TOWARDS A HYBRID MAASAI

ARCHITECTURE

Ojijo Grekk Owuoth

B02 . 37540 . 2010

Final Year Thesis Presentation

Tutor: Prof. Rukwaro, R.

University of Nairobi

College of Architecture and Engineering

School of The Built Environment

Department of Architecture and Building Science

BAR 613: Research Thesis

In the words of the Maasai

"It takes one day to destroy a house but to build a new one will take months, perhaps years.

If we destroy our way of life to construct a new one, it will take thousands of years."

Declaration

This is my original work and to the best of my knowledge has not been presented for an award of a degree in any other institution.

Author: Ojijo Grekk Owuoth

Signature………………………………………. Date………………………………………….

This thesis is submitted for the partial fulfillment of the examination requirements for the award of the Bachelor of Architecture

degree, Department of Architecture and Building Science, University of Nairobi.

Tutor: Prof. Rukwaro Robert

Signature………………………………..….. Date………………………………….

Year Coordinator: Prof. Anyamba T. J. C

Signature………………………………..….. Date………………………………….

Chairman: Arch. Musau Kimeu

Signature………………………………..….. Date………………………………….

I am very grateful to God almighty for without his grace and mercies this study would not have been realized.

Immeasurable appreciation and deepest gratitude for the help and support are extended to the following persons who in one way or

another have contributed in making this study a success.

Prof. Rukwaro, Dean of the School of the Built Environment and my tutor; for your support, advice, guidance, and input that have

benefited the successful completion of this piece of research. This thesis would have remained a dream had it not been for your

wealth of knowledge and valuable insight. May God reward you abundantly.

Prof. Anyamba, T.J.C, Year Master; It is through my admiration of your sacrificial assistance, commitment and fervency in architec-ture that I have been able to break my stereotype of design success.

Arch. Musau Kimeu, Chairman; Your enthusiasm is comparable to none and only remunerable by the Almighty.

This thesis in retrospect is a testimony to a build up and cultivated effort from the School of the Built Environment . It gives me great

pleasure in acknowledging the support and help of; Prof. J. Magutu, Arch. K. Karogi, Arch. Liku, Arch. Musyoki, Arch. Kigara, Arch

Yusuf, Dr. Kamenju, Arch. Oyaro, Des. Kahare and all lecturers, Department of Architecture and building science who turned up to

give insight and counsel during the long crits. All your guidance and direction during my six years in ADD is utterly gratifying.

Prof. Kavoi, M.M, JKUAT; Were it not for your humility, commitment and immense input, this research would not have seen the light of day. May the almighty God increase in you greatly. I share the credit of my work.

I would also like to recognize ;George, Kibiro, Magdaline, Charles, Kerubo, Larry, Fatma, Shawren, Manda and all my classmates who

I genuinely believe are among the greatest young minds in Africa today. You have been a great source of inspiration and your hilarity

has formed a camaraderie that I hope will last a life time.

My friends from Maasai Mara, Legho and Muli, I would like to thank you for bearing with me for the duration of my field study. You

gave me illimitable access to your enkang and in the process I fell in love with its fantastic architecture.

And finally to my family. My dearest mother and good friend Rose, your humour, wit and immense love give me the confidence to face every new challenge with vigor and vitality. My dear sisters, Yvonne, Sharon, Tekla, Rose and Peris, you have taught me that cynicism is a choice and that power is yours for the taking.

Acknowledgments

TOWARDS A HYBRID MAASAI ARCHITECTURE

Dedication

Who ran to help me when I fell,

And would some pretty story tell,

or kiss the place to make it well?

My dearest Mother.

