AND ARCHITECTURAL DESIGN.
Source:
ARCHITECTURE IN CONTEXT: DESIGNING IN THE MIDDLE ii. Massing

EAST
Massing is the three dimensional disposition of the building volume (Matthew Carmona. Tim
Heath, 2003).The impact of new or existing development needs to be considered from a
range of viewing points and angles. Plot ratio should therefore be accompanied by some
form of indicative massing (Matthew Carmona. Tim Heath, 2003).
ii. Scale
Scale is the perception of that object relative to other objects around it and to our
perception of those objects (Matthew Carmona. Tim Heath, 2003).
FIGURE 2.28 SHOWING THE GLASS PYRAMID AT LE
LOUVRE, PARIS, FRANCE, REPRESENTS AN EXCELLENT
EXAMPLE OF THE INTEGRATION OF A NEW BUILDING INTO Carmona et.al. (2003) emphasize that a building can be understood to be of a human scale
AN ESTABLISHED HISTORICAL CONTEXT. THE
JUXTAPOSITION OF OLD AND NEW ENHANCES BOTH. and separately be in or out of scale with its surroundings. Scale giving elements include
Source: windows, doors and construction materials.

https://worldinparis.com/louvre-treasure-hunt
27
iii. Proportion.
It is the relation between the different parts of a building and between any one part and the
whole. It may relate to the ratio of solid to void in a building’s façade or to the way window
openings are arranged in relation to solid wall elements (Matthew Carmona. Tim Heath, 2003).
Carmona et.al. (2003) state that new buildings in established context may be more
harmoniously integrated in their proportion are complementary with those of existing
buildings.
iv. Rhythm
Figure 2.29 SHOWING PERSPECTIVES ON SCALE AND The arrangement and size of the constituent parts of a building façade which is normally
PROPORTION.
repeated. Of particular significance for rhythm are the proportions of solid to void in a façade
Source:
EAST
Carmona et.al. (2003) further state that a large building can be integrated into the street
scene by the division of its façade into series of bays.
v. Materials
The judicious use of materials can sharpen or soften differences between the various parts of
the building and the relation between it and its neighbors (Matthew Carmona. Tim Heath,
2003).
Carmona et.al. (2003) state materials also help establish local distinctiveness through use of
local materials which is often manifested through color giving a strong sense of unity and
Figure 2.30 SHOWING DANCING HOUSE ILLUSTRATING place.
CONTEXTUAL JUXTAPOSITION
Source:
https://www.surfacesreporter.com/articles/41122/worlds
-bizarre-architecture-frank-gehrys-dancing-house-in-
prague-czech-republic
28
2.8.4 Hard and soft landscaping
A. Floorscape
Floorscape is an important part of a harmonious and integrated whole. A floorscape's
character is substantially determined by the materials used (e.g. brick, stone slabs, cobbles,
concrete, macadam), the way they are used, and how they interrelate with other materials
and landscape features (Matthew Carmona. Tim Heath, 2003).
FIGURE 2.31 SHOWING TELC, CZECH REPUBLIC Edging detail is important in visually linking with the facades defining the space, aiding the
ILLUSTRATING UNITY OF MATERIALS AND DESIGN BETWEEN
THE FLOORSCAPE AND THE SURROUNDING ARCHITECTURE transition from the horizontal to the vertical plane. Floorscape can be expressly designed to
ADDS TO A MORE HARMONIOUS TOWNSCAPE
enhance the aesthetic character of a space by introducing scale (both human and
Source:https://photographytraveltours.com/category/c
zech-republic/telc/ generic), modulating the space by organizing it into a series of hierarchical elements,
reinforcing existing character, or aesthetically organizing and unifying it (Matthew Carmona.
Tim Heath, 2003).
Carmona et.al. (2003) state that scale can also be derived from the scale of the materials
used, from the patterning of different materials, or from a combination of both. Sized to permit
easy handling, stone paving slabs generally give a human scale to urban spaces. In smaller
spaces, often no additional patterning is required: larger spaces generally need some form
of pattern to provide a sense of scale.
Floorscapes designed to provide a sense of repose are usually associated with areas where
people stop and rest). The floorscape pattern of squares can perform a number of functions:
FIGURE 2.32 SHOWING A SIMPLE GEOMETRIC providing a sense of scale; unifying the space by linking and relating the center and edges
FLOORSCAPE UNIFIES AND ORGANISES THE IRREGULAR
TRAPEZOIDAL SPACE OF THE PIAZZA GIUSEPPE TARTINI, and bringing order to what might otherwise be a disparate group of buildings (Matthew
PIRANO, SLOVENIA
Source: PUBLIC PLACES--URBAN SPACES. THE
29
B. Soft landscaping
Soft landscaping can be a decisive element in creating character and identity. Trees and
other vegetation express the changing seasons, enhancing the temporal legibility of urban
environments (Matthew Carmona. Tim Heath, 2003).
Carmona et.al. (2003) state thus, if deciduous trees are used, the containment and character
of the space will change with the seasons. Landscaping also often plays an important
aesthetic role in adding coherence and structure to otherwise disparate environments.
Trees and other vegetation provide a contrast with, and a foil to, hard urban landscapes, and
add a sense of human scale. In some streets, trees reinforce or provide a sense of enclosure
and continuity, but in all urban environments trees need to be sitted positively (Matthew
Carmona. Tim Heath, 2003)
Much of the floorscape pattern - and, indeed, the three-dimensional effect of urban space
can be enhanced by tree planting, which may reinforce or complete a sense of spatial
containment, or create a 'space within a space'.
Buildings, streets and spaces, hard and soft landscaping and street furniture should be
considered together, to create drama and visual interest and to reinforce or enhance the
FIGURE 2.33 SHOWING DESIGN STRATEGIES FOR
STREET TREES. TREES ARE NOT ALWAYS APPROPRIATE sense of place (Matthew Carmona. Tim Heath, 2003).
IN URBAN AREAS AND, WHERE USED, SHOULD BE
CHOSEN AND LOCATED IN RELATION TO THE OVERALL
TOWNSCAPE EFFECT
Source:

URBAN DESIGN
30
2.9 The functional dimension
This involves how places work and how places can be made better. The focus is on the
functioning of the environment in terms of how people used it, use of public spaces (Matthew
2.9.1 Public space and the public/private interface

Carmona et.al. (2003) stated that a public space should allow people to make strong
FIGURE 2.34 SHOWING ELEMENTS RELATED TO FUNCTION
AND SPACE.VARIOUS ASPECTS SHOULD BE TAKEN connections between the place, their personal lives, and the larger world. They identified
INTO CONSIDERATION BY ARCHITECTS AND PLANNERS
WHEN DEALING WITH FUNCTION AND SPACE. primary needs that people seek to satisfy in public space, comfort, relaxation, passive and
Source: active engagement with the environment.
i) Comfort
EAST
The length of time people stay in a public space is a function and an indicator of its comfort.
The dimensions of a sense of comfort include environmental factors such as relief from sun,
wind. Physical comfort such as comfortable and sufficient seating and social and
psychological comfort. The latter is dependent on the character and ambience of the space
(ii) Relaxation
In urban settings, natural elements - trees, greenery, water features – and separation from
vehicular traffic help accentuate the contrast with the immediate surroundings and make it
FIGURE 2.35 SHOWING WENCESLAS SQ UARE, PRAGUE,
CZECH REPUBLIC. STREET ENTERTAINMENT CAN ENHANCE
easier to be relaxed (Matthew Carmona. Tim Heath, 2003).
THE ANIMATION AND VITALITY OF PUBLIC SPACES
Source: Carmona et.al. (2003) warn that the features that make a pleasant sanctuary may also
https://fineartamerica.com/art/wenceslas+square
obstruct visual access, creating safety problems and discouraging use, therefore they advise
balance between the two contrasting elements.
31
(iii) Passive engagement
Passive engagement involves the need for an encounter with the setting, without becoming
actively involved. A prime form of passive engagement is people-watching, what attracts
people is other people and the life and activity that they bring (Matthew Carmona. Tim
Heath, 2003).
Carmona et.al. (2003) noted that the most used sitting places are generally adjacent to the
pedestrian flow, allowing observers to watch people while avoiding eye contact.
Opportunities for passive engagement are also provided by fountains, views, public art,
FIGURE 2.36 SHOWING PIAZZA SS ANNUNZIATA,
FLORENCE, ITALY. STEPS AND OTHER SITTING PLACES performances, and so forth.
PROVIDE OPPORTUNITIES FOR PASSIVE ENGAGEMENT IN
PUBLIC SPACE
Source: (iv) Active engagement

https://www.artehistoria.com/es/obra/iglesia-de-la- Carmona et.al. (2003) state that active engagement involves a more direct experience with
santa-annunziata-florencia
a place and the people within it.
Although some people find sufficient satisfaction in people-watching, others desire more
direct contact, whether with friends, family or strangers.
The coincidence of people in space and time does, nevertheless, provide opportunities for
contact and social interaction. Successful public spaces provide opportunities for varying
degrees of engagement, and also for disengagement from contact. (Matthew Carmona. Tim
Heath, 2003)
2.9.2 The social use of space

FIGURE 2.37 SHOWING GOVERNMENT SQUARE, BOSTON,
MASSACHUSETTS, SA. THE DESIGN OF SOME PUBLIC
Carmona et.al. (2003) noted that the most sociable spaces usually possessed the following
SPACES DOES NOT HELP THEIR FUNCTION AS PEOPLE
PLACES features:
Source: • A good location, preferably on a busy route and both physically and visually accessible.
URBAN DESIGN
• Streets being part of the social space – fencing off a space from the street isolated it and
reduced its use.
32
• Being level or almost level with the pavement (spaces significantly above or below this were
less used).
• Places to sit - both integral (e.g. steps, low walls); and explicit (e.g. benches, seats, etc.).
• Movable seats, enabling choice, and the communication of character and personality.
The edge of public spaces

Carmona et.al. (2003) emphasize the life of a public square forms naturally around its edge,
to which people gravitate rather than linger out in the open, hence a successful design
creates a successful urban place.
Building facades should be designed so that buildings reach out to the street and offer an
active frontage onto public space, adding interest and vitality to the public realm. As
windows and doorways suggest a human presence, Views into buildings provide interest to
passers-by, while views out, put eyes on the street' and contribute to its safety. The number of
doors/entrances generating activity directly visible from public space is a good indicator of
the potential for street life (Matthew Carmona. Tim Heath, 2003).
Carmona et.al. (2003) further state the antithesis of active frontage is blank frontage. Blank
walls are an end in themselves, they proclaim the power of the institution, the inconsequence
of the individual, whom they are clearly meant to put down, if not intimidate. Blank frontages
not only deaden part of the street, they also break the continuity of experience that is vital
FIGURE 2.38 ILLUSTRATING ALTHOUGH A FOREIGN for the rest of it.

TRANSACTION, LONDON'S COLISEUM THEATRE AVOIDS
CAUSING A DEADENING EFFECT ON LOCAL STREET LIFE BY
BEING EMBEDDED IN THE CORE OF THE STREET BLOCK,
AND PARTLY SURROUNDED BY A PERIMETER OF LOCAL Large buildings utilizing a single entrance can have a particularly deadening impact on
TRANSACTIONS.
streets. In many urban environments, large firms and offices have usurped smaller traders and
Source: PUBLIC PLACES--URBAN SPACES. THE obtained prestigious locations on the street frontage, where they often offer little sense of
activity relevant to the public outside (Matthew Carmona. Tim Heath, 2003).
33
2.9.3 Privacy
Privacy is defined in terms of selective control of access to individual or group and of
interaction especially that which is unwanted. Privacy can be attained in a number of ways,
including behavioral/management mechanisms and strategies involving physical distance or
the use of visual or screens (Matthew Carmona. Tim Heath, 2003).
Visual privacy
Issues of visual privacy typically relate to the interface between the public and private realms
and, in particular, the physical and visual permeability between these realms (Matthew
FIGURE 2.39 ILLUSTRATING POSITIVE PRIVACY GRADIENTS Carmona. Tim Heath, 2003).
THAT MAINTAIN AND RESPECT THE PUBLIC/ PRIVATE
DISTINCTION
Source: PUBLIC PLACES--URBAN SPACES. THE Carmona et.al. (2003) advise rather than a hard and impermeable interface between public
and private realms, a softer and more permeable one is often desirable. Activities in private
space are not all equally private, and softer interfaces may create important interstitial or
transitional spaces (e.g. pavement cafes, or places where internal activities can be seen from
outside).
While visual permeability can enrich the public realm, if used wrongly, it can confuse the vital
public/private distinction.
FIGURE 2.40 SHOWING KENYA NATIONAL ARCHIVES

