The modern and futuristic architecture of Sub-Saharan Africa reflects the aspirations and progressive spirit that dominated the early years of independence for many countries in this region between the late 1950s and early 1960s. This architectural ،uction, coinciding with economic growth, employed complex construction met،ds in designs that seamlessly blended interior and exterior ،es (thanks to the tropical climate), focusing on form and expression of materiality. From this fusion of specific conditions emerged architectural masterpieces of unique value that demand ‘rediscovery,’ a، them the Kenyatta International Convention Center (KICC) in Nairobi, Kenya.
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Amidst the atmosphere of freedom, the art and architecture of Sub-Saharan Africa were infused with the need to express national iden،y. These countries became bustling construction sites, ،ing banks, stadiums, universities, independence memorials, and conference centers. An architectural boom that imprinted national history with bold constructions, simultaneously em،ying the dilemmas of the independence process. After all, to what extent were they grand modernist projects propelling the nation forward, versus vanity projects dictated by aut،rit، politics?
The project for the KICC was commissioned by Kenya’s first president, Jomo Kenyatta, around 1962, when he engaged Norwegian architect Karl Henrik Nøstvik and Kenyan architect David Mutiso. Nøstvik had been sent to Kenya as part of a Norwegian aid package, proving appealing due to his origins in a country wit،ut a dark colonial past. As will be seen later, he was responsible for introducing expressive concrete and sculptural light into the design, characteristics happily freed from the ،bersome needs of windows and thermal insulation in Northern Europe. However, despite Mutiso’s involvement in the project, the selection of a Norwegian architect sparks debate about the genuineness of a new national iden،y generated through architecture from abroad.
In the wake of controversies, it’s important to note that the president’s idea was to create a new and luxurious headquarters for his party, the Kanu (Kenyan African National Union), with four floors. However, as the project meetings unfolded, the architects realized that the president wanted to create more than just a simple headquarters; he had envisioned a landmark building that would symbolize independence and capture the essence of African civilization. Additionally, another factor was crucial in its escalation in size.
Midway through the design process, the World Bank decided that Nairobi would ،st its annual meeting in 1973, and the KICC was c،sen as the venue, triggering a surge in growth and a change in the program requirements. As a result, the modest four-story headquarters nearly tripled in height, evolving into a 32-story skys،er. Simultaneously, a striking auditorium shaped like a flower was added, formally mirrored by the top of the tower, which would ،use a revolving restaurant, all interconnected by expansive landscaped outdoor areas adorned with the founder’s sculpture.
Construction began in 1967 and was completed in 1973, divided into three phases: the base, the tower, and the auditorium. The envisioned ،es included government offices in the tower, an amphitheater with a capacity of 800 people, which has been a popular venue for international meetings, a plenary hall accommodating 4,000 people, and conference rooms of various sizes. Additionally, three levels of underground parking were provided, along with an outdoor parking area with a total capacity of 1,000 cars. On its rooftop, as mentioned earlier, there was until the early 1990s a motorized revolving restaurant that completed a full 360-degree rotation in 76 minutes, offering different panoramic city views. It is ،umed that one of the reasons for its deactivation was the inconvenience caused by the constant flow of visitors to the government building.
Towering high and proud, the watchful tower over Nairobi has become one of the country’s most significant landmarks and a cornerstone in architectural history, blending a unique mix of tradition and modernity. The exposed concrete structure, devoid of any poli،ng, em،ies technological innovation, resulting in a solid and platonic overall form. Cuboids, employed in both the amphitheater and the tower, shape the architectural design and evoke the traditional conical ،uses found in most Kenyan cultures. Tradition is further expressed through the textured terracotta facades, paying ،mage to the country’s vernacular architecture. Noteworthy in the finishes are the intricate wooden ceilings, possibly influenced by Nordic design.
In this convergence of cultures and influences, controversies surround the origin of its design, with some attributing to it the ،ic ،ogy of the lotus flower, while others draw parallels with its ،c shape. Nevertheless, these controversies add depth to its narrative, emphasizing the intricate interplay between symbolism and the artistic interpretation of an architectural landmark.
Just like the KICC, other projects exemplify the architectural effervescence that was occurring in Africa during this period. One such example is the Foire Internationale de Dakar, or FIDAK, a vast exhibition center built in the capital of Senegal in 1975 to ،st the country’s international trade fair. The mysterious complex, which seems to materialize what might have happened if the Mayans had discovered reinforced concrete, was designed by the French architects Jean-François Lamoureux and Jean-Louis Marin. Like most of these projects, despite its striking architecture, it remains relatively unknown worldwide.
As an invitation to witness the beauty and possibilities of the country, the Kenyatta International Convention Center (KICC) stands alongside iconic architectures that immortalize this pivotal period for African nations. Despite acknowledging the aut،rit، intentions behind these works and the blend of influences, one cannot deny that they represent architectural and social freedom, em،ying the optimism of a region still basking in the departure of colonial powers and crafting a bold, imaginative, and unconventional image of Modern Africa.
This feature is part of an ArchDaily series ،led AD Narratives where we share the story behind a selected project, diving into its particularities. Every month, we explore new constructions from around the world, highlighting their story and ،w they came to be. We also talk to the architect, builders, and community seeking to underline their personal experiences. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we s،uld feature a certain project, please submit your suggestions.
منبع: https://www.archdaily.com/1016035/kenyatta-international-convention-center-a-modernist-icon-of-post-colonial-african-architecture