Chapter One

Chapter Two

I n t r o d u c t i o n

1.1. Introduction .……………………...............................................................................……...1 1.2. Problem Statement .…………………….................................................................……...2 1.3. Research Questions .……………………................................................................……...3 1.4. Research Objectives .……………………...............................................................……...3 1.5. Research Justification .……………………..........................................................……...4 1.6. Significance of the Study .………….................................................................……...4 1.7. Scope and Limitations .……………………...........................................................……...5 1.8. Definition of terms .……………………..................................................................……...6 1.9.Organization of the Study .…………………….....................................................……...7

L i t e r a t u r e R e v i e w

2.1. Introduction .……………………................................................................................……...8 2.2. The Maasai People .…………………….....................................................………………..…...9 2.3. The Maasai Cultural Practices .……………………...................................................10

2.3.1. Social Organization .……………………........................................................12 2.3.2. Socio-spatial Organization.…………………….....................................…..14 2.3.3. Taboos.……………………..........................................................................……..14 2.3.4. Myths.…………………….....................................................…………………………....15 2.3.5. Land tenure and Cattle ownership .……………………..................……..16 2.3.6. Religion and Symbolism .…………………….......................................……..19

2.4. The Maasai Material Culture .…………………….......................................................22 2.4.1. House hold items and Storage equipment .……………………………...22 2.4.2. Dress code.…………………….....................................................………………....23 2.4.3. Ornamentation.…………………….....................................................……..…..23

2.5. Traditional Maasai Settlements and Architecture .…………………….....……..29 2.5.1. Enkang’.…………………….....................................................…………………….....29 2.5.2. The Maasai Homestead .……………………................................................32

2.6. Design principles and concepts of Maasai architecture .…………………....39

Table of Contents

2.7. Towards a Hybrid Maasai Architecture .……………………..........................41 2.7.1. Introduction.…………………….....................................................……….41 2.7.2. Development of Hybrid Maasai Architecture .………………...42 2.7.3. Coping with Dynamism .……………………..................................…….43 2.7.4. Borrowing from Modernity .…………………….................................44 2.7.5. Summary.…………………….....................................................……………..46

2.8. Contemporary Architecture and Identity .…………………….......................47

2.8.1. Spatial Organization .…………………….........................................…..47 2.8.2. Time Organization .……………………..................................................48 2.8.3. Semantic Organization .…………………….......................................48 2.8.4. General Design Principles .…………………….................................49 2.8.5. Building Shape and Form .……………………...................................50 2.8.6. Building Materials and Context .…………………….......................50 2.8.8. Summary.…………………….....................................................…………....51

2.9. Summary.…………………….....................................................……………………………...52

2.9.1. Lessons learnt .…………………….........................................................52 2.9.2. Possible solutions .…………………….................................................53

Chapter Two (cont.)

Table of Contents

Table of Contents

Chapter Three R e s e a r c h M e t h o d o l o g y

3.1. Introduction .……………………....………………………………………………………………………………...54 3.2. Research Purpose .…………………….....................................................…………………….54 3.3. Research Design .…………………….....................................................…………………….….55 3.4. Time Horizon.…………………….....................................................…………………………...….55 3.5. Population, Population frame and Sample size .……………………..................56 3.6. Sampling Method.…………………….....................................................……………………...56 3.7. Data Collection .……………………...........................................................................…….57 3.8. Data Analysis .……………………...............................................................................…….57 3.9. Data Presentation .…………………….....................................................………………….….58

4.1. Introduction to Narok (The large context) .……………………..............................59 4.2. Contemporary Maasai Architecture .…………………….....................................…...59 4.3. Case studies.…………………….....................................................………………………………....60

4.3.1. Traditional Architecture in Narok .……………………........................…...7 4.3.1.1. Case study 01.…………………….....................................................7 4.3.1.2. Case study 02.…………………….....................................................7

4.3.2. Contemporary Architecture .……………………..........................................7 4.3.2.1. Case study 03.…………………….....................................................7 4.3.2.1. Case study 04. .……………………....................................................7

4.3.3. Comparative Analysis of the Case studies .………...................……...7

Chapter Four T h e a r c h i t e c t u r e i n N a r o k

Chapter Five C o n c l u s i o n s a n d R e c o m m e n d a t i o n s

5.1. Conclusion.……………………..................................................................................……...7 5.2. Recommendations .……………………...................................................................……...7 5.3. References.…………………….....................................................……………………………..…...7 5.4. Appendices.…………………….....................................................……………………………….....7