WHERE A METAL GRILL FENCE HAS BEEN USED AS A
PHYSICAL BARRIER.
Source:
Author
34
FIGURE 2.41 THE FORM OF THE BUILDING IS MYSTERIOUS.IT SEEMS LIKE A SPACE
SHIP THAT LANDED ON THE SITE, FROM OUTER SPACE.
Source: Google
A country that has few museums is both materially poor and spiritually poor museums,
like theatres and libraries, are a means to freedom.”
– Wendy Beckett
35
2.10 History of museums in an urban context
A. Europe
Museums arrange the world according to the changing way we see it. They were created as
places for looking backwards, for preserving the history of human activity. It has its origins at
the dawn of history. Some of the earliest remnants of the human impulse to remember can be
found in caves, amid the rock carvings and arcane marks found there.
The Latin "museum" derives from the Greek "mouseion," the abode Muses, daughters of Zeus
and Mnemosyne, goddess of the sciences and arts. They lived on Mount Olympus, where the
atmosphere, aloof from day activities, was conducive to deep thought.
FIGURE 2.42 SHOWING BLOMBOS CAVE IN SOUTH AFRICA
ILLUSTRATING THE OLDEST CAVES IN THE WORLD.
The first known museum in the world, founded in Alexandria, Egypt, Ptolemy Soter in the third
Source:
century BC, consisted of scientific, natural, cultural objects, and a great library.
https://www.donsmaps.com/blombos.html
In the middle of the seventeenth century, when the first museums into existence in Europe,
several books of the period covered many diverse subjects within one volume and the word
"museum" was used to describe contents.
In the eighteenth century, interest in the arts was dominated by "the high and mighty:" kings,
noblemen, popes, and merchant bankers. Clearly, those involved in creating these early
collections had access to power and wealth, and those who enjoyed the treasures belonged
to the same circles. The acquisition of art was also a status symbol, and some patrons
collected more for the sake of collecting than for scholarship or the enlightenment and
enjoyment of others. When the private collections were transformed into museums, their
patronage was still confined to the wealthy and the educated (Eyo, 1994).
FIGURE 2.43 SHOWING CAPITOLINE MUSEUM WHICH IS
THE SECOND OLDEST MUSEUM IN THE WORLD HAVING In the 19Th century, museums began to be built in the capital cities of Europe. The buildings
BEGAN IN 1471.
themselves alluded to the past. Thus it was not only the works within the museum but the
Source:
structure itself that exhibited and conserved the past. Museums merged culture and power to
http://romaluxury.com/listing/capitoline-hill/
convey an image of an idyllic past.
36
Museums in towns were sites of civic status and reputation, where buildings denoted
respectability and acceptance into the ranks of the local bourgeois elite. There is, however,
more to be learned about the ways that museums were both an ornament to the city and,
as such, an ornament to science.
In the 20 Th century, the notion of the museum as a sophisticated intellectual institution,

patronized only by the privileged, has persisted even after changes which became necessary
following World War II. After World War II many museums in England and in continental Europe
began, albeit halfheartedly, to reshape the museum into an educational re- source center
FIGURE 2.44 SHOWING STATE HERMITAGE MUSEUM
ESTABLISHED IN THE 18 TH CENTURY BY CATHERINE THE
for the general public. Nonetheless, many in Europe until very recently still regarded the
GREAT.
museum as an elitist institution.
Source:
The importance of museums in major metropolitan centers cannot be overstated. This is
http://museums.eu/museum/details/15967/the-state-
hermitage-museum obvious from the nineteenth century onward, especially in the clustering of museums— arts
and sciences together—in museum quarters, such as in South Kensington in London or the
Museumsinsel in Berlin. In Vienna, museums were part of a formal urban design scheme aimed
at enhancing the city and impressing the visitor with the magnificence and importance of its
institutions. Location and expertise together helped to create trust in the authoritative nature
of knowledge.
Current museum development in many countries highlights intensified educational programs

for both children and adults. Many are now required by law to include educational services
in their programs, as in the ex-German Democratic Republic (GDR Decree 1970) and Nigeria
(Decree 77, 1979). The belief is that children exposed early to museums will grow up to regard
FIGURE 2.45 ILLUSTRATING THE MUSEUMSINSEL IN BERLIN them as centers for enlightenment throughout their adulthood. The museum itself will lose its
OPENED IN THE 19 TH CENTURY WHICH IS A CLUSTER OF
MUSEUMS LOCATED IN AN ISLAND IN THE MIDDLE OF THE elitist facade and become integrated into the lives of people from all strata of the community
CITY.
it is supposed to serve (Eyo, 1994).
Source:
https://en.wikipedia.org/wiki/Museum_Island This, then, has been the course of museum development from the tranquility of the Muses
Period to the noise of the tourist hordes, from connoisseurship and scholarship to popular
education and entertainment (Eyo, 1994).
37
.
FIGURE 2.46 THE SIGNIFICANCE OF THE MUSEUM IS EVIDENT IN ITS LOCATION, WITH PYRAMIDS IN ITS BACKGROUND AS A PHYSICAL CONTEXT.
Source: Google
38
B. Africa
Since time immemorial Africans had a keen interest in their cultural and natural heritage,
hence they developed methods to safeguard and preserve their unique movable and
immovable heritage (Paine, 2006); (Pwiti, 1997). In his article, Africa and its museums:
changing pathways, Abungu (2006) argues that although material culture has always formed
part of African life, it was never organized in the western sense of display, as is the case in
museums. It formed part of daily life, whether for ceremonial, ritual, functional, spiritual-
religious or political use.
Africa modern museums were established during the colonial era to serve the interest of the
FIGURE 2.47 ILLUSTRATING THE FRANGAIS DE L'AFRIQUE
NOIRE (IFAN) IN DAKAR WHICH WAS USED TO STUDY THE
colonizers who established them on the continent in towns that served as their administration
LANGUAGE, HISTORY, AND CULTURE OF THE PEOPLES
RULED BY FRENCH COLONIALISM IN AFRICA.
centers which later became cities. To further impose their rule on the locals, museums were
located in urban areas. National museums in Africa were established during the colonial era
Source:
https://ifan.ucad.sn/ to house objects that best served the interests of imperial agents (Foley 2000).I
Museum institutions were primarily established to satisfy the colonialist’s impulse to survey,
inventory and categories of objects together with people for purpose of governance and
economic exploitation. Their aim was to charm the population in the home country with the
exoticism and folklore of African countries, and in so doing, justify their presence there.
(Nyawo, 2013).
The colonization of Africa began late in the nineteenth century, which, corresponds to the
period of connoisseurship scholarship in museum development in Europe. It is therefore not
surprising that the oldest museums in Africa were established by scholars: the Frangais de
FIGURE 2.48 ILLUSTRATING THE NATIONAL MUSEUM OF
KENYA WHICH WAS ESTABLISHED BY LOUIS AND MARY
l'Afrique Noire (IFAN) in Dakar was established by French ernment ethnographers, Achimota
LEAKEY.
College Museum in Ghana by the ogist Charles Thurstan Shaw; the Antiquities Service of
Source:
Nigeria by the connoisseur Kenneth C. Murray; and the National Museum of Kenya naturalists
https://www.safarizote.com/tours/fr/kenya/nairobi/Free-
Nairobi-City-Tour and archeologists Louis and Mary leakey (Eyo, 1994).
39
Colonialism brought all kinds of people to the African continent; the missionaries,
administrators, white settlers, collectors, marketers and even vagabonds. All these groups
were, in one way or the other intrigued by the African cultural heritage and to a certain
degree became involved in its collection. Many of the collections that came to be housed in
museums in and out of Africa were from missionary collectors, administrators or rich white
families who had previously indulged in the collection of African paraphernalia. With time and
as the collections grew governments then established official museums in Africa (Abungu,
2006).
Museums that were established during the colonial era had little to offer to the indigenous
FIGURE 2.49 ILLUSTRATING THE ACHIMOTA COLLEGE Africans a scenario leading to the lack of interest in this institution by most Africans. (Mawere,
WHICH HOUSED THE FIRST MUSEUM IN GHANA WHICH
WAS ESTABLISHED BY CHARLES THURSTAN. African Museums in the making., 2015).The situation is further aggravated by the colonial
Source: ideology of a museum which perceived the local indigenous people as backward and
http://ivythebroker.com/2018/08/22/achimota-the- primitive and is therefore treated as a dark history These disable the important and locally
town-of-all-you-need/
relevant function of a museum today. From the late 1950s and throughout the 1960s, many
African countries became independent of their colonial masters. Programs to revive local
customs, which had been suppressed during the colonial era, were now set up, and this
momentum gave rise to the demand to build more museums to house the national ethos and
identity.
After independence, it became problematic to make the museum serve the purpose of
confirming national identity in the face of the following factors: (a) the breakdown of
traditional religions and value systems during colonial rule; (b) the adoption of various sects
of Islam or Christianity; (c) the seemingly irreversible foreign value system acquired by the new
African elite; and (d) the ethnic pluralism which exists in every African country. (Eyo, 1994)
FIGURE 2.50 ILLUSTRATING THE NIGERIAN NATIONAL
MUSEUM ESTABLISHED IN 1957 BY ARCHEOLOGIST
KENNETH MURRAY AFTER THE ANTIQUITIES SERVICE OF Most museums continue to be influenced by practices and theoretical frameworks
NIGERIA
discovered in the western world. Furthermore, they are also dominated by colonial objects
Source:
and guided by colonial ideologies of what constitutes a museum. That has distanced the
https://www.pulse.ng/lifestyle/food-travel/a-brief-walk-
into-the-nigerian-national-museum/6sghl2z museum from potential visitors and alienates the local populace from their history
40
FIGURE 2.51 SHOWING DESERT MUSEUM LOCATED IN TURKANA
Source: Google
41
c. Nairobi
The first East African museums, like other early museums in Africa, were introduced during
colonial times. They were started either by amateurs or professional interested in particular
scientific disciplines such as earth sciences, botany and zoology, archeology and
paleontology, and ethnography or by colonial governments as places of study, collecting
and exhibiting nature, and or local people’s cultural heritage.
The museums in East Africa were at the beginning all located in the big capital cities notably
Nairobi in Kenya, Dar Es Salaam in Tanzania, and Kampala in Uganda. These often took the
form of natural history museums with strong ethnographic component to depict “the natives
FIGURE 2.52 ILLUSTRATING THE OLD WING OF THE DAR ES
SALAAM NATIONAL MUSEUM ESTABLISHED BY COLONIAL and their cultures,” the geology and land forms, and nature in “its raw form” of animals and
GOVERNOR HAROLD MACMICHAEL IN 1934.
plants. This was mostly for the colonialist administration and settler communities’
Source:
consumption and enjoyment. (Abungu, 2006)
https://www.flickr.com/photos/davidstanleytravel/34518
158940
Nairobi is a relatively young town having been established close to or at the beginning of the
century. As such, the older buildings in Nairobi town tend to exhibit a certain colonial influence
of the late 19th Century in their architectural style.
The idea of a museum in Nairobi came about on March 25, 1909 when ten people met at the
house of Lieutenant F.J. Jackson for the purpose of considering the formation of a Natural
History Society. The society rented a room in a building at the center of Nairobi (where Nyayo
house stands today).The museum was a room measuring 30 by 25 feet for display cases with
a smaller room for committee meetings. This became the first museum in Kenya (Kiarie, 2019).
In 1913, the building that houses the Nairobi Gallery was constructed under the supervision of
FIGURE 2.53 SHOWING THE UGANDA MUSEUM IN
KAMPALA WHICH IS THE OLDEST MUSEUM IN EAST ARICA the then government architect C .Rand Overy. At the time it was used as the PC’s office .It is
ESTABLISHED IN 1908 BY COLONIAL GOVERNOR GOERGE
WILSON. located next to Nyayo House along Uhuru Highway / Kenyatta Avenue junction in Nairobi. It
Source: was officially opened as a museum in March 2006 (Kiarie, 2019).
https://en.wikipedia.org/wiki/Uganda_Museum
42
By 1920 the rented room housing the Museum of Natural History had become too small to
store the material that the society members had collected. The Society had by this time
raised money to erect a larger building to house the museum (Kiarie, 2019).
In 1922-1925 the new museum building was put up on Kirk Road (today’s valley road) where
Nairobi Serena Hotel stands today. The museum known as Kirk Road Museum was officially
opened by the then Governor of Kenya, Sir Edward Northey in February 1922 (Kiarie, 2019).
In 1929 Colonial government set aside fifteen acres of land at Museum Hill for construction of
another museum. Construction of the museum began, the government reacquired the land
FIGURE 2.54 SHOWING THE NAIROBI ART GALLERY WHICH
WAS FORMERLY THE PC’S OFFICE LOCATED AT THE
previously owned by the society at Kirk Road (Kiarie, 2019).
JUNCTION OF UHURU HIGHWAY AND KENYATTA AVENUE
JUNCTION. In 1930, 22nd September 1930, the new museum, called the Coryndon Museum, was officially
Source: opened by the then Governor of Kenya, Sir Edward Grigg. The museum, the nucleus of the
Author. current museum, consisted of a foyer giving way to the central hall, ninety feet long and fifty
feet wide surrounded on three sides by a ten foot wide gallery (Kiarie, 2019)
In Kenya, the museums are in essence historic though some museums have temporary art
collections being exhibited. Historic museums are usually housed in historical buildings to
preserve the heritage of their town. Typical historic museums boast exhibits and collections
featuring agricultural artifacts, antiques, documents and memorabilia which specifically
related to the history of the region they are located in (Kiarie, 2019).
FIGURE 2.55 SHOWING THE FORMELY CORYNDON

