Ngaren Strategic Roadmap with Appendixes

THE MUSEUM OF HUMANKIND

NGAREN

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Ngaren: The Museum of Humankind Strategic Roadmap and Content Design Overview February 2021

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“I believe that if we can make the science of the origins of huma and show people the amazing journey of humanity, we can shift Richard E. Leakey

I am pleased to present the Strategic Roadmap and Concept Design Overview for Ngaren: The Museum of Humankind which will be built in the Rift Valley of Kenya to celebrate the human journey. I believe that the journey of how humans came to be is the most adventurous and exciting story we could ever tell – a story that we can finally show in the details it deserves. The story is largely an African story, one of chance, with many experiments and failures, where nothing is static.

The story shows us that we are interconnected with all life. It shows how extinct animals like the dinosaurs are not simply monsters of a bygone epoch, but illustrates to us that without their demise we would not exist. And it is a story that shows that we are all one people.

A story that provides us with clues to our own behavior as a species.

A story that can certainly influence our future.

The idea of Ngaren grew out of my desire to bring this story to life - to translate the science of human origin into captivating content, and create experiences that will bring people face-to-face with the forces of change that brought about our existence. The wealth of fossils that has been discovered over the past fifty years provides us with an extraordinary evidence of humanity’s origin and evolution, as well as insight into the geographical and environmental context underlying our serendipitous journey. By showing us how life, landscapes, and climate have changed over time, and how living things responded to those changes, scientific evidence provides invaluable lessons for us as we navigate our future.

But the reality is that this science – the science of human origins and life on this planet - is often inaccessible to people. We are emotional animals. We make sense of the world through stories that engage

nity accessible and exciting to everyone, paradigms and change the world”.

our curiosity, emotions and imagination – things that touch our heart and soul. A good story can change the world, which is why stories have been used to hand down learning and knowledge for thousands of years. Therefore, the purpose at Ngaren is to tell the story of humankind in a way that has never been attempted before – a story where human evolution was not inevitable, where Africa plays a pivotal role; a story in which we are all migrants, in which our differences are insignificant and irrelevant.

I believe that if we can make the science of the origins of humanity accessible and exciting to everyone, and show people the amazing journey of humanity, we can shift paradigms and change the world.

To tell this amazing story, Ngaren has partnered with some of the world’s leading scientists, exhibit and content designers, special effects creators, technology experts, and storytellers. We have brought together a world-class Board of Directors representing academia, science, genetics, film-making, storytelling, fundraising, sustainability, business, museum administration and design, technology and non-profit governance. Together we will invite people to join a journey into the origins of the universe, and the story of our own planet, where the relentless forces of climate change are the backdrop to the evolution and extinction of species, large and small.

To stage this amazing story, we need a physical place. We will build Ngaren as a landmark, in the most symbolic site for our human origins: Africa’s Great Rift Valley. I envision Ngaren as a repository for our collective identity as members of one same species –

humankind. It is time to celebrate our roots – as brothers and sisters from a common home. Ngaren will be a ‘site of memory’, a vehicle for validating and authenticating our shared past, and imagining a truly global society that together builds a just future.

In addition to a physical museum, Ngaren will also be a live-science and on-line hub of relevant and meaningful content which will provide access to the science of human origins worldwide, including school programs which will be able to broadcast this amazing story as wide as possible.

Ngaren will be more than a museum. It will be a complete immersion into our evolution—tracing the history of life on earth from its very beginning to the present. Walking through history, meeting your first ancestors, and dramatically realizing your brief role in our planet’s rich history will be awe inspiring - and even life changing - for all visitors.

This is our goal, and I believe there has never been a more critical time for our mission.

Best,

Richard E. Leakey

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TABLE OF CONTENTS 1 2 3 4 5 6 7

Goals Who we are Strategy Economic and Social Impact Museum Content Concept The Engine

Appendixes (Included in long version. Available individually as supplements upon request)

1 2 3 4 5

Organizational Structure (Appendix 1) Program of requirements (Appendix 2) ICT (Appendix 3) Financials (Appendix 4) Feasibility study (Appendix 5) 7

GOALS

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A good story can change the wo

orld

Mission Ngaren celebrates the beginnings of all humanity. Dedicated to educating humankind on our shared past, Ngaren tells the story of our common ancestry, our epic journeys and our future obligation to protect the planet that is our only home.

Core values • Scientific literacy: science and research are indispensable to our understanding of the world.