List of Figures

i

Figure 2.11 Maasai Warriors. …………………...………………………………………..14

Figure 2.12 Maasai Laiboni. …………………………………………………………….......15

Figure 2.13 Cattle, Maasai Cultural entity and source of wealth.………….15

Figure 2.14 Maasai Homestead layout showing wives arrangements……17

Figure 2.15 Maasai Enkang’ layout. .………………………………...………………….18

Figure 2.16 Elders conducting prayers under the Oreteti tree..……………..19

Figure 2.17 The Oreteti tree in Sekenani Town. ………………….………………..19

Figure 2.18 Woman Milking a cow using the Engukuri.………………………...20

Figure 2.19 Young boy with protective white chalk markings.……..………..20

Figure 2.20 Maasai Elder adorned with Multicoloured Beaded Ornaments

…………………………………………………………………………………………………………….21

Figure 2.21 Decorative designs on the Neolaki.…………..…………………..…....22

Figure 2.22 The Engukuri with decorative ornamentation.………….…….…..22

Figure 2.23 A Maasai Moran in their brightly coloured dressing.……...….23

Figure 2.24 Young ilmorrans with body decorations for aesthetics……....23

Figure 2.25 Beaded Maasai Necklaces..…..……………………………....………..….24

Figure 2.26 Beaded Maasai waist wear..…………………….……...………………...24

Figure 2.27 The Ngirinani, Maasai Wedding ornament..………………..……..25

Figure 2.28 The footwear. Akala.…………………………………..……………………...25

Figure 2.29 An elderly woman in traditional ear rings..………………….……..26

Figure 2.30 The Sururtea.………………………………………...……………………….....26

Figure 2.31 Cattle ornamentation.…..……………………………………..…………...27

T h e I n t r o d u c t i o n

Figure 1.01 Maasai ancestral land in Kenya and Tanzania…………….....….1

Figure 1.02 Maasai manyatta…………………………………..…………………….......1

Figure 1.03 Ol Talel Mall, Narok County…………………………………………….….2

Figure 1.04 Narok Post Office…………………………………………………………..…..2

Figure 1.05 Maasai women building a manyatta…………..….…………….......3

Figure 1.06 Mara Serena Safari Lodge…………………….…………...……………...3

Figure 1.07 Maasai women and their manyatta..………………...……………....4

Figure 1.08 Mosque at New Gourna, Egypt……..….……..…..……………….......4

Figure 1.09 Map of Narok county….…………………………..………...……………….5

L i t e r a t u r e r e v i e w

Figure 2.01 New Gourna village before construction …………………………….8

Figure 2.02 Aerial view of new Gourna village after construction………...8

Figure 2.03 New Gourna Village project …………………………………………...….8

Figure 2.04 Areas occupied by the Maasai in Kenya and Tanzania...……...9

Figure 2.05 Classification of ASALS in Kenya. ……………………………………..…9

Figure 2.06 Maasai Social Organization ………………………..…………………...10

Figure 2.07 Maasai Elder from Maasai Mara.………………………..…………..11

Figure 2.08 Meeting of Elders from Maasai Mara.……………………………...11

Figure 2.09 Maasai Social-Spatial Structure.………………………………………..12

Figure 2.10 Manyatta layout………………………………..…………………………….13

List of Figures

Figure 2.32 The Shield.…………………………………………………………………….…..27

Figure 2.33 The Shield for the Olorok age-group. …………………………………28

Figure 2.34 The Black club.……………………………………………………………….….28

Figure 2.35 The Enkang organization. …………………………………………….…..29

Figure 2.36 The Enkaji entasat………………...……………………………………...…..30

Figure 2.37 The endamojoi, hedge of thorny Shrubs.…..………………………30

Figure 2.38 Social activities happening in the courtyard ………………..…...31

Figure 2.39 The enkang’ and the adjacent landscape.………..…..…………..31

Figure 2.40 The privacy gradient within the enkang’.………………….……...31

Figure 2.41 The enkang’ entasat .………………………………………...……………..32

Figure 2.42 The enkang’ entasat interior.………………………………..………….32

Figure 2.43 The enkang’ entasat layout ……………………………………..……...32

Figure 2.44 The enkaji orripie interior …………………………………………….……33

Figure 2.45 The enkaji orripie layout. ……………………………………………...….33

Figure 2.46 The enkaji oo nkera interior.………..……………………………….….34

Figure 2.47 The enkaji oo nkera layout...………………………………………….….34

Figure 2.48 The Orng’oboor layout. ……………………………………………………35

Figure 2.49 The Elatia layout.………………………..…………………………..……...36

Figure 2.50 The Olpul layout.…………………………………….…………..…………..37

Figure 2.51 The Olpejet layout.……………………………………………………….....38

Figure 2.52 The Maasai enkaji built under customary practices.…………41

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Figure 2.53 Traditional Maasai construction materials.…………………….…...….41