MUSEUM ESTABLISHED BY COLONIAL GOVERNOR SIR
EDWARD GRIGG IN THE YEAR 1930
Source:
https://www.safarizote.com/tours/fr/kenya/nairobi/Free-
Nairobi-City-Tour
43
2.11 Museum and context in an urban setting
Architecture is intrinsically part of something greater: a cultural ambition, a corporate ideal,
a climatic condition, a historical setting, a topology and geography. By virtue of being within
the public realm, museum architecture is laden with social, political, and moral issues.
A museum should be accessible from all parts of the city by public transport, and possibly by
walking, and as much as possible they should be in the vicinity of schools, colleges, universities
and libraries. Today, museums are seen as cultural centers more than in the past. But it should
be noted that not only students visit them, but people who have different socio-economic
background as well. Visiting of a museums is more likely if the museum is close and accessible
FIGURE 2.56 SHOWING THE BILBAO MUSEUM WHICH WAS
USED AS AN URBAN REVITILIZATION IN OLD AND DYING (Muhammad Ali Tabarsa1, 2017).
BILBAO PORT.
Source: In some cases, the museum has been employed as a tool for urban revitalization, also as
https://esgartist95portfolio.files.wordpress.com/2017/11/ public places, museums play a role at the heart of their communities, being involved in all
architecture-magazine.pdf
aspects of daily life; this allows them to shape our future.
Museums enrich local cultural life and make communities more appealing places to live and
to visit. For society as a whole, museums provide valuable benefits as sources of local,
regional and national identity. There is a need to study the integration of a museum within its
context because it plays an important role, since it has the capacity to reflect both continuity
and change, to preserve and protect cultural and natural heritage while actively illustrating
the progression of the human imagination and the natural world. The impact of the museum
is not just confined to the individual's experience of the cultural exchange inside it but extends
to the institution’s urban reach.
FIGURE 2.57 SHOWING THE VAN GOGH MUSEUM WHICH In this study the dimensions of context are measured against the local situation in Nairobi to
PLAYS A ROLE AS THE HEART OF ITS COMMUNITY.
determine which dimensions play the most important roles in fitting a building into its context.
Source:
This will enable researchers to identify the most important dimensions to consider when
https://www.lonelyplanet.com/the-netherlands
/amsterdam /attractions/van-gogh-museum/a/poi- starting the design process of any museum in Nairobi or in retrofitting of any building into a
sig/387163/360839
museum.
44
2.12 Dimensions which inform the analysis of the case study museums.
Dimension Variable Semi-variable

Urban Morphology  Land uses
MORPHOLOGICAL  Building Structures
 Plot pattern
 Cadastral Street Pattern.
Environmental Perception.  Visual
 Hearing
 Smell
 Touch
Environmental Meaning and symbolism  Symbols
 Meaning
 Values
Sense of place Activity  Land use
 Pedestrian Flow
 Behavioral Pattern
 Noise and smell
PERCEPTUAL  Vehicle flows.
Physical Setting  Built form
 Permeability
 Landscape
 Furniture
 Scale
 Space to building ratio
 Landmark.
Image  Symbolism and
meaning.
 Psychological needs
 Legibility
 Sensory experiences
 Fear
People and space  Human behavior
45
The public realm  Physical- spaces and setting. Public or privately
owned.
 Social-Activities and events.
Safety and security  Control of space
 Surveillance
 Activity
SOCIAL Accessibility and exclusion  Visual access
 Symbolic access
 Physical access.
Aesthetic preference  Sense of rhyme and pattern
 Appreciation of rhythm
 Sensitivity to harmonious relationship
Urban space  Positive space
 Negative space
Urban architecture  Order and unity
VISUAL  Architectural style
 Integrity
 Plan and section
 Detail
 Integration-sitting, massing, scale, proportion,
rhyme, materials
Hard and soft landscaping Floorscape Materials
Soft landscaping Vegetation
Public space and the public.  Comfort-shade, seating area
 Relaxation-natural elements
 Passive engagement-seating area, fountain
 Active engagement-street furniture
FUNCTIONAL  Discovery-programs of animation
Social use of space  Location
 Streets
 Pavements
 Seating Area
Privacy  Barriers and filters
46
CHAPTER 3: Research methods.
47
3.1 Introduction
This chapter outlines the process and methodology used to achieve the objectives of the study. It describes the methods used to collect
data. This chapter also includes concepts and theories which informed the methods used.
3.2 Research objectives
 To explain the relationship between museum form and its context.

 To investigate the goodness of fit between selected museum forms in their individual urban contexts.
 To propose planning and design guidelines for museums in Nairobi CBD.
3.3 Research questions
 What is the relationship between museum form and its context?

 What factors determines the goodness of fit between selected museum forms and their immediate individual urban context?
 Are there any additional planning and design guidelines that can be proposed for museums in Nairobi CBD?
3.4 Research purpose
EXPLORATIVE RESEARCH
The study of local museums in Nairobi aims at exploring a new approach in understanding their fitness within their context. The term context
is obscure that we cannot give a direct, fully coherent criterion for the fit we are trying to achieve and also its obscurity which makes the
task of shaping a well-fitting museum form at all problematic.
How is it, cognitively, that we experience the sensation of fit? There is no procedure that suggests no direct practical way of identifying
good fit. We recognize bad fit. Yet it is such departures from the norm which stands out in our minds, rather than the norm itself. (Alexander,
1964).Therefore this study used Alexander’s approach in analyzing the museums by method of identifying evidences of bad fit in the
different dimensions of context. Whether this occurred is difficult to determine, but certainly this experimentation has furthered my
understanding of the contextual issues faced by many contemporary architects.
48
3.5 Research approach
This is the set of procedures and plans that is used in the collection and analysis of information.
Qualitative analysis
The research approach used in this study is qualitative analysis. This study includes a perceptual analysis which involves recording and
analyzing the relationship of the museums forms and their context and whether they fit into their urban fabric using dimensions of urban
design as foundation. They are morphological, perceptual, social, visual and functional dimensions of urban design.
3.6 Research design
The main qualitative strategy of this study will be to use a case study. As defined by Groat and Wang (2002). A case study is ‘an
empirical inquiry that investigates a phenomena or setting’. Hence the research question calls for a real life understanding of museum
forms in relation to their immediate context. By placing the question into a real setting, a deeper understanding of museum form and
context can be realized.
3.7 Census survey
All of the museums within the Nairobi CBD have been considered, they are all readapted from old historic buildings. These museums may
or may not fit into their context these dimensions will help understand why.
The cases selected are within Nairobi CBD, they constitutes four museums. They have been converted from buildings with different uses.
They include Nairobi Art Gallery, Kenya National Archives, Judiciary museum and Railway museum.
The main museum (National Museum of Kenya )has not been considered because it lies outside the CBD.
49
3.8 Sources of data
3.8.1 Primary data

Fieldwork was conducted on the selected museums. The primary data was collected
through observation, interviews and physical measurements.
 Observation
Involves systematic observations of physical characteristics of the structures and deriving

any meaning from the physical characteristics.
FIGURE 3.1 SHOWING TINGA TINGA EXHIBITION
CURRENTLY HAPPENING AT NAIROBI ART GALLERY.  Physical measurements.
Source:
Information on the morphological and visual characteristics of the structures will be obtained
Author
through physical measurements.
3.8.2 Secondary data

 Literature review
This has been extensively covered in chapter 2, where the literature forms the basis of
understanding the dimensions of context. The gathered information sets indicators on
analyzing of factors used in integrating museums in their urban context.
 Local authorities and museums.
Information from local authorities and museums was also collected and reviewed. This
consists of maps, reports and documentation. This was done in order to collect the
information regarding the museums.
FIGURE 3.2 PUBLIC PLACES URBAN SPACES.
Source:
Public places –urban spaces
50
Each of the design dimensions will have a specific method of data collection:
The morphological dimension
A plan diagram of the museums with their immediate surroundings in order to give an
understanding of the massing and voids. As a tool of analysis, however, the figure ground
drawing does involve us immediately with the urban structure of a given context.
(Schumacher, 1971). The abstraction of ideas via the concept of figure-ground and figure-
ground reversal (or ambivalence) proceeds to the examination of ideal forms which have
become “classic urbanism” as well as to the contexts into which these ideals are placed.
(Schumacher, 1971).
FIGURE 3.3 SHOWING AERIAL VIEW OF ARCHIVES Elevation and section drawings of the museums with their immediate surroundings.
Source: The perceptual dimension

https://www.tripadvisor.com/Attraction_Review-
g294207-d479162-Reviews-National_Archives- Aerial and photographic analysis will be done to understand the ‘urban imagery’ of the
Nairobi.html
case study. This will be tied in with the visual dimension.
The visual dimension
Photographs and diagrams will be analyzed in order to understand the case study visually
.Elements such as façade, scale, architecture and materials will be examined. This is tied in
with the perceptual dimension.
The social dimension
This concerns the activities that occur in the public space, particularly social activities.
Photographs of amenities and structure that encourage social activities to occur will be
analyzed.
FIGURE 3.4 GOOGLE PLAN OF NAIROBI ART GALLERY.
The functional dimension.
Source:
Google map Photographs will be studied to observe the provision of infrastructures that makes the space
functional. Plan and sections will be used to observe the environmental considerations of
the design. Both social and functional dimension are interrelated.
51
3.9 Research instruments
The tools used to design and measure the variables of the study include camera, sketchpad, notebook, pen and pencils.
3.10 Presentation of data
Descriptive words used to describe the relationships between the museum and its context.
Tables will be used to present textual and graphical data to ease the comparison of the finding.
Photographs, digital images and sketches of the morphological components which include structures, their components and the
spatial relationships.
52
CHAPTER 4: Findings and analysis.
53
4.1 Introduction
This chapter outlines the process used to achieve the objectives of the study. It describes the methods used to collect data. This chapter also
includes concepts and theories which inform the methods used.
PRESENTATION OF DATA
CASE STUDY MUSEUM DISJUNCTION
VARIABLE
THE SURROUNDING
CONNECTION
FIGURE 4.1 SHOWING HOW FINDINGS WILL BE PRESENTED.
Source: Author
54
africa kenya
FIGURE 4.3 SHOWING MAP OF KENYA
Source: Google
FIGURE 4.2 SHOWING MAP OF AFRICA
Source: Google
Nairobi
county
FIGURE 4.5 SHOWING MAP OF NAIROBI FIGURE 4.6 SHOWING MAP OF KENYA NATIONAL ARCHIVES
CBD
Source: Author modified
Source: Author modified
FIGURE 4.4 SHOWING MAP OF NAIROBI COUNTY
Source: Google The Kenya National Archives performs was originally designed to be a bank but it
currently serves as the National archives where it stores legal documents, storage of
artefacts and exhibition artefacts.
4.1 Kenya National The Kenya National Archives has lasted longer than any other building as it is
Archives. evidenced by a lot of modification including the change from being a bank to the
main headquarters for the Kenya National Archives. In 1947.It was gazzetted in 2nd
December 1995 and listed as a historic facility hence It is the oldest building in that
zone
55
4.1.1 Morphological dimension
PUBLIC BUILDINGS
COMMERCIAL BUILDINGS
FIGURE 4.7 SHOWING THE LAND USE MAP OF KENYA NATIONAL FIGURE 4.8 SHOWING A PHOTO OF THE BUILDNG AS THE FIGURE 4.9 SHOWING ARCHIVES OCCUPYING A CENTRAL
ARCHIVES AND THE NEIGHBOURING BUILDINGS. NATIONAL BANK OF INDIA LIMITED BEFORE IT BECAME AND STRATEGIC POSITION.
KENYA NATIONAL ARCHIVES.
Source: Author Source: Google Source: Author
PARAMETER VARIABLE FINDINGS (TEXT) ANALYSIS(TEXT) REMARKS

Morphological Land use The Kenya National Archives performs was The current use of Kenya Conflict in land uses leads to the
dimension. originally designed to be a bank but it currently National Archives as a civic disjunction of a museum within its
Incoming uses often serves as the National archives where it stores building is in a state of context due to lack of other
lead to legal documents, storage of artefacts and disjunction with the functions such as restaurants which
redevelopment and exhibition artefacts. neighboring buildings which can complement the facility.
the creation of new are commercial renting out
It is surrounded by Stanbank house, Hilton Hotel
buildings. spaces to retailers and offices.
and Kencom house which are all commercial
buildings which serves as offices, retail hotel and
bank headquarters respectively.
Building structures It is located in a central strategic position than its The building fits within it Placement of a museum on a central
surrounding buildings. context because the strategic place on a major
Some buildings, regularity of the surrounding circulation node enhances a
It is located at an irregular position whereas most
churches, cathedrals, buildings enables the National museum to fit within its context.
buildings along Moi Avenue which are arranged
public buildings, etc. Archives building to stand out
in traditional plot perpendicular to the street
will last longer than with its irregular and strategic The more prominent a building is the
hereby defining the street edge.
others for a variety of position. Neighboring buildings longer it lasts.
reasons, including the The isolated and irregular position gives the serve as backcloth to the
greater investment- Kenya National Archives a sense of prominence Kenya National archives.
financial and and enhances accessibility from either Tom
Moreover, the neoclassical
symbolic - in their Mboya or Moi Avenue, but the building only has
architecture is distinguished
design, construction one entrance which is located at the Moi Avenue
from other buildings in its
and ornamentation. due to security reasons.
neighborhood context.
The one entrance creates a poor fire safety
response.
56
FIGURE 4.10 SHOWING AN AERIAL PERSPECTIVE ILLUSTRATING THE FIGURE 4.11 ILLUSTRATING THE MORPHOLOGICAL PLOT FIGURE 4.12 SHOWING THE MORPHOLOGICAL CADASTRAL
SENSE OF PROMINENCE. PATTERN OF THE KENYA NATIONAL ARCHIVES AND THE STREET PATTERN ILLUSTRATING THE PERMEABILITY OF THE KENYA
SURROUNDING BUILDINGS. NATIONAL ARCHIVES BUILDING.
Source: Author Source: Author
Source: Author