• Storytelling: storytelling is a powerful means in which modern learning takes place.

• Evolution: the law of evolution best explains how life came to be and provides the means for reconstructing the development and diversity of all forms of life including humans. If embraced as a critical thinking method, it helps dissolve ignorance and act for a better future for our planet and us.

• Innovation in Africa: Africa has the power to implement and host innovative projects. Ngaren will be a world-class museum, with digital technology and storytelling defining a revolutionary model of new museum design.

• Passion for scientific discovery: the Leakey family is a symbol of passion for fieldwork and discovery. They have inspired generations of scientists in the field of paleontology, prehistory and anthropology in Africa, and their spirit and legacy inspires youth to embark on scientific thinking and careers.

• Monument to the African legacy of all living humans: Ngaren will be a ‘site of memory’ for our collective identity as members of the species of humankind.

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Located in the Rift Valley, Kenya, Ngaren will be will come face-to-face with the forces about our existence – and imagine the changes

where the world of change that brought needed to sustain it.

Vision With the capacity to host over 1,000,000 visitors a year Ngaren will be the only museum in the world driven by the narrative of our amazing human journey, designed to inform, inspire, and empower visitors to realize that we are all one human family and part of an interconnected and fragile web of life. Located in the Rift Valley, Kenya, Ngaren will be where the world will come face-to-face with the forces of change that brought about our existence – and imagine the changes needed to sustain it.

Position Ngaren will be an internationally recognized authority in the field of human origin and evolution, a leader in science storytelling, education and digital content that will transform our understanding of museums.

Core promise Ngaren will promote critical thinking and scientific inquiry, encouraging visitors to identify problems and ask questions, evaluate information and data, and draw conclusions from evidence. Only with the knowledge and empathy Ngaren gives people, will they be better informed, inspired and empowered to support the future of the human family and of our planet.

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Visiting Ngaren will be a one-of-a kind experience: a journey in itself to the Kenyan Rift Valley, it will be a journey into all humans’ past, in humanity’s original h

metaphorical and intellectual home: Africa.

Ambition Ngaren will be a ‘museum of the future’. Though the content will in many ways be similar to traditional natural history or science museums, Ngaren will employ an innovative mix of different museum and digital assets to drive a unique narrative of the science of human origins and human evolution.

Visiting Ngaren will be a one-of-a kind experience: a journey in itself to the Kenyan Rift Valley, it will be a metaphorical and intellectual journey into all humans’ past, in humanity’s original home: Africa.

Ngaren will also strive to become a world-recognized and respected brand, producing online content, exhibits, and educational materials on human origins and the evolution of life that will be accessible globally. Ngaren will emphasize the importance of live science as a means of captivating people’s imagination and curiosity – with the goal of bringing science to everyone and encouraging scientific inquiry and critical thinking. Ngaren will provide a platform and facility for state-of-the art science education and storytelling at a level never attempted before.

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The one and only immersive experience with our hominin ancestors walking alongside Turkana Artist’s impression of the encounter with Turkana Boy at Ngaren by Davide Bonadonna

Ngaren Highlights • The only museum driven by the narrative of human origins and evolution, in the place where the human journey begins.

• The only all-digital Planetarium in Africa.

• A one and only immersive experience with our hominin ancestors, walking alongside Turkana Boy and others.

• The only African museum to have a permanent display of real-size African dinosaurs.

• The only immersive digital Paleo-aquarium in Africa.

• Innovation lab to create, teach, and promote science, sustainability, imagination and equality.

• A world-class center created with innovative business and environmental sustainability values.

Boy and others.

• A world-class center for training specialized staff for science storytelling and exhibition design.

• A think-tank for scientific literacy and discussion on human origins, evolution and diversity.

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Artist’s impression of the Spinosaurus hall at Ngaren by Davide Bonadonna.

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WHO WE ARE

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Imagine your future through your past.

And redefine your place in the world.

Founding Father Richard Leakey is a world-renowned Kenyan paleoanthropologist. As the son of the famous paleoanthropologists Louis and Mary Leakey, it was only natural that Richard also entered anthropology. He worked on several excavations, made numerous discoveries in the field of human evolution and published extensively on his work. Leakey heads the Turkana Basin Institute, where students and experts come together to do fieldwork, study fossils and explore and exchange knowledge.

During his career, he was director of the National Museum of Kenya in Nairobi and later made a name for himself as a powerful fighter against wildlife crime in his role as director of all wildlife parks in Kenya.