Figure 2.54 Traditional Maasai dwelling under construction…………….…........43

Figure 2.55 Residential dwelling of 1950 in Australia.……………..………………...43

Figure 2.56 Falling waters, By Architect Frank Lloyd Wright….…………..........45

Figure 2.57 Kuwait National Assembly building..…….……..…………………….…….45

R e s e a r c h M e t h o d o l o g y

Figure 3.01 Traditional Maasai Settlement..………………………………………….…..54

Figure 3.02 Mara Serena lodge, Maasai Mara.….....….……………………………...54

Figure 3.03 Alliance Franko Cultural centre, Senegal.…………...…………………..54

Figure 3.04 Sekenani Town, The traditional context.……..……………………….…..55

Figure 3.05 Narok Town, The contemporary context. ………………………………...55

Figure 3.06 A contemporary building in Narok Town.………..…...…..…………....56

Figure 3.07 A traditional case study in Sekenani town.…………………….………..56

Figure 3.08 Understanding cultural behaviour from observation.…………..….57

Figure 3.09 Interviews. ………………………………………………………………………........57

Figure 3.10 Sketches..…..…………………………………...…………………………….……..….58

F i e l d w o r k

Figure 4.01 Map of Narok Showing Sekenani, Talek and Narok town.....59

Figure 4.02 Orboma homestead, Sekenani Town.……………………....……...60

Figure 4.03 Olmarei Homestead, Sekeknani Town.……….…………………....60

Figure 4.04 Mara Serena Lodge, Mara Triangle.……..…………...…………...….60

Figure 4.05 The Olerat House (Narok Post Office), Narok Town.……….....60

Figure 4.06 Narok post office areal map. …...…………………………..……….....60

Figure 4.07 Relationship of traditional cultural constants and

architectural design concepts. ………………………….………………………………….61

Figure 4.08 Planning and spatial layout of the enkaji showing centrality.

……………………………………………………………………………………………………………...61

Figure 4.09 Planning and spatial layout of the olpul showing centrality.

…………………………………………………………………………………………………………...61

Figure 4.10 Planning and spatial layout of the olpejet showing

centrality……………………………………………………………………………………………...61

Figure 4.11 Planning and spatial layout of the olpejet showing

centrality…………………………………………………………………………………………….61

Figure 4.12 Sectional elevation of the Emanyatta.…………….…..…..……...61

Figure 4.13 Planning and spatial layout of the enkang showing

centrality…………………………………………………………………………………………....62

Figure 4.14 Planning and spatial layout of the enkang’ e eunoto showing

centrality.……...........................................................................................62

Figure 4.15 Elevation showing the spatial arrangement during a

counselling session in the enkang’ e eunoto.…………………………………..……...62

Figure 4.16 Traditional Maasai construction materials.……………………….....62

Figure 4.17 Planning and spatial layout of the enkang’ e eleng’ esher

showing centrality..……………………………………………………………………………...…..63

Figure 4.18 The Nuclear planning system of the Maasai.………………………...63

Figure 4.19 Circulation within the enkang.………………...……………………….…..63

Figure 4.20 The Maasai Enkaji derived from the shape of the sky from the

earth.………………...…………………………………………………..…………………………..…..64

Figure 4.21 A, The Engukuri, used in milking B, the Olirika, stool used by

married men.………………………………………………….………………………………….…..64

Figure 4.22 Initial homestead layout .………………...…………………………….…...64

Figure 4.23 Initial homestead layout + growth……………………………………....64

Figure 4.24 The new homestead incorporating the new dwellings……....…….65

Figure 4.25 First category of the homestead layout …………..…..……………..65

Figure 4.26 Second category of the homestead layout.…………..……..…..……..65

Figure 4.27 Third category of the homestead layout……………………………….65

Figure 4.28 Privacy levels in the enkang.……..............................................66