Morphological Plot pattern Kenya National Archives is located in a much larger Therefore, it has a bigger foot Plot size determines the scale of
dimension. plot size. print and an amorphous space a museum and how well it is
As a civic building of around it that enables people experienced by users.
It has a dominant presence which used to establish
natural importance, the to experience the building.
the prominence of Bank of India as a leading bank
archives does not have
at that time with design of an iconic building with a However, it lacks an atrium, The
to adhere to the high
rear elevation to Tom Mboya street, front elevation building was not retrofitted to
plot ratios and
frontage to Moi avenue. improve the natural ventilation
coverages in Nairobi.
within it.
Street Pattern. The arrangement of buildings is informed by the Due to the good permeability Hence, the street pattern
existing plot patterns of laneways and permeability. of the street system, it is easy for facilitates the pedestrian
Patterns with fewer larger The Kenya National Archives is accessible from Moi public to make their way movement towards the
blocks have a coarse Avenue, Tom Mboya Street, City Hallway, Luthuli towards any point in the city. building. This, the catchment
urban grain. An area with Avenue and Accra Road. population for the archives is
smaller blocks offers a quite large. However its
greater choice of routes introverted design and poor
and generally creates a relationship with the streets
more permeable which surround it contribute to
environment than one the relatively small number of
with larger blocks. people who actually want to
visit the museum.
57
4.1.2 Perceptual dimension.
FIGURE 4.13 SHOWING PRESENCE OF MANY PEOPLE AROUND FIGURE 4.14 SHOWING THE SENSORY EXPERIENCES AROUND FIGURE 4.15 SHOWING HOW ARCHIVES IS USED AS A MAIN
ARCHIVES DURING PEAK HOURS. ARCHIVES WAITING AREA IN NAIROBI
Source: Author Source: Author Source: Author

Perceptual Environmental Presence of many people meeting here and waiting Despite the dynamism of the Proper design elements
dimension. perception other people. area around the Kenya determines if the museum can
National archives and be perceived or not
There is music played from the DSTV activation as
Perception involves the presence of signage, very few determining if it will fit within its
people are handed out the brochures of the monthly
gathering, organizing people enter the building. context.
offers.
and making sense of The neo classical architecture
information about the Odor next to the Nairobi County public toilets. dominates the context and
environment. The four often creates distance with
Signage showing the presence of Kenya National
most valuable senses in colonial domination. A proper
Archives.
interpreting and sensing transition from the outside is
the environment are lacking due to the abrupt,
vision, hearing, smell and unarticulated entry
touch.
Environmental meaning The main function of the Kenya National Archives is Placement of the Kenya The secondary function
and symbolism to document and archive all the legal documents, National Archives building at a indicates how a building is
storage of artefacts and exhibition of artefacts but it major circulation node has designed determining how
The first layer is that of has acquired a secondary function with time. attracted people to use it as a people perceive and use the
denotation, meaning the major waiting and meeting space, with a high frequency.
Archives immediate surroundings is a famous
object's primary function area. Thus, the archives is a successful
meeting place for most people in town due to its
or the function it makes architectural symbol and urban
strategic position and memorable experience. This is
possible. The second landmark, despite the relatively
evidenced by the number of people who gather
layer and secondary few people who actually enter
around its perimeter of any time of day.
function is that of the building.
connotation, and is of a
symbolic nature.
58
FIGURE 4.16 SHOWING THE KENYA NATIONAL ARCHIVES FORM FIGURE 4.17 SHOWING ACTIVITIES AROUND KENYA FIGURE 4.18 SHOWING HOW KENYA NATIONAL ARCHIVES IS
NATIONAL ARCHIVES. SURROUNDED BY OPEN SPACES WHICH HELPS IT STANDOUT.
Source: Author

Perceptual Sense of place Activity- Kenya National Archives is located at a The Tom Mboya square feeds Strong sense of place as
dimension. . strategic position since there are several bus stops in on pedestrian traffic from these evidenced by vibrant, flexible,
Activity- land use, the vicinity. It is on the path which Nairobi Residents areas which in turn redirect and spontaneous activities that
pedestrian flow, and use on their way home. some people into the archives take place. However the
vehicle flow. but very little in comparison to museum functions do not
The Tom Mboya Square does not have defined
the high pedestrian traffic. contribute to the sense of
walkways. People define their own walking patterns
place.
around the statue and along building edges.
Sense of place Form This is characteristic of neo Nonetheless the unique
classical architecture whose architectural style has helped
The building housing Kenya National Archives is
Form- permeability, main purpose was to impose the archives building to stand
closed off. It has one entrance to the building and
Space to building ratio. rule and intimidate people out as it is easily identifiable in its
the fact that people cannot have a glimpse into the
creating no sense of context.
building. It does not possess a human scale.
permeability and connection
with users as it mostly
concentrates on facade design
of individual buildings.
Sense of place Kenya National Archives is a memorable building Despite National Archives It has become particularly
since it ls one of the few historical buildings in Nairobi. having a strong sense of place, meaningful to the local and has
Image-symbolism, It is designed in a neoclassical style which is in sharp it does not have many visitors. become a symbol of a main
sensory experience, contrast to the surrounding buildings which are of The amount of people entering meeting place in Nairobi .
memory. international style. It is also designed to be a focus the building are very few in
building in contrast to the other buildings which acts comparison to the high
as its background. pedestrian traffic beyond its
doors.
59
4.1.3 Social dimension.
FIGURE 4.19 SHOWING PEOPLE SITTING AT THE EDGE OF TOM FIGURE 4.20 SHOWING GORMAHIA FANS WATCHING A FIGURE 4.21 SHOWING TOM MBOYA SQUARE
MBOYA SQUARE GAME ON TOM MBOYA SQUARE
Source: Author
Source: Author Source: Google

Social People and space A lot of people sit at the edge of the Tom Mboya Despite Archives having so many people around it Design of a museum
dimension. square as they act as onlookers watching and its edges, there are actually very few people who determines how people
pedestrians pass them back and forth. enter the building. react to it and how well they
use it. It must invite people by
Many people have not entered arguing that they do
having a welcoming
not that it exists, or they have never been interested
entrance, and using a good
in entering.
relationship with the street
Public realm- Located at a strategic position next to Tom Mboya Since this area is a famous meeting and waiting area Placement of museum at
physical spaces square which is used for sitting, walking, it can be used as an advantage to lure people into strategic position determines
and setting. promenade, and relaxing, preaching, taking the archives. how active it will be. Its
photos. It encourages active and passive architecture must not be
engagement of the people passing through. imposing to enable it to invite
people.
Public realm- Kenya National archives also holds exhibitions on Presence of Tom Mboya square has enabled The Presence of social activities
Social activities the Tom Mboya square. Business activities such as Kenya National Archives building to become a very activates the museum
and events. hawking occur throughout the day active public place. The square hosts several social especially when the activities
activities which have attracted and indulged many emanate from the museum.
people as they wait for the matatus and other They can lead to longer
people. opening hours.
Safety and However it has some degree of insecurity with the There is a metal grill fence around archives with a Level of safety and insecurity
security. presence of pickpockets who pose as common security check up point at the entrance. This is due to in an area determines how
mwananchi waiting for other people, giving this insecurity, crime and vandalism. At night past 10; 00 the edges of the museum are
place a bad name. This happens a lot during rush pm, Tom Mboya square is occupied by beggars, treated. A physical barrier
hour. The Gor Mahia fans also use the square to street families and thugs. This makes the space deters the public from
carry out their celebrations in front of Tom Mboya insecure past these hours. In addition, approaching the building.
statue.
60
FIGURE 4.22 SHOWING PHYSICAL ACCESS OF KENYA NATIONAL ARCHIVES AND TOM MBOYA FIGURE 4.23 SHOWING THE POROSITY OF TOM MBOYA SQUARE.
SQUARE.

Social Accessibility and exclusion Tom Mboya square is a porous space which The presence of insecurity The security checkpoint has led to the
dimension. enhances the access into the Kenya around archives has led to detoriation of physical accessibility as it
National Archives from all the directions. The consequences such as deters people from entering.
square is both physically and visually placement of metal grill bar
accessible in contrast to the National which has isolated the archives Issue of urban security should be
Archives which is visual accessible but building from the people it is addressed through passive means such
physically inaccessible. supposed to serve. as CCTV camera rather than physical
barriers like metal grill fences.
61
4.1.4 Visual dimension
FIGURE 4.24 SHOWING CLERESTORY WINDOWS IN ARCHIVES. FIGURE 4.25 SHOWING CLERESTORY WINDOWS IN ARCHIVES FIGURE 4.26 SHOWING OF SIDE DOORS ON THE FAÇADE OF
HAVE BEEN REINTERPRETED INTO A CONTINOUS HORIZONTAL ARCHIVES.
Source: Author GLAZED WINDOWS.
Source: Author
Source: Author
PARAMETER VARIABLE FINDINGS (TEXT) ANALYSIS REMARKS
Visual Aesthetic Horizontal sun shading elements on the Ambassadeur Despite the buildings being built in Almost all the surrounding buildings have a
preference hotel bring a sense of rhyme as they are similar to the different periods in different strong sense of horizontality brought by use of
dimension. vertical windows located on the ground floor of the Kenya architectural style some level of rhyme horizontal sun shading elements .This essence of
National archives. and pattern have been brought it to horizontality have been borrowed from the
blend the newer buildings with the Kenya National Archives where it was achieved
Repetition of the horizontal elements across the front
Kenya National Archives. by repetition of small window openings on the
façade of the Ambassadeur has created interval and
first floor.
direction. Despite the buildings being built in
different periods in different Almost all the surrounding buildings have a
Balance and proportion is one of the major principle of
architectural style some level of rhyme strong sense of horizontality brought by use of
Neo classical architecture. The front and back façade
and pattern have been brought it to horizontal sun shading elements .This essence of
have a virtual axis of symmetry down the center and on
blend the newer buildings with the horizontality have been borrowed from the
either side of the axis, various architectural element have
Kenya National Archives. Kenya National Archives where it was achieved
been placed evenly to achieve balance.
by repetition of small window openings on the
first floor.
Urban space Tom Mboya square takes the form of an amorphous Negative spaces are shapeless and Despite its irregularity and formless such spaces
square which would have otherwise been a nuclear amorphous. It is inconceivable, allows pedestrians to gain access from different
square. The space is porous and can be entered from continuous and lacking in points, hence giving the freedom of choice to
either side of Moi Avenue and Tom Mboya. perceivable edges or form. individual in experiencing their journey.
Urban Surrounding buildings such as Ambassadeur hotel, The new surrounding buildings do not Abstraction of design elements helps a museum
architecture- Stanbank hotel, Hilton hotel and Kencom house were built have the element of order they have fit within its context.
order. within the modernism which does not follow the classical just abstracted some elements from
order principles. However there were some elements the building.
borrowed from archives such as verticality of the columns
which were brought in the Stanbank building in form of
vertical sun shading elements.
62
FIGURE 4.27 SHOWING THE QUOINING IS DONE IN SUCH FIGURE 4.28 SHOWING HOW QUOINING IN ARCHIVES FIGURE 4.29 SHOWING EDGING DETAIL AIDING
A WAY THAT THE RIDGES COINCIDE WITH THE MASONRY HAVE BEEN REINTERPRETED INTO VERTICAL SURFACE TRANSITION FROM HORIZONTAL TO VERTICAL PLANE.
COURSES, GIVING A SENSE OF CONTINUITY TO THE ORNAMENTATION IN AMBASSADEUR. Source: Author.
EXISTING FAÇADE.

Visual Urban architecture- There were some elements borrowed from archives such as Interpretation of classical elements There is a relationship between
Architectural style verticality of the columns which were brought in the into the surrounding modern archives and its surrounding
dimension. Stanbank building in form of vertical sun shading elements. buildings. buildings, some elements were
abstracted from archives and
There is an interpretation of doors on the façade of archives
applied to the newer buildings.
into a side windows with horizontal sun shading in
Ambassadeur hotel. The clerestory windows in archives
have been reinterpreted into a continuous horizontal
glazed windows.
Hardscape Hard scape (edging detail) - Has a grey hard landscape Cabbro paving blocks bring a Hand shaped stone helps
urban open space around which is of cabbro paving human scale which try to smoothen smooth transition from different
blocks. Kenya national archives has a yellow stucco rough the transition between the Tom materials and bring a human
finish with hand shaped. Stone finish about 1000 mm on Mboya square and National
scale.
street level. Archives.
Soft landscaping Soft landscaping- They are of historical significance as they The palm trees and bushes along Landscape elements make the
have been there since 1950’s.There are 3 palm trees Moi Avenue are used to articulate areas around museum for user
located within the green area. The trees also act to provide the street and to bring a human friendly as people can rest under
small shaded areas which are frequently used especially on scale aspect. the trees after leaving the museum.
hot afternoons. Bushes have been used to define edges
and act as transition from Tom Mboya to Moi Avenue.
63
4.1.5 Functional dimension
FIGURE 4.30 SHOWING A SITE PLAN OF KENYA NATIONAL ARCHIVES.