In his rich and sometimes turbulent life, Leakey developed an urge to share his knowledge and passion about the evolution of humans with a large audience. More and more he felt that this story had to be told in an integral way, in which humans are not superior to nature, or are working against it or are threatened by nature, but are part of it. This gave rise to the idea of founding Ngaren, the museum of humankind.

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Background Ngaren, Inc. was incorporated in 2018 as a 501 c3 in the USA. A first round of seed funding in 2018 enabled Ngaren to establish a board of directors and offices in the USA and Kenya and create a strategic and fundraising plan for the development of the concept. In 2019, a 200-acre plot of land was secured as a donation by the Leakey family for the future home for Ngaren and like-minded institutions who will co-locate on the campus. In 2019, at the invitation of Richard Leakey and the Dutch embassy in Kenya, Naturalis, presented by Edwin van Huis (general director) and Caroline Breunesse (head of exhibitions), started to work on a Master Plan for Ngaren. Naturalis is an international expertise center for biodiversity, is in the top 5 of world class natural history museums, has expertise and collections in paleoanthropology, and had just recently built a completely new museum. In October 2020, Ngaren established a partnership with Weta Digital, a world-class special effects company, to help bring to life the narrative of Ngaren and create special effects, promotional materials and exhibits. Kenyan architect, Otto Mruttu, joined the Ngaren team as the project manager for building and construction in 2018. Ngaren draws upon decades of combined international experience and expertise in science, storytelling, and animation and digital effects of the partners involved: Ngaren, the Naturalis Biodiversity Center of The Netherlands, and Weta Digital New Zealand.

The Ngaren Partnership Ngaren is a new cultural and educational institution, that combines expertise of different partners in the EU, USA, Kenya, and New Zealand, and aims to broaden its partnership further with additional museums to be built on the Ngaren campus. The new Eastern African Arts Museum of Nairobi (EAMAN) has already saved a spot in the campus along with Ngaren. Together, they will pave the road for a world-class standard of museum and creative industries in the whole of Africa. Because Ngaren will be both a physical place (a museum) as well as a digital brand, content and message, we have partnered with some of the world’s leading scientists, exhibit and content designers, special effects creators, technology experts and storytellers to reimagine the possibilities for museums and learning.

And we have brought together a world-class Board of Directors representing academia, science, genetics, film-making, storytelling, fundraising, sustainability, business, museum administration and design, technology and non-profit governance.

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Together we will invite people to join a journey into and the story of our own planet, where the

to the evolution and exti

Ngaren Board of Directors

Ngaren Team

Richard E. Leakey, Founder Sarah Ferguson, The Duchess of York Andrea Frey, Founder, AJF Advisory John Heminway, Documentary Filmmaker Henry Louis Gates Jr., Alphonse Fletcher University Professor, Director of the Hutchins Center for African & African American Research, Harvard University Marta Mirazón Lahr, Professor of Human Evolutionary Biology, University of Cambridge Rachel Mbai, Attorney and Kenyan Advocate, Kaplan and Stratton Scott Miller, Deputy Under Secretary, Smithsonian Institution Ellen C. O’Connell, Chief Executive Officer Tony Saxton, Founder and Managing Partner, Terra Group Holdings Annette L. Williamson, Board of Trustees, Ngaren USA

Ellen C. O’Connell, Chief Executive Officer Edwin van Huis, General Director Naturalis Biodiversity Center Caroline Breunesse, Director of Exhibitions Naturalis Biodiversity Center Federica Crivellaro, Ngaren Exhibitions and Content Developer, Palaeoanthropologist Turkana Basin Institute Marijke Besselink, Content Developer Naturalis Biodiversity Center José Joordens, Professor of Human Evolutionary Biology, The University of Maastricht Anne Schulp, Researcher at Naturalis and Professor of Vertebrate Paleontology Utrecht University Karin Boomsma, Kenyan Development and Liaison Officer Otto Mruttu, Project Management for Building and Construction

the origins of the universe, relentless forces of climate change are the backdrop inction of species,

large and small.

The Naturalis Biodiversity Center of The Netherlands

Weta Digital New Zealand

The Naturalis Biodiversity Center of The Netherlands is a research institute for biodiversity with over 120 scientists, working on issues in the field of biodiversity on land and at sea worldwide: mapping species and their cohesion, the changing living environment and the influence of climate change. One of the largest natural history collections in the world, with over 42 million objects, Naturalis operates a national museum, consisting of 10 permanent exhibits.