Figure 4.29 Privacy levels in the enkaji..…………………..…………………………..…..66

Figure 4.30 Small window for lighting and also enhancing privacy.…….…..66

Figure 4.31 Screens acting as partitions in the dwelling units and doors for

privacy and cross ventilation..………………..…………………………………………....…..66

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List of Figures

List of Figures

Figure 4.32 Male and female possession's in the enkang..……………….......67

Figure 4.33 Dualism in the enkang layout..……………….……………………....67

Figure 4.34 The enclosure and the ouluo.…….……………………….…………..67

Figure 4.35 The emanyatta in Olaimutiek, Narok County.………………...67

Figure 4.36 Spatial layout of two enkang’ e eunotos based on descent

systems……………………………………………………………………….…………………....68

Figure 4.37 Dualism in the enkang’ e eunoto.…..……………………………....68

Figure 4.38 The enkang’ eleng’ esherr layout.….………………………….…...68

Figure 4.39 The enkaji oo seki.…..………………………………..…………………...68

Figure 4.40 Spatial layout of the Olpul.……………………………………………..68

Figure 4.41 warriors eating meat in the olpul……………………….……….....69

Figure 4.42 Olpejet layout plan.…………………………....….………………..…...69

Figure 4.43 Olpejet elevation.……….…………………………...…………………....69

Figure 4.44 Elders relaxing under a tree.………..……...……………….………….69

Figure 4.45 Vending stalls behind the enkang.….………………………...…...69

Figure 4.46 Traditional Maasai dwelling in Maasai Mara Kenya.……...69

Figure 4.47 Processed timber used in the structural framework of the

Enkaji. …...………………………………………………………………………………………...70

Figure 4.48 DPM used to enhance the roof system of the enkaji..……..70

Figure 4.49 Traditional sapling mesh………………………………..……………...70

Figure 4.50 Traditional sapling door.…………………..…………………………...70

Figure 4.51 Modern wire mesh windows…………………………………………..…..…70

Figure 4.52 Modern processed timber door…………………………………….…….…70

Figure 4.53 The Olerorat House.……………………………………………....……….…...70

Figure 4.54 The Olerorat House perspective……………………………….…………...74

Figure 4.55 The Olerorat House aerial map.……………..................................74

Figure 4.56 The Olerorat House site plan.……………......................................74

Figure 4.57 The rounded corners of the building..……………..………………..…..75

Figure 4.58 The fenestration borrowed from Maasai Dwellings.….………....76

Figure 4.59 The brown textured external façade..…………………….………..…..77

Figure 4.60 Sketch showing the undifferentiated structure of the post office

building.………………...…………………………………………….…………………………….…..77

Figure 4.61 Unity and harmony of form morphology………………..……….....78

Figure 4.62 Harmony of building morphology.………………………….……...…….78

Figure 4.63 Form of the Maasai enkaji.…………………………….…....……………..79

Figure 4.64 Form derived from the Maasai enkaji..…………………….…..……..79

Figure 4.65 Masonry wall and concrete external façade.……………………….80

Figure 4.66 Perspective of the site.…….......................................................80