Source: Author.
PARAMETER VARIABLE FINDINGS (TEXT)
Source: Author
ANALYSIS(TEXT) REMARKS
Functional Public space and the Presence of a metal grill fence and bush around Since the museum is located on Physical, social and psychological
dimension. public /private the art gallery. the same level as the pavement comfort determines how people use a
interface. it was properly used. museum and for how long they stay
People cannot see into the museum as they walk there.
Social use of space. on the pavement.as the windows are higher. Windows and door add a
human presence to the museum Location on a busy route determines
Privacy adding interest and vitality to the visual and physical accessibility of a
public realm. museum making it fit within its context.
No smooth transition from city Level of connection of street to a

hall way to the judiciary museum museum determines the level of use.
64
africa kenya
FIGURE 4.32 SHOWING MAP OF

KENYA
Source: Google
FIGURE 4.31 SHOWING MAP Source: Author

OF AFRICA
Source: Google
Source: Author
Nairobi
county
FIGURE 4.34 SHOWING MAP OF

NAIROBI CBD FIGURE 4.35 SHOWING MAP OF JUDICIARY MUSEUM
Source: Google Source: Google
FIGURE 4.33 SHOWING MAP OF NAIROBI Source: Author
COUNTY It is located in the eastern wing of the Supreme Court building basement. The colonial High Court
Source: Google transformed to Supreme Court in 1963 to The High Court in 1964 to The Supreme Court in Nairobi. It
Source: Author
was designed in 1931 by Sir Herbert Baker with assistance of Jan Hoogterp primarily as a
prestigious monumental building for the government square rather than as a law courthouse.
4.2 Judiciary Its setting gave it to a certain extent a symbolic manifestation of the colonial administration
museum domination of the Africans .It now maintains the status quo as the building housing highest
ranking court administrators in law in Kenya.
65
FIGURE 4.36 SHOWING THE INTERIOR OF THE JUDICIARY MUSEUM. FIGURE 4.37 SHOWING THE PLAQUE O THE JUDICIARY FIGURE 4.38 SHOWING THE SUPREME COURT OF KENYA
MUSEUM EXPLAINING THE ESTABLISHMENT OF THE MUSEUM
Source: Author Source: Google
Source: Author

Morphological Land use Judiciary museum is located in the eastern wing of Change in use of the supreme The current use of the supreme
dimension. the Supreme Court building basement. The court basement from prison cell court basement as the judiciary
Incoming uses often lead basement previously functioned as prisoner’s cells for to the Judiciary museum did not museum blends with the current
to redevelopment and waiting for judgement. lead to any external physical use of the supreme court and all
the creation of new changes to the supreme court the governmental building in
It is within a civic square defined by parliament road,
buildings. building. the civic square.
city hall way, Harambee Avenue and Taifa road
Similarity in land uses enhances
Supreme Court came first and other buildings The new use does not conflict
the blending of the museum
followed but they were planned to complement with the current use of the
within its context.
each other with civic square as a focus. supreme court as they are both
considered public civic spaces.
Building structures It has lasted long because it was designed to be a The judiciary museum fits within Placement of a museum
symbolic manifestation of the colonial administration the supreme court and the among governmental buildings
Some buildings, domination. entire surrounding buildings elevates the status of the
churches, cathedrals, context as it is a civic space museum but it also alienates the
The judiciary museum has a symbolic meaning to the
public buildings, etc. will used to develop community general public as the buildings
residents with the judiciary need to open the judiciary
last longer than others for feeling. are considered intimidating.
to the public to create understanding and
a variety of reasons,
awareness of its history, development and role in
including the greater
society aimed at demystifying the public perception
investment- financial
of the institution.
and symbolic - in their
design, construction and
ornamentation.
66
FIGURE 4.39 SHOWING AN AERIAL PERSPECTIVE OF THE SUPREME FIGURE 4.40 SHOWING A STREET VIEW OF THE SUPREME FIGURE 4.41 SHOWING THE BUILDING SCALE OF THE SUPREME
COURT FROM KICC. COURT WHICH HOUSES THE JUDICIARY MUSEUM FROM CITY COURT OF KENYA.
Source: Google HALL WAY Source: Google
Source: Author

Morphological Plot pattern Plot ratio of the area is at 6 where supreme court Supreme court has a proper Plot ratio and coverage
dimension. building is 3 storey. plot ratio and plot coverage determines how a museum is
The plot ratio and plot which has enabled the user to perceived by a user affecting
The building is overwhelming as you enter it but if one
coverage planning visually connect with it. how it fits within a context.
is across the street it does not, since it does not
regulation contribute
occupy its entire plot therefore the open spaces
significantly to the scale
around it are used to soften the visual transition.
of buildings.
Street Pattern. Civic area has a coarse grain urban environment The judiciary is disjoined Urban grain affects the
with generally bigger plots this has reduced the level from its context and relationship between the
Patterns with of permeability to the judiciary museum. museum and its context.
people due to the large
fewer larger blocks have
This has reduced the choice of routes to the judiciary plot size which has
a coarse urban grain. An Coarse urban grain reduces its
museum with the only public access from city hall reduced its permeability
area with smaller blocks visibility from the public eyes.
way.
offers a greater choice of and accessibility.
routes and generally Also the judiciary is not visually permeable from the Fine urban grain improves
creates a more main street thus it does not improve the general visibility from the public eye.
permeable environment public awareness of the existence of the museum.
than one with larger
blocks.
67
FIGURE 4.42 SHOWING FEW PEOPLE ENTERING AND LEAVING THE FIGURE 4.43 SHOWING THE NUMBER OF VISITORS DURING FIGURE 4.44 SHOWING A HUMAN PERSPECTIVE OF THE
SUPREME COURT OF KENYA. THE VISIT. JUDICIARY MUSEUM WITH THE JOMO KENYATTA STATUE ON THE
Source: Author Source: Author FOREGROUND.
Source: Google

Perceptual Environmental There was no signage showing the location and The museum is disjoined from its Use of or lack of proper design
dimension. perception entrance of the Judiciary museum visitors were context due to lack of visual aids elements determines if the
unsure about the location but once they asked that inform the general public museum can be perceived or
Perception involves the the security checkpoint they were directed to the about its presence. not determining if it will fit within
gathering, organizing museum visitors had to leave their national I.D at its context.
and making sense of the security checkpoint.
information about the
No visitors within the museum as I was doing my
environment. The four
case study.
most valuable senses in
interpreting and sensing Overheard from the security guards that school
the environment are children had just visited the museum just before I
vision, hearing, smell and did.
touch.
Environmental meaning Judiciary museum’s main purpose is to showcase The secondary function of the Secondary function determines
and symbolism the rich history of the judiciary by featuring key museum conflicts with supreme how a building is designed
documents and objects of great judicial heritage court’s secondary function which is determining how people with
The first layer is value. to show power and domination. perceive and use the space.
that of denotation,
meaning the object's Its secondary function is to bring the public closer Due to the supreme court’s
primary function or the to the institution. intimidating architecture it deters
function it makes people from visiting the museum.
possible. The second The judiciary main purpose was to
layer and secondary connect with the general public
function is that of but this is impossible.
connotation, and is of a
symbolic nature.
68
FIGURE 4.45 SHOWING THE MASTERPLAN OF THE SUPREME HIGH FIGURE 4.46 SHOWING A PICTURE OF THE JUDICIARY MUSEUM GROUND FLOOR.
COURT (NAIROBI LAW COURT)

Perceptual Sense of place Judiciary museum’s main purpose is to showcase The museum does not have a Activities determine how a
dimension. . the rich history of the judiciary by featuring key strong sense of place since it does museum will be used however
Activity- land use, documents and objects of great judicial heritage not have crowd puller activities the strategic location of the
pedestrian flow, and value. and also its location on the museum from this activities is
vehicle flow. basement is a contributing factor also important.
A lot of people going to the court rooms.
while the courtrooms are located
Access closets to the judiciary entrance is on the ground floor. These activities determines the
pedestrian from the public access route. sense of place.
There is no vehicular access closets to the
entrance one has to use the prisoners and public
access.
Sense of place Permeability-The building has four approaches to The current pedestrian access .
it. Two for staff and magistrates/judges, one for close to the judiciary museum Permeability of a museum both
Form- permeability, prisoners and public and the last for the general sufficiently serves the pedestrian vehicular and pedestrian
Space to building ratio. public. while the vehicular visitors are determines how it fits within the
alienated as they have to park context.
Public entrance closest to the judiciary museum is
their vehicle on the other side then
located on city hall way and it is pedestrian
walk across the building to get into Space to building ratio
accessible.
the museum. determines how people view a
Space to building ratio-The overall impression is museum
one of the horizontality, the use of stone work Sense of monumentality of the
throughout and the perfect shape gives it a supreme court gives the museum a
feeling of monumentality. feel of timelessness.
69
FIGURE 4.47 SHOWING THE GRANDIOSE SCALE OF THE SUPREME FIGURE 4.48 SHOWING THE UNIFORM OF THE MAGISTRATE FIGURE 4.49 SHOWING AN ARTIST’S IMPRESSION OF THE
COURT OF KENYA. SYMBOLISM OF THE JUDICARY MUSEUM.
Source: Author
Source: Google Source: Author

Perceptual Sense of place Landmark- As the building is a singular Sense of monumentality of the supreme court Scale of a museum form
dimension. monumental finite form symbolizing gives the museum a feel of timelessness. determines how people view it
Form- scale, landmark. the highest court in the country.
Scale-In the formal context, the
building has an inherent grace and
monumentality which is suited to its
function.
. Sense of place Symbolism-The building is a place of Symbolism is enhanced since the building is a An image that a museum
justice and presently the highest singular monumental finite form, it is not possible creates determines how it will
Image-symbolism, court in the country. to successfully add into it. perceive or if it will create a
sensory experience, sense of place.
Sensory experience and memory-The
memory. Growth maybe only considered as an annex or
building is a singular monumental
by decentralization.
structure on a commanding site
further reinforcing its monumentality.
Sensory experience is enhanced by externally it
The building communicates power is a monolithic building sitting up on a
and importance through its inherent pronounced raised plinth and with the ground
grace, monumental size and strong floor treated differently (vertical extent shown,
geometry. different fenestration patterns ) giving a look of
solidity and well anchored into the ground.
70
FIGURE 4.50 SHOWING BARELY ANY VISITORS IN THE MUSEUM. FIGURE 4.51 A SECTION OF THE SUPREME COURT
Source: Author Source: RIBA

Social People and space Most people who enter the supreme The judiciary museum is not inviting and aloof Presence of people determines
dimension. court are going to the courts while since it barely has any people. the liveliness and use of a
few are entering the judiciary museum.
museum.
Public realm Physical spaces and setting- Due to the seriousness of the activities taking Presence of a properly defined
There is an inward looking courtyard place there were no social activities taking Public space determines how
used for ventilation and lighting. places. well a museum fits within its
No social activities take place here. context.
Safety and security There is a metal grill fence around Presence of insecurity has led to placement of Level of safety and insecurity in
archives with a security check up a metal grill fence and bushes which it has an area determines how the
point at the entrance. isolated the museum from the people it serves. edges of the museum are
treated.
Accessibility and Despite it being a governmental Physical accessibility has detoriated over the The placement of barriers and
exclusion building in a civic zone, it has a metal years with the closing of the main entrance soft Landscaping determine the
grill fence around archives with a door from city hall way placement of a fence degree of physical and visual
security check up point at the and a security checkpoint. accessibility which affects how
entrance. well a museum fits within the
context.
71
FIGURE 4.52 SHOWING PALLADIAN ARCHHITECURAL STYLE AS DESIGNED BY SIR
HERBERT BAKER.
Source: RIBA
Visual Aesthetic Supreme court is designed based on palladian Rhythm is creating emphasis, Use of rhyme, rhythm and balance
Dimension. preference- rhyme, style which is characterized by proportions, interval and accent. Balance helps create a harmonious
rhythm, balance and rhythm, scale and symmetry. Doric order which is created has created harmony relationship between a museum
proportion. the main feature on the facades of the court. The among the visual scene and the and its surrounding buildings.
external spatial expression of these columns is that environment.
of power, dominance and stability.
Urban space It is an inward oriented building with internal Due to the seriousness of the Nature of urban space defined by a
courtyards only used for ventilation and lighting. activities taking place there were museum determines how well it is
no social activities taking places. used.
Urban architecture Judiciary Museum (Supreme Court) - Palladian There has been abstraction of Degree of cohesion in the design
Architecture followed by the Vitruvius principles of elements from the supreme court elements between the museum
beauty. Permanence and commodity. to the neighboring building. and surrounding buildings
determine how well it fits.
72
4.2.5 Functional dimension
FIGURE 4.53 SHOWING GROUND FLOOR OF THE SUPREME COURT FIGURE 4.54 SHOWING FIRST FLOOR OF THE SUPREME COURT