The museum reopened in 2019 after it was rebuilt and furnished from scratch – a brand new museum vibrating of amazing stories that are helping bringing to life Naturalis’s unique collections and attracting new audiences to science.

Weta Digital is the standard-bearer for creativity and innovation in visual effects and animation, attracting talent, partners, and clients that seek to push what is possible in pursuit of their artistic vision.

Over the years, Weta Digital artists have received numerous awards and recognitions, including: 6 Academy Awards® for Best Visual Effects, 10 Academy Science & Technology Awards, 6 BAFTA Awards for Best Special Visual Effects; 7 VES Awards for Outstanding Visual Effects in a Photoreal Feature; 2 Emmy Awards for Outstanding Special Visual Effects. Weta was founded by Peter Jackson, Richard Taylor and Jamie Serlik in 1993 and has worked on animation, special effects and digital creation for hundreds of films including: The Lord of the Rings Trilogy, King Kong, The Fantastic Four, The Chronicle of Narnia, Gulliver’s Travels, The Avengers, Rise of the Planet of the Apes, The Hobbit, Iran Man 3, The Hunger Games, Dawn of the Planet Apes, Godzilla, Gemini Man, Terminator: Dark Fate, Ad Astra, Jumani Next Level, Maze Runner, Deadpool 2, Game of Thrones Season 8, The Umbrella Factory, Avengers: End Game, and the Avatar series.

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STRATEGY

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Good storytelling can make science accessible for everyone.

Ngaren: a ‘museum of the future’ Ngaren aspires to be a welcoming, accessible and open museum for young and old. By using artifacts, digital technology, live science, immersive exhibits and state-of-the-art science storytelling, Ngaren will challenge visitors to learn, think, do and discuss.

Science is the core business for us at Ngaren. We are tireless ambassadors who believe that good storytelling can make science accessible for everyone. In principle, science should be unambivalent, objective, and accessible. The problem for science, however, is that humans are not entirely rational decision makers. We do not process information in a completely objective way. Scientific evidence, no matter how strong, is often met with ambivalent or even antagonistic reaction. As a result, engaging people in science can be difficult.

We are emotional animals. We make sense of the world through stories that engage our curiosity, emotions and imagination – things that touch our heart and soul. But a good story can change the world, which is why stories have been used to hand down learning and knowledge for thousands of years. Ngaren: The Museum of Humankind is being designed precisely to address this phenomenon.

To stage this amazing story, Ngaren will be built at the site of human origins: Africa’s Great Rift Valley. The intention is that the physical site of Ngaren, and the museum building, will be a celebratory place, a monument, and hub, which will act as “a lighthouse for humanity”.

The presence of a physical building will ensure that Ngaren will be something permanent in a volatile, fluid world in which knowledge is often invented, contested, and uncertain.

The vision is that Ngaren will become a repository for our collective identity as members of the species of humankind. It will be a ‘site of memory’, a vehicle for validating and authenticating our shared past and imagining a better future. As such, the location and physical space of Ngaren in Kenya will be a symbol which will grab people’s attention and interest – a touchstone for our common identity and shared origins. Ngaren will then use innovative storytelling as a way to expand our audience, and make the story of our common heritage and shared humanity available globally – through online and educational content.

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Create, teach and promote sustainab imagi

bility,

ination and equality.

Target audience Ngaren will focus on the fast-growing middle-class family demographic from Kenya, school classes from Kenya, business visitors looking for some recreation between conferences and meetings, and tourists visiting Kenya. In addition, the online content will be directed to appeal to a global audience including schools in remote areas, universities and the general public interested in human origins.

Ngaren will position itself as a “must-see” for business visitors and also be a place where business visitors can meet for conferences, meetings and special events. For this, Ngaren will be equipped with facilities such as a large auditorium, meeting rooms and good catering facilities. These facilities will also accommodate school groups for on-site special learning activities.

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The details are still being revealed in the layers of sediment, and mysteries of the fossils that scientists are uncovering.

This story has never been told in full.

Behavioral change Ngaren will aim to inform visitors, but we also aim to influence people’s behavior. The visit to Ngaren should be a life changing experience that makes people think about their place on earth, in nature and within the “family” of humans. By encouraging scientific inquiry and critical thinking, Ngaren’s exhibits and