Figure 4.67 The Mara Serena Lodge...…………………….……….………………..…..81

Figure 4.68 The Mara Serena Lodge. Location within Narok County…...…....81

Figure 4.69 The Mara Serena Lodge layout...………………..……...…….…...…...82

Figure 4.70 The Mara Serena hotel room layout.………..………………..….......82

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List of Figures

Figure 4.71 The Maasai cultural constants in architecture..………..……....83

Figure 4.72 Cluster of hotel rooms.…….…………………..…………..……….……..83

Figure 4.73 Hybrid Maasai Architecture.…..……………………………...………...83

Figure 4.74 The Undifferentiated structure of the hotel.…………..…..…....84

Figure 4.75 The rounded edges of the lodge.………………….……………..…....84

Figure 4.76 Unity in the hotel design.…………………………….…………………....85

Figure 4.77 Double volume spaces.…..…………………………..…………………....85

Figure 4.78 Variation of scale and proportions in the buildings..…….…...86

Figure 4.79 Buildings with big proportions in terms of scale..……..……....86

Figure 4.80 Hotel rooms with small proportions in terms of scale...……..86

Figure 4.81 The hotel rooms. ………………………………………….……………….....87

Figure 4.82 Large windows that allow cross ventilation and panoramic

views.…………………………....……………………………………………………..……..…...87

Figure 4.83 Traditional construction materials .………..…….…………...…....88

Figure 4.84 Location of the lodge in relation to terrain…………….………….88

Figure 4.85 CASE STUDY 01. Orboma homestead .….………..…………...…...89

Figure 4.86 CASE STUDY 02. Olmarei homestead.…..……………………...…...89

Figure 4.87 CASE STUDY 03. Narok Post office …...….………………..………...89

Figure 4.88 CASE STUDY 04. Mara Serena Lodge.….………………………...…..89

Table 4.01 Comparative case study analysis…………………………………..…...90

Table 4.02 Comparative case study analysis…………………………………..…...91

iv

Table 4.03 Comparative case study analysis…………………………….………...…...92

Table 4.04 Comparative case study analysis……………………………………....…...93

C o n c l u s i o n a n d R e c o m m e n d a t i o n s

Figure 5.01 Authentic Maasai architecture. ………………………...………………....94

Figure 5.02 Buildings lacking identity.…………………………………..…........……...94

Table 5.01 The relationship between Maasai cultural and architectural

constants.……….…...…………………………………………………………………………….…...95

Figure 5.03 Maasai built forms..……..……………………………………….……………….95

Figure 5.05 Mara Serena lodge, Hybrid Maasai architecture.….………...…...96

Figure 5.06 Mara Serena lodge spatial layout, Hybrid Maasai architecture. .

………………………………………………………………………………………………………………...96

Figure 5.07 Construction of a Maasai enkaji. …………...………………………….….97

Figure 4.08 Integration of modern construction materials into the traditional

form.……………………………………………………………………………………………….……...97

Figure 4.09 Traditional Maasai enkaji that used only traditional construction

materials..……………………………………………………………………………………………...98

Figure 4.10 Maasai enkaji that integrated modern construction materials..

……………………………………………………………………………………………………………....98

Figure 5.11 Culture and architecture.….………..……………………………………....99

Figure 5.12 Centrality viewed in the olpejet layout.. ……………………………... ..99

TOWARDS A HYBRID MAASAI ARCHITECTURE

i

Abstract

Architecture is the embodiment of cultural norms which link the past present and the

future life. Traditional Maasai architecture was characterized by a tight correlation

between the understanding of these cultural norms by designers, builders and users.

This study was undertaken to examine the correlation between Maasai culture and

architecture a quality that has been lost in emerging contemporary architecture of

Narok county. By selecting two cases from both traditional and contemporary

architecture, it was possible to understand the embodiment of culture in architecture

following a detailed analysis of the cases in relation to the Maasai culture. It emerged

that traditional Maasai architecture was primarily governed by their culture and thus

the sole basis for meaning and identity of their architecture despite the integration of

modern construction materials and technology. From this, it is recommended that in

order to achieve a hybrid Maasai architecture, it is essential to apply the following

concept of Maasai culture: dualism, privacy, centrality and communalism. These will

therefore form the basis for an authentic and symbolic architecture rich in meaning

and identity and thus the establishment of a hybrid Maasai architecture.

Introduction

1.1. Introduction 1.2. Problem Statement 1.3. Research Objectives 1.4. Research Questions 1.5. Research Justification 1.6. Significance of the Study 1.7. Scope and Limitations 1.8. Organization of the Study 1.9. Definition of terms

TOWARDS A HYBRID MAASAI ARCHITECTURE

The Maasai are a nomadic community that live in Kenya and Tanzania (Figure. 1.01). The

Maasai tribe is a unique and popular tribe in Kenya due to their long preserved culture.

Nature and its elements has played a key role in the Maasai livelihood despite influences

from colonialism, development inventions and other cultural influences. They have clung

to their traditional way of life, making them a symbol of Kenyan culture.

The Maasai close customary relationship and dependence on the environment is clearly

elaborate in their cultural belief and practices. This is clearly portrayed in their concept

of their deity, (Enkai), their sacred symbols and colours, their holy mountain and trees,

their attitude towards animals both wild and domestic, their praises and their songs.