Functional Public space and A landscaped square on one side provides a Lack of active and passive Physical, social and psychological
dimension. the public /private serene setting and compliments the engagement design elements make comfort determines how people use a
interface. monumentality of the high courts building. people leave the gallery immediately museum and for how long they stay
after viewing art, people do not there.
Social use of space. It is an inward oriented building with internal spend as much time. Location on a busy route determines
courtyards only used for ventilation and Windows and door add a human visual and physical accessibility of a
Privacy lighting. People cannot see into the gallery as presence to the museum adding museum making it fit within its context.
they walk on the pavement as the windows interest and vitality to the public Level of connection of street to a
are lower. realm. Views output eyes on the street museum determines the level of use.
and contributing to safety. Distance of transition determines how
Presence of a metal grill fence and bush
No smooth transition well the museum fits within
around the art gallery
From city hall way to the judiciary context
museum
73
africa
kenya
FIGURE 4.56 SHOWING A MAP

OF KENYA
FIGURE 4.55 SHOWING A MAP OF Source: Author
AFRICA
Source: Author
Nairobi
county
FIGURE 4.58 SHOWING A MAP OF FIGURE 4.59 SHOWING A MAP OF NAIROBI

NAIROBI CBD ART GALLERY
FIGURE 4.57 SHOWING A MAP OF NAIROBI
COUNTY
Source: Author Located within a civic zone, the Nairobi Gallery, fondly referred to as the Old PC building or
Hatches and dispatches was built in 1913 by British Architect C. Rand Overy in a distinctly
Victorian style.
4.3 Nairobi Art It was originally constructed to house the ministry of foreign affairs and colonial government as
part of a square of civic buildings.
Gallery The building has undergone various changes in use since its original construction. When the
country gained independence in 1963, it became the Provincial Commissioner’s Office for
Nairobi Province .It remained as the PC’s office up until 1979, when the provincial administrative
offices moved next door to Nyayo House. The ruling party at the time, KANU, then took over the
building as a private office for its party members, beginning an era of decline for the historic
building.
74
FIGURE 4.60 SHOWING A PHOTO OF THE NAIROBI ART OF GALLERY. FIGURE 4.61 SHOWING THE MORPHOLOGICAL PLOT PATTERN FIGURE 4.62 SHOWING THE MORPHOLOGICAL STREET PATTERN
OF THE NAIROBI ART GALLERY. OF THE NAIROBI ART GALLERY.
Source: Author

Morphological Land use The Nairobi art gallery has a plot ratio of The new use does not conflict with the Similarity in land uses enhances
dimension. Incoming uses often lead to 6 and it has not covered its entire site. current use of the supreme court as the blending of the museum within
redevelopment and the The building is only one storey high. they are both considered public civic its context.
creation of new buildings. spaces.
Building structures It is symbol of administration power in The art gallery fits within the entire Placement of a museum among
Some buildings, churches, Nairobi before the offices were moved surrounding buildings context as it is a governmental buildings elevates
cathedrals, public buildings, to Nyayo house. civic space used to develop the status of the museum but it
etc. will last longer than others community feeling. also alienates the general public
as the buildings are considered
intimidating.
Plot pattern The Nairobi art gallery has a plot ratio of It has a proper plot ratio and plot Plot ratio and coverage
The plot ratio and plot 6 and it has not covered its entire site. coverage which has enabled the user determines how a museum is
coverage planning The building is only one storey high. to visually connect with it. perceived by a user affecting how
regulation contribute it fits within a context.
significantly to the scale of
buildings.
Street pattern Civic area has a coarse grain urban The judiciary is disjoined from its Urban grain affects the
Patterns with fewer larger environment with generally bigger plots context and people due to the relationship between the museum
blocks have a coarse urban this has reduced the level of and its context.
large plot size which has
grain. An area with smaller permeability to the judiciary museum Coarse urban grain reduces its
blocks offers a greater choice reduced its permeability and visibility from the public eyes.
of routes enhancing accessibility. Fine urban grain improves visibility
permeability. from the public eye.
75
This is characteristic of neo classical architecture whose main purpose was to impose rule and intimidate people creating no sense of permeability and connection
with users.
FIGURE 4.63 SHOWING THE ORIGINAL ENTRANCE OF THE FIGURE 4.64 SHOWING A FRONT FAÇADE OF THE NAIROBI FIGURE 4.65 SHOWING FENESTRATIONS ON THE FAÇADE
GALLERY. ART GALLERY ENABLING PEOPLE TO SEE INTO THE SPACES.

Perceptual Environment Presence of many foreigners leaving Nyayo The museum is disjoined from its context Use of or lack of proper design elements
perception house, standing in front of Nairobi gallery as due to lack of visual aids that inform the determines if the museum can be perceived or
dimension.
they wait for their taxis. general public about its presence. not determining if it will fit within its context.
Environmental It was the provincial commissioner’s office for The primary function of the building as Primary and secondary function of a museum
meaning and Nairobi province. Historical value- the building a museum blends with its acquired determines how well it fits within a context.
symbolism. plays an active role in preservation of historical value as Nairobi’s
Nairobi’s architectural and governance architectural and governance.
heritage.
Sense of place Heavy pedestrian flow along the Kenyatta The museum does not have a strong Activities determine how a museum will be used
. avenue in contrast to the Posta lane which is sense of place since it does not have however the strategic location of the museum
Activity where the entrance is located. crowd puller activities. from this activities is also important. These activities
Heavy vehicle traffic on Kenyatta avenue. The entrance is hidden and therefore it determines the sense of place.
does not attract a lot of tourists.
Form – It is a singular monumental form with an This is characteristic of neo classical Permeability of a museum both vehicular and
permeability inherent grace and monumentality which is architecture whose main purpose was pedestrian determines how it fits within the
,space to suited to its function. It plays an active role in to impose rule and intimidate people context.
building ratio, the preservation of Nairobi’s architectural and creating no sense of permeability and Space to building ratio determines how people
landmark, scale governance heritage connection with users. view a museum.
Scale of a museum form determines how people
view it
Image-sensory As the building is a singular monumental finite Sense of monumentality gives the An image that a museum creates determines how
experience, form which used to be the old pc’s office. museum a feel of timelessness. it will perceive or if it will create a sense of place.
memory
76
FIGURE 4.66 SHOWING LEFT OVER SPACE AROUND ART GALLERY FIGURE 4.67 SHOWINGLEFT OVER SPACE ENCLOSED BY THE FIGURE 4.68 SHOWING METAL GRILL FENCEAND BUSHES WHICH
WHICH IS IRREGULAR AND CLOSED FROM THE PUBLIC. FENCE. HAS ISOLATED THE MUSEUM.

Social People and space A lot of people are exiting Nyayo House The Nairobi art gallery is not inviting Presence of people determines
dimension. probably because it is end of office hours as and aloof since it barely has any the liveliness and use of a
they join the Kenyatta Avenue in contrast to people. museum.
Nairobi Gallery is abit dead and somber.
Public realm Physical spaces and setting- Left over space Lack of properly defined physical Presence of a properly defined
around art gallery is irregular and closed from space discourages any social public space determines how well
the public who are leaving Nyayo house or activities from happening making it a museum fits within its context.
leaving the office. No social activities are hard for the gallery to fit within the
taking place. public realm.
Safety and security Due to insecurity, crime, vandalism which Presence of insecurity has led to Level of safety and insecurity in an
have resulted to inclusion of fences and placement of a metal grill fence and area determines how the edges of
security checkpoints in all the governmental bushes which it has isolated the the museum are treated.
buildings in Nairobi. museum from the people it serves.
Accessibility and It is visually accessible from some point of view Physical accessibility has detoriated The placement of barriers and soft
exclusion while on other sides the soft landscaping have over the years with the closing of the landscaping determine the
reduced the quality of visual permeability. main entrance door from Kenyatta degree of physical and visual
avenue, placement of a fence and a accessibility which affects how
The physical accessibility has detoriated over
security checkpoint. well a museum fits within the
the years.
context.
77
4.3.4 Visual dimension.
FIGURE 4.69 SHOWING RHYME CREATED BY THE USE OF FIGURE 4.70 SHOWING THE REPETIITON OF SIMILAR WINDOW FIGURE 4.71 SHOWING NEGATIVE SHAPELESS AMORPHOUS
CURVILINEAR MOULDINGS. OPENINGS AND DETAIL CREATING RHYTHM. OPEN SPACE LEFT OVER AFTER THE BUILDINGS WAS
CONCTRUCTED.

Visual Aesthetic preference- Rhyme- There is similarity between the architectural Curvilinear opening moldings have Use of rhyme, rhythm and balance
rhyme, Rhythm, Balance detail on the facade they are curvilinear in nature. created a pattern. helps create a harmonious relationship
Dimension. and proportion. between a museum and its
Rhythm-Repetition of similar window openings and
Rhythm is creating emphasis, interval surrounding buildings.
detail creating rhythm. Balance and proportion is
one of the major principle of Neo classical and accent.
architecture.
The front and back façade have a virtual axis of Balance created has created harmony
symmetry down the center and on either side of the among the visual scene and the
axis, various architectural element have been environment.
placed evenly to achieve balance.
Urban space- positive or Nairobi art gallery has a negative shapeless Due to the irregularity and fenced it is Nature of urban space defined by a
negative space. amorphous open space left over after the building difficult for any public activities to take museum determines how well it is used.
was constructed. The building is considered as an place but it provides a good break
object in space.
out point.
Urban architecture Despite the gallery and surrounding buildings built in Due to the abstraction of elements Degree of cohesion in the design
different eras, there were some elements borrowed from the Nairobi art gallery there to elements between the museum and
such as verticality of the columns which were the surrounding buildings such as surrounding buildings determine how
applied as vertical sun shading elements and well it fits.
Nyayo house and teleposta the
columns.
museum has been able to fit within
context.
78
4.3.5 Functional dimension.
Nairobi art gallery
FIGURE 4.72 SHOWING A POSTER ADVERTISING THE PRESENCE OF THE NAIROBI ART FIGURE 4.73 SHOWING A TEMPORARY EXHIBIOTON BY THE TINGA TINGA ARTISTS FROM TANZANIA.
GALLERY.

Functional Public space Physical comfort- Nairobi art gallery does not outdoor Presence of trees have improved the Physical, social and
dimension. and the seating to the people leaving the gallery but it has an comfort and relaxation levels but it has psychological comfort
public outdoor restaurant which people use instead after leaving resulted in obstruct visual permeability determines how people use
/private the gallery. creating a closed off aura and disjoin a museum and for how long
interface. discouraging people from entering. they stay there.
Comfort
It provides relief from the sun, wind with the presence of Lack of active and passive engagement Presence of natural
Relaxation trees within the site. The art gallery has been separated design elements make people leave the elements and how they are
from the Kenyatta avenue by use of a pavement, metal gallery immediately after viewing art. placed determines how a
grill and bush which has helped contrast with the museum fits within its
surroundings making it easier for people to be relaxed. context.
Passive No presence of active and passive engagement elements Presence of Tinga Tinga temporary Presence of engagement
engagemen such as fountains, views, public art, performances or exhibition has provided a break design elements improves
t and seating places. the level of social interaction
from the routine and created a
discovery. people which determines
Discovery-Currently the Nairobi art gallery is holding an sense of predictability encouraging how a museum is embodied
exhibition by Tinga Tinga artists from Tanzania. people to visit the gallery. in a user’s mind.
79
FIGURE 4.106 SHOWING KENYATTA AVENUE ON A MOI DAY 2019.
Source: Author
FIGURE 4.74 SHOWING A METAL GRILL FENCE AROUND NAIROBI ART GALLERY. FIGURE 4.75 SHOWING GROUND FLOOR FOR THE NAIROBI ART GALLERY.
Functional Social use of Nairobi art gallery is located at a good location on a Strategic location has enabled Location on a busy route determines visual
space busy route which is Kenyatta avenue which is both it to be both physical and and physical accessibility of a museum
dimension. visually accessible.
Location, street physically and visually accessible. It is fenced off from making it fit within its context.
Since the art gallery has been
part of social Posta street and Kenyatta avenue due to insecurity
fenced off from the street it has
space, level of issues dominant in Nairobi. isolated it and reduced its use. Level of connection of street to a museum
pavement, determines the level of use.
seating areas. Nairobi art gallery is on the same level as the Since the gallery is located on
pavement. There are no places to sit both integral the same level as the pavement
Difference between the level of the
and explicit such as steps, low wall, benches or seats. it was properly used.
museum and pavement determines how
Edge of public space- Nairobi art gallery has a door Lack of both integral and well it is used.
explicit seating areas
and windows which open to Kenyatta avenue.
discouraged people from using Presence of seating area determines the
People can see into the gallery as they walk on the the museum
pavement. character and personality of a museum
The number of doors and windows on

museum façade determines how people
use its public edge informing if people will
gravitate forwards the museum or not.
Privacy Presence of a metal grill fence and bush No smooth transition Distance of transition determines how
around the art gallery from Kenyatta avenue well the museum fits within context.
to the gallery.
80
africa
kenya
FIGURE 4.77 SHOWING A MAP OF

KENYA
FIGURE 4.76 SHOWING A MAP OF AFRICA Source: Author
Source: Author
Nairobi
county
FIGURE 4.79 SHOWING A MAP OF NAIROBI FIGURE 4.80 SHOWING LOCATION OF THE
CBD RAILWAY MUSEUM.
FIGURE 4.78 SHOWING A MAP OF NAIRIOBI The railway museum is situated at the north-west end of Nairobi station and can be seen from
COUNTY.
Source: Author the Uhuru Highway where it crosses the main line. The museum was established in 1971 by the
then East African Railways and Harbors Corporation to preserve and display relics and records
of the railways of East Africa from their inception to the present day. In addition to the collection
of steam locomotives and rolling stock, there is a large display of smaller exhibits and models.
4.4 Railway The museum is still rail connected, allowing restored locos access to the main line for working
steam excursions.
museum
81
FIGURE 4.81 SHOWING THE LAND USE MAP OF THE NAIROBI FIGURE 4.82 SHOWING A PHOTO OF THE NAIROBI RAILWAY FIGURE 4.83 SHOWING A MORPHOLOGICAL STREET PATTERN OF
RAILWAY MUSEUM AND THE NEIGHBOURING BUILDINGS. MUSEUM THE NAIROBI RAILWAY MUSEUM.