According to Rukwaro, (1997), cultural heritage is an integral part of the Maasai

community which links the past, present and the future life.

The Maasai people have a unique type of architecture which is primarily governed by their

well defined cultural constants (Figure 1.02). These cultural constants are passed down

from generation to generation leading to the continuity of the architectural identity

through cultural memory.

Cultural memory is oriented towards fixed points in the past. It cannot retain the past as

such, and instead transforms it into symbolic figures which uphold it (Assmann, 1938).

Architecture always follows known rules and regulations and has a strong and

unbreakable bond with culture, values and behaviour patterns of a society. This

continuity is necessary for consistency and strength of Maasai architecture on the one

hand and creativity and innovation as one of architectural values can go together provided

they are combined based on free thinking.

1 . 1 I n t r o d u c t i o n

Figure 1.02: The Maasai Manyatta Source: Author 2015.

Figure. 1.01: Map Showing Maasai ancestral land in Kenya and Tanzania Source: Rayne 2002.

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TOWARDS A HYBRID MAASAI ARCHITECTURE

1 . 2 P r o b l e m S t a t e m e n t

Regionalism requires that architecture reflects its time, place, climate and culture and at

the same time, create a bridge that links the past, present and the future. The ability of

architecture to derive inspirations from these aspects and contribute to particular special

qualities of its context is a key source of its meaning and richness. However, it has been

observed that with the rise of internationalism, very few buildings pay attention to these

key aspects of regionalism resulting into buildings without any rooting and identity.

For instance a case of Narok town, with 90% of the population being Maasai according to

2009 population census, the upcoming buildings especially along the Narok Mai-Mahiu

road have no reference to these aspects of regionalism, which in this case would be a leaf

from Maasai Traditional Architecture, (Figure 1.03). The Narok post office however, has

adapted a few qualities of Maasai architecture in its form and finish, (Figure 1.04).

The manifestation of internationalism, resulting into buildings without identity has

propelled the need for this study which seeks to bring to light the concepts of a hybrid

architecture and the constants of Maasai architecture and how they can be effectively

integrated in modern architecture giving it an identity especially in the urban setting.

This research although focusing on generating a hybrid architecture in the Modern

Maasai societies, can be effectively applied in other communities within Kenya and Africa

as a whole, generating a hybrid architecture that is true to its time and at the same time

rich in identity and fits within its locality. Figure 1.04: The Narok Post office. Source: Author 2015.

Figure 1.03: Ol Talel Mall in Narok County. Source: Author 2015.

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TOWARDS A HYBRID MAASAI ARCHITECTURE

1 . 4 R e s e a r c h O b j e c t i v e s

i) Examine the Maasai cultural constants in relation to their architecture.

ii) Establish how the Maasai have integrated modernity into traditional architecture.

iii) Evaluate the contemporary architecture of Narok in relation to Maasai architecture.

iv) Establish a hybrid architecture of the Maasai.

i) What are the Maasai cultural constants and the key architectural constants.

ii) How have the Maasai integrated modernity into traditional architecture.

iii) How is the contemporary architecture of Narok in relation to Maasai architecture.

iv) How can we achieve a Hybrid architecture of the Maasai.

1 . 3 R e s e a r c h Q u e s t i o n s

Figure 1.05: Maasai Women building a Manyatta. Source: Author 2015.

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Figure 1.06: Mara Serena Safari Lodge. Source: Author 2015.

TOWARDS A HYBRID MAASAI ARCHITECTURE

The past few years have witnessed a growing debate on regionalism and identity in

developing countries. This has been as a result of the realization that western models of

architecture and planning are not suitable for our local climate and socio-cultural well

being. Kenya being a developing country has a rich cultural heritage that when well

explored will give it a unique architecture rich in identity and symbolism.

This study was settled upon on the Maasai of Kenya owing to their unique cultural

identity and architecture, and the confluence of traditional and contemporary

architecture and the need for cultural continuity (Figure 1.07). In addition, previous

research done on the Maasai have not dealt with the bridging of the cultural constants

and architecture which this thesis seeks to undertake to help in development of a unique

form of contemporary architecture rich in identity and meaning, a hybrid architecture.