Morphological Land use The railway museum is located next to the The use of the museum blends with it Similarity in land uses enhances
Dimension. Incoming uses often railway line and is used to house the relics from context but as a result it has been the blending of the museum within
lead to redevelopment the old railway line. isolated from people due to its its context.
and the creation of location.
new buildings
Building structures The establishment of Nairobi railway The museum fits within the entire Placement of a museum among
Some buildings, station influenced the growth of Nairobi surrounding buildings context as it is governmental buildings elevates
churches, used to house the relics from the old the status of the museum but it
Town. The museum is a more recent
cathedrals, public railway line. also alienates the general public.
buildings, etc. will last structure but will last due to the role it
longer than others plays.
Plot pattern The railway museum has a plot ratio of 6 and It has a proper plot ratio and plot Plot ratio and coverage
The plot ratio and plot it has not covered its entire site. The building is coverage which has enabled the user determines how a museum is
coverage planning only one storey high. to visually connect with it. perceived by a user affecting how
regulation contribute it fits within a context.
significantly to the
scale of buildings.
Street pattern The railway museum is located within a large The museum is disjoined from its Urban grain affects the
Patterns with fewer urban block which has deteriorated the level context and people due to the large relationship between the museum
larger blocks have a of permeability. plot size which has reduced its and its context.
coarse urban grain. An permeability and accessibility. Coarse urban grain reduces its
area with smaller visibility from the public eyes.
blocks offers a greater Fine urban grain improves visibility
choice of routes from the public eye.
enhancing
permeability.
82
FIGURE 4.84 SHOWING THE SIGNAGE TO THE NAIROBI RAILWAY FIGURE 4.85 SHOWING AN AERIAL PERSPECTIVE OF THE FIGURE 4.86 SHOWING FEW VISITORS IN THE NAIROBI RAILWAY
MUSEUM. NAIROBI RAILWAY MUSEUM. MUSEUM.

Perceptual Environment perception- For the first time local visitor it was very hard to find The museum is disjoined from its context Use of or lack of proper design
the museum as it is located deep into the site and due to poorly placed visual aids that inform elements determines if the museum
Dimension. a private road is used to get to the museum. the general public about its presence. can be perceived or not determining if
it will fit within its context.
Environmental meaning The primary function of the museum is to preserve The primary function of the building as a Primary and secondary function of a
and symbolism and display relics from the old railway line. It has museum blends with its acquired historical museum determines how well it fits
acquired a secondary function as a famous art value as a railway line preservation area. within a context.
scene and photoshoot area.
Sense of place The museum has barely any visitors most of which The museum does not have a strong sense Activities determine how a museum
. are tourists. of place since it does not have crowd will be used however the strategic
Activity- land use, Due to its location there is no vehicle flow .However puller activities. location of the museum from this
pedestrian flow, behavior the museum has artistic activities sprouting around The entrance is hidden and therefore it activities is also important. These
pattern and vehicle flow. it which has given it a new meaning to locals. does not attract a lot of local visitors. activities determines the sense of
place.
Form Permeability- The placement of windows does not Due to proper space to building ratio of the Permeability of a museum in terms of
enable to see into the museum museum it is welcoming to the users. the position of the windows and doors
determines how it fits within the
Space to building ratio-The overall impression is one
context.
of the horizontality and users do not feel imposed as
Space to building ratio determines
enter it.
how people view a museum.
Scale of a museum form determines
how people view it
Image-sensory The museums design is not memorable as it looks as It does not have a sense of monumentality An image that a museum creates
experience, memory other railway buildings. which does not make the museum determines how it will perceive or if it
memorable. will create a sense of place.
83
FIGURE 4.87 SHOWING LACK OF PROPERLY DEFINED PHYSICAL FIGURE 4.88 SHOWING HOW THE NAIROBI RAILWAY FIGURE 4.89 SHOWING A METAL GRILL FENCE AROUND NAIROBI
SPACES DISCOURAGIING ANY SOCIAL ACTIVITIES. MUSEUM HAS BEEN RAISED ABOVE THE GROUND RAILWAY MUSEUM WITH A SECURITY CHECK-POINT AT THE
DISCOURAGING PHYSICAL ACCESSIBILITY. ENTRANCE.
Source: Author
Social People and space The museum does not have a lot of people The railway museum barely has any Presence of people determines
Dimension. but the art workshops around it attracts people because of its poor location. the liveliness and use of a
people to the area to view art and take museum.
photos.
Public realm Lack of properly designed public spaces. Lack of properly defined physical Presence of a properly defined
space discourages any social public space determines how well
activities from happening making it a museum fits within its context.
hard for the museum to fit within the
public realm.
Safety and security There is a metal grill fence around Nairobi Presence of insecurity has led to Level of safety and insecurity in an
railway museum with a security check up placement of a metal grill fence and area determines how the edges of
point at the entrance. bushes which it has isolated the the museum are treated.
museum from the people it serves.
Despite it being a public building, it has a Poor physical accessibility has led to The placement of barriers and soft
Accessibility and metal grill fence and several gates with a few local visitors. Placement of a landscaping determine the
exclusion security check up points before getting to the fence and a security checkpoint is a degree of physical and visual
building. contributing factor. accessibility which affects how
well a museum fits within the
context.
84
4.4.4 Visual dimension.
FIGURE 4.90 SHOWING SIMILARITY BETWEEN THE ARCHITECTURAL FIGURE 4.91 SHOWING THE RAILWAY YARD NEXT TO THE FIGURE 4.92 SHOWING AN OPEN SPACE INFRONT OF THE
DETAILS ON THE FAÇADE WHICH ARE RECTANGULAR IN NATURE. RAILWAY WORKSOPS. RAILWAY MUSEUM
Source: Author

Visual Aesthetic preference- Rhyme- There is similarity between the Rectangular opening moldings have Use of rhyme, rhythm and balance
Dimension. rhyme, architectural detail on the facade they are created a pattern. helps create a harmonious
rectangular in nature. relationship between a museum
and its surrounding buildings.
Rhythm Repetition of the window openings has Rhythm is creating emphasis, interval
created a sense of rhythm. and accent.
Balance and The front and back façade have a virtual axis Balance created has created
proportion. of symmetry down the center and on either harmony among the visual scene and
side of the axis, various architectural element the environment.
have been placed evenly to achieve
balance.
Urban space- positive There is an open space in front of the railway Due to the irregularity and fenced it is Nature of urban space defined by
or negative space. museum but it does not have any use except difficult for any public activities to take a museum determines how well it
as a break out point. place but it provides a good break is used.
out point.
Urban architecture The building was originally designed as part of Due to the abstraction of elements Degree of cohesion in the design
the Railway station workshops, therefore it was from the Nairobi railway museum elements between the museum
repurposed into the Nairobi Railway museum. there to the surrounding buildings such and surrounding buildings
as Nyayo house and teleposta the determine how well it fits.
museum has been able to fit within
context.
85
4.4.5 Functional dimension.
FIGURE 4.93 SHOWING THE FRONT SPACE USED AS BREAK OUT FIGURE 4.94 SHOWING THE MURRAM ROAD LEADING TO THE FIGURE 4.95 SHOWING THE INTERIOR OF THE RAILWAY NAIROBI
POINT. NAIROBI RAILWAY MUSEUM. MUSEUM.
Source: Author

Functional Public space There is an open space in front of the railway museum but it does not Presence of trees have improved the Physical, social and psychological
and the have any use except as a break out point. comfort and relaxation levels but it has comfort determines how people use a
Dimension. public resulted in obstruct visual permeability museum and for how long they stay
It has not been articulated well enough to include proper comfort and
/private creating a closed off aura and disjoin there.
interface. relaxation area. discouraging people from entering.
Comfort
Relaxation Lack of relaxation areas for the tourists or local visitors immediately after Lack of active and passive Presence of natural elements and how
viewing the museum. Hence it is treated as a passing through zone. engagement design elements make they are placed determines how a
people leave the gallery immediately museum fits within its context.
after viewing art.
Passive There is lack of temporary exhibitions happening in the museum. Hence Lack of discovery programs has Presence of engagement design
engagement there is no sense of discovery. encouraged people to interact with the elements improves the level of social
and museum interaction people which determines
discovery. how a museum is embodied in a user’s
mind.
Social use of The area around the museum has sprouted out as a famous art scene. Strategic location has enabled it to be Level of connection of street to a
space People come here to socialize as they view art. Main street leading to both physical and visually accessible. museum determines the level of use.
the site is dead end therefore not encouraging activities related to the Lack of a major street has discouraged Difference between the level of the
street as part of social space. Lack of relaxation areas for the tourists or the social activities. Lack of both museum and pavement determines
local visitors immediately after viewing the museum. Hence it is treated integral and explicit seating areas how well it is used.
as a passing through zone. discouraged people from using the
No presence of pavements but a museum road leading both people museum
and cars into the site.
Privacy The museum has achieved a high level of privacy by placement of No smooth transition from Uhuru Distance of transition determines how
perimeter wall around which has secluded people from the museum. Highway to the gallery. well the museum fits within context.
86
Conclusions and
CHAPTER 5:
recommendations.
87
5.1 Introduction
The research establishes the relationship between form and its context, the fit of the museum
Problem statement
form in its urban context and formulate planning and design guidelines for museums in Nairobi.
Through the discussion of the form and context in chapter 2, the relationship between the
museum and the urban context is summed up by different dimensions which include
morphological, perceptual, social, visual and functional dimension. The interface between
the museum and the urban context is discussed as well as how to integrate the existing
Understanding the relationship
museums within the context.
between form and context.
This study looked at the relationship between form and context, how a form can fit within a
context by giving detailed definition of context and list the different dimensions of context
which were analyzed to see whether the museum form really fits in its context.
The study then documented the existing readapted museums within the Nairobi CBD and how
Documentation of the existing they fit within their immediate context within the dimensions mentioned above. The case
readapted museum.
studies carried out included the Kenya National Archives, Judiciary museum, Nairobi art
gallery and the Nairobi Railway Museum in the dimensions mentioned above.
The understanding of the urban design related issues concerning the relationship between
the museum and context and how the museum is perceived by the public led to the
formulation of various recommendations that are outlined at the end of the chapter. This
Formulation of recommendations.
recommendations will be used as guiding principles when selecting an old building that will
be converted to a museum or when a new museum is being proposed in an urban context.
FIGURE 5.1 ILLUSTRATING THE OUTLINE OF THE

INTRODUCTION.
Source: Author
88
5.2 CONCLUSIONS.
The study sought to assess and understand the relationship between readapted museums forms in Nairobi and their immediate urban context. The
objectives of the study were:
 To explain the relationship between form and context.