1 . 5 R e s e a r c h J u s t i f i c a t i o n

Acknowledging the findings, conclusions and recommendations by Rukwaro (1997) and

Ndambuki (2003), the findings on this research are intended to provide further insight to

architects and developers on the application of cultural constants in contemporary

architecture giving them a sense of identity and place. The Maasai community have a

strong and well defined cultural background; The interpretation of their cultural con-

stants into architecture will give a guideline that can be applicable in any other part of the

country paying respect to the cultural identity of the respective community.

1 . 6 S i g n i f i c a n c e o f t h e S t u d y

Figure 1.07: Maasai women and their Manyatta. Source: Author 2015.

Figure 1.08: Mosque at New Gourna , Egypt. Hassan Fathy. Source: Mark Ryckaert 2011

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TOWARDS A HYBRID MAASAI ARCHITECTURE

1 . 7 S c o p e a n d L i m i t a t i o n s

The architecture of the Maasai have been documented in previous studies :

Rukwaro in 1997 and Sapuro in 2014 .

Rukwaro (1997), documented the Maasai traditional architecture and outlined how the

Maasai traditional architecture is transforming due to external cultural influences.

Sapuro (2014), studied the thermal comfort of a Maasai manyatta and the material

culture and their relevance in contemporary architecture.

This thesis seeks to bring out the contributions of culture in architecture and how the

cultural constants of the Maasai can be interpreted in contemporary architecture without

loosing meaning and at the same time giving the architecture a strong cultural identity.

The study will be based on Narok County (figure 1.09).

During the study, limitations were realized in the following areas:

i. Time:- The time allocated for the study was not sufficient enough to do a compre-

hensive study of a vast Maasai land and therefore only specific areas of Narok

county were selected for the study.

ii. Finances:- The lack of adequate finance to travel to all the areas necessary for the

study and interaction of the locals at a more exploratory state.

iii. Language Barrier:- Most of the Maasai community within the area are illiterate and

therefore posing a language barrier. This provided a big challenge in terms of

gathering information from them. Figure 1.09: Map showing the area of study Source: Rayne 2002..

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TOWARDS A HYBRID MAASAI ARCHITECTURE

1 . 8 D e f i n i t i o n o f t e r m s

The following are technical terms used in this research and are defined in context of their use:

i) ‘Enkaji’ – The proper name for the main dwelling units of the Maasai, not

‘Manyatta’.

ii) Hybrid – A combination of two ideas to attain a symbiotic relationship.

iii) Identity – The characteristic that gives the person a sense of belonging.

iv) Symbolic architecture – Term coined by Charles Jencks in the 1980s to describe

architecture with a strong degree of personification or with allusions to cultural

ideas and historical references.

v) Architecture –disciplines of architecture, building technology, landscape

architecture, urban design, and planning.

vi) Culture – the whole way of life, material, intellectual, and spiritual, of a given

society.

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TOWARDS A HYBRID MAASAI ARCHITECTURE

1 . 8 O r g a n i z a t i o n o f t h e S t u d y

Chapter one, which is the introduction, initiates the study by giving the background

information of the study to be undertaken. It highlights the problem, the research

objectives and the questions which the study seeks to investigate.

Chapter two begins by opening a window into the understanding of the subject in study. It

begins by giving a cultural background of the Maasai community in terms of their way of

life and architecture and art. It further goes on to highlight how cultures are transformed

architecturally from the traditional to the modernity. This is basically understood through

the study of regionalism. The chapter then ends by outlining the various ways cultural

constants and principles can be applied in contemporary architecture to attain a form of

regionalism rich in identity and meaning.

Chapter three elaborates the approach used in caring out the research. It gives a detailed

explanation on the research methods and the data collection methods applied. It also

sets the criterion of the selection of the case studies. The case studies reflect the study of

cultural transformation from the traditional setup to the contemporary architecture.

Chapter four is basically the research analysis from the fieldwork. This is a scrutiny of

the study area and its architecture: both traditional and contemporary, giving a

description of the cultural ideologies and how they are integrated in the architecture.

Chapter five which is the last section of the study, underscores relevant conclusions

derived from the findings and gives further guidelines on attaining cultural identity and

symbolism in contemporary architecture.

Introduction

Literature Review

Research Methodology

Data Analysis

Conclusion &

Recommendation

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