 To determine the fit of the museum form in its urban context.
 To formulate planning and design guidelines for museums in Nairobi.
5.2.1 RELATIONSHIP BETWEEN FORM AND CONTEXT.
The form is a part of the world over which we have control, and which we decide to shape while leaving the rest of the world as it is. The context is that
part of the world which puts demand on this form; anything in the world that makes demands of the form is context.
Kenya National Archives building was first designed as a bank with the purpose of establishing the presence of the National bank of India. The dominant
presence was emphasized by Neo classical architecture which was the dominating architecture at the time and was established by the white colonial
masters as a way of intimidating the locals.
Judiciary museum was opened by the judiciary to the public to create understanding and awareness of its history, development and role in society
aimed at demystifying the public perception of the institution. It is located in the eastern wing of the Supreme Court building basement which was built
in 1931 by Sir Herbert Baker with assistance of Jan Hoogterp primarily as a prestigious monumental building for the government square rather than as a
law courthouse. Its setting gave it to a certain extent a symbolic manifestation of the colonial administration domination of the Africans.
Nairobi art gallery is located within a civic zone, the Nairobi Gallery, fondly referred to as the Old PC building or Hatches and dispatches. It was built in
1913 by British Architect C. Rand Overy in a distinctly Victorian style. It was originally constructed to house the ministry of foreign affairs and colonial
government as part of a square of civic buildings. It is symbol of administration power in Nairobi before the offices were moved to Nyayo house.
Railway museum was established in 1971 by the then East African Railways and Harbors Corporation to preserve and display relics and records of the
railways of East Africa from their inception to the present day. In addition to the collection of steam locomotives and rolling stock, there is a large display
of smaller exhibits and models.
5.2.2 FIT OF THE MUSEUM FORM IN ITS URBAN CONTEXT.
Fitness is a relation of mutual acceptability between the ensemble comprising the form and its context and how well the form fits in its context
There is a variety of ensembles which determine whether a museum fits in its context. These include morphological, perceptual , social, visual
and functional dimensions.
89
Morphological dimension
Railway museum and Judiciary museum are located within civic zone, located
governmental buildings which are purposed to intimidate the locals. They are also situated
deep within the civic area to the extent that most Nairobi residents do not know if they exist.
Nairobi art gallery is located at the transition between the civic zone and commercial zone
and this has promoted its visibility to the public.
Kenya National Archives has been located within the commercial zone within strategic node
in the Nairobi central business district where it has acquired landmark status over the years.
It is the most successful in terms of location and visibility.
FIGURE 5.2 SHOWING HOW THE RAILWAY MUSEUM CAN
BE ACCESSED FROM THE RAILWAY STATION. Perceptual dimension
Source: Author Kenya National Archives has proper design elements which emphasizes its presence within
the public urban realm. It has acquired a secondary meaning over the years as a meeting
place hence it has a strong sense of place. Railway museum and judiciary museum are
invisible to the public as they lack design elements that demand the locals attention. Despite
Nairobi art gallery’s strong visual presence and symbolism it has not developed a strong sense
of place.
Social dimension
Railway museum, Judiciary museum and Nairobi art gallery do not have strong human
presence around them. People only go to these museums only when they visit governmental
buildings around them. Kenya National Archives has the strongest human presence due to
its location next to several public transports stages.
FIGURE 5.3 ILLUSTRATING THE PUBLIC ENTRANCE TO THE
JUDICIARY MUSEUM, THERE IS LACK OF VISUAL AIDS TO
INDICATE THE PRESENCE OF THE MUSEUM.
Visual dimension
Source: Author All the museums have been located in buildings constructed by British imperialists. Hence
they are very outdated as they were built for the purpose to alienate the locals.
90
Functional dimension
Spaces within the museums are outdated as the act as storage and display area with minimal
rotation of artifacts and thus indicated rigid organization and spatial dispositions of functions.
FORM AND CONTEXT.
Spaces need to be reconfigured to accommodate the current trends in museum that is centered
on people and experiences.
5.3 RECOMMENDATIONS.
5.3.1 PLANNING AND DESIGN GUIDELINES FOR MUSEUMS IN NAIROBI.
From the investigation of readapted museums in the Nairobi CBD, the elements that enable them
to fit in their context, in summary, are:
MUSEUM FORM IN ITS
URBAN CONTEXT. 1. Land Use - Similarity in land uses enhances the blending of the museum within its context.
2. Building structures -Placement of a museum among governmental buildings elevates the
status of the museum but it also alienates the general public as the buildings are
considered intimidating.
3. Street pattern -Urban grain affects the relationship between the museum and its context.
Coarse urban grain reduces its visibility from the public eyes. Fine urban grain improves
visibility from the public eye.
PLANNING AND 4. Environment perception- Use of or lack of proper design elements determines whether the
museum can be distinctly perceived or not determining if it will fit within its context.
DESIGN GUIDELINES 5. Environment meaning and symbolism-Primary and secondary function of a museum
determines how well it fits within a context.
6. Sense of place – activities determine how a museum will be used, however the strategic
location of the museum from this activities is also important.
7. Image-An image that a museum creates determines how it will perceive or if it will create
FIGURE 5.4 SHOWING THE STRUCTURE OF THE

a sense of place. Ideal museum should be a landmark in its context.
INVESTIGATION.
8. Public realm -Presence of a properly defined public space determines how well a
Source: Author museum fits within its context.
9. Safety and security - Level of safety and insecurity in an area determines how the edges
of the museum are treated.
91
10. Accessibility and inclusion- The placement of barriers and soft landscaping determine the
degree of physical and visual accessibility which affects how well a museum fits within the
context.
11. Aesthetics - Use of rhyme, rhythm and balance helps create a harmonious relationship
between a museum and its surrounding buildings. Degree of cohesion in the design
elements between the museum and surrounding buildings determine how well it fits.
12. Nature of urban space defined by a museum determines how well it is used.
13. Physical, social and psychological comfort- determines how people use a museum and
for how long they stay there.
FIGURE 5.5 ILLUSTRATING TOM MBOYA SQUARE AS AN 14. Soft landscape- Presence of natural elements and how they are placed determines how
URBAN SPACE.
a museum fits within its context.
Source: Author
15. Active and passive engagement design elements- improves the level of social
interaction people which determines how a museum is embodied in a user’s mind.
16. Location on a busy route- determines visual and physical accessibility of a museum making
it fit within its context.
17. Level of connection of street to a museum determines the level of use.
18. Difference between the level of the museum and pavement determines how well it is used.
19. The number of doors and windows on museum façade determines how people use its
public edge informing if people will gravitate forwards the museum or not.
20. Distance of transition determines how well the museum fits within context.
5.4 AREAS OF FURTHER STUDIES.
Public space design within museums with reference to existing museums is a possible area of
further study.
The process of identifying the relationship between form and context, fit of a museum within an
urban context and determining planning and design guidelines can be applied to any other city.
FIGURE 5.6 ILLUSTRATING MUSEUM AS A PUBLIC SPACE.
Source: Public space design in museums by David. A.

This will provide a basis for comparison and will also add to the body of knowledge about museums
Robillard. in an urban setting.
92
6.0 References
Published books
Abungu, G. (2006). Africa and its museums:changing pathways? In B. T. Hoffman, Art and Cultural Heritage: Law,Policy and Practice. (pp. 386-393). Cambridge: Cambridge University Press.
Alexander, C. (1964). Notes on the synthesis of form. Cambridge,Massacusetts: Havard University Press.
Bennett, T. (1995). The Birth of the Museum. Newyork: Routledge.
Matthew Carmona. Tim Heath, T. O. (2003). Public spaces- Urban spaces. Oxford: Architectural Press.
Mawere, M. (2015). African Museums in the making. Bamenda: Langaa Research & Publishing.
Steuteville, R. (n.d.). New urbanism Best practices guide. New Urban news publication.
Published journals
Eyo, E. (1994). Conventional Museum and Quest for Relevance. History in Africa. Cambridge University Press, 325-337.
Fogelman, A. (2002). Colonial Legacy in African Museology;The case of the Ghana National Museum. Museum Anthroplogy, 19-27.
Forgan, S. (2005). Buildling the Museum. University of Chicago Press Journals, 572-585.
Forty, A. (2000). Context.
Hoffman, B. T. (2006). Art and Cultural Heritage: Law, Policy and Practice. In G. H. Abungu, African and its Museums: changing pathways (pp. 386-393).
MAROTTA, A. (2012, December 19). Typology: Museums. Retrieved from The Architectural Review
Macdonald*, S. J. (2003). Museums, national, postnational and transcultural identities.University of Sheffield.
Muhammad Ali Tabarsa1, Y. N. ( 2017). The Role of Contextualism in Architectural Design of Museums. Journal of History Culture and Art Research (ISSN: 2147-0626), 354-365.
Nyawo, F. C. (2013). Decolonising the Museum:The Case of Zimbabwe Military Museum in Gweru. International Reesearch Journal of Arts and Social Sciences., 213-219.
Schumacher, T. (1971). Contextualism: Urban Ideals and Deformations. 298-305.
Sirefman, S. (1999). Formed and Forming: Contemporary Museum Architecture. The Mit Press, 298.
Mortaki, D. (2012). Key issues facing art museums in the context of their social role. International Journal of Humanities and Social Science.
Website
Kiarie, M. (2019). A history of the national museums of Kenya. Retrieved 7 19, 2019, from Enzi, Journey into Kenya's past: http://www.enzimuseum.org/museums-of-kenya/a-history-of-the-
national-museums-of-kenya
Johnson, V. (n.d.). Problems museums currently face. Retrieved from Verner Johnson.
Visser, J. (2016, January 28). Museums in the city of the future. Retrieved from The museum of the future: https://themuseumofthefuture.com/2016/01/28/museums-in-the-city-of-the-future/
Unpublished works
Kimsey, J. C. (1996). A study in contextualism.

Marsh, J. (2017, January 17). Key Issues facing museums today. Retrieved from Lakeside collaborative: http://lakesidecollaborative.com/journal/2017/1/17/key-issues-facing-museums-today
93

Form and Context.: Case of Readapted Museums in Nairobi CBD

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Form and Context.: Case of Readapted Museums in Nairobi CBD

Uploaded by

Copyright:

Available Formats

FORM AND CONTEXT.

CASE OF READAPTED MUSEUMS IN NAIROBI CBD.

MWINZI OLYVIA WAENI

AUTHOR: MWINZI OLYVIA WAENI SIGNATURE:

TUTOR: DR ARCH RALWALA ANTHONY ODOUR YEAR CO–ORDINATOR: ARCH NOBERT

ARCH MUSAU KIMEU

FIGURE 1.1 MUSEUM OF LUBOMIRSKI PRINCES SHOWING

Figure 1.2 SUZHOU MUSEUM, A MODERN ICON WITHIN A

To propose planning and design guidelines for museums in Nairobi CBD.

1.4 RESEARCH QUESTIONS

1.5 JUSTIFICATION OF THE STUDY

The limitations the study is likely to encounter are:

 Inability to find relevant and suitable local examples of museums in Kenya,

Figure 1.10 MUSEUMS LOCATED IN NAIROBI CENTRAL

INTRODUCTION Form -Refers to the shape or configuration of a building.

Fit-Refers to relation of mutual acceptability between form and context.

1.10 ORGANIZATION OF STUDY

Figure 1.11 Organization of study

Source: Contextualism: Urban Ideals and Deformations

Man put stone on the ground in order to recognize place in the

Figure 2.2 SHOWING IMAGE ILLUSTRATING A CONTEXT seamlessly.

In order to create a comprehensive understanding of the urban context, it would be a

Figure 2.4 SHOWING DESIGNING WITH THE DEMANDS OF

ARCHITECTURE IN CONTEXT: DESIGNING IN THE MIDDLE

ARCHITECTURE IN CONTEXT: DESIGNING IN THE MIDDLE

It first appeared in architectural work in Christopher Alexander’s Notes on the Synthesis of

FIGURE 2.6. SHOWING THE EFFECT OF GIANT SCALE IF

ARCHITECTURE IN CONTEXT: DESIGNING IN THE MIDDLE

PUBLIC PLACES -URBAN SPACES. THE DIMENSIONS OF

D. The cadastral (street) pattern

FIGURE 2.9 SHOWING THE STREET PATTERN OF CENTRAL

PUBLIC PLACES -URBAN SPACES. THE DIMENSIONS OF Heath, 2003).

FIGURE 2.10 SHOWING PERMEABILITY-FINELY MESHED

PUBLIC PLACES -URBAN SPACES. THE DIMENSIONS OF

2.6.1 Environmental perception

PUBLIC PLACES--URBAN SPACES. THE DIMENSIONS OF

Carmona et al (2003) emphasized that the purpose of symbolization is to legitimize a particular

FIGURE 2.13 ILLUSTRATING THAT PRODUCERS AND

PUBLIC PLACES--URBAN SPACES. THE DIMENSIONS OF

FIGURE 2.14 ILLUSTRATING A DIAGRAM BY JOHN PUNTER

• Creation of an environment responsive to people’s behavior and values.

FIGURE 2.15 ILLUSTRATING A DIAGRAM BY JOHN

PUBLIC PLACES--URBAN SPACES. THE DIMENSIONS OF

2.7.1 People and space

2.7.2 The public realm

FIGURE 2.16 ILLUSTRATING HIERARCHY OF NEEDS.

PUBLIC PLACES--URBAN SPACES. THE DIMENSIONS OF

2.7.4 Accessibility and exclusion

Carmona et.al. (2003) identify three forms of access:

PUBLIC PLACES--URBAN SPACES. THE DIMENSIONS OF

2.8.1 Aesthetic preferences

2.8.2 Urban space

Figure 2.22 SHOWING THE PRINCIPLE OF FIGURE AND

Source: PUBLIC PLACES--URBAN SPACES. THE

FIGURE 2.23 SHOWING RICHMOND RIVERSIDE, LONDON.

A. Appreciation of urban architecture

FIGURE 2.26 SHOWING THIS BUILDING IN CENTRAL

ARCHITECTURE IN CONTEXT: DESIGNING IN THE MIDDLE ii. Massing

Source: windows, doors and construction materials.

PUBLIC PLACES--URBAN SPACES. THE DIMENSIONS OF

2.9.1 Public space and the public/private interface

Source: (iv) Active engagement

2.9.2 The social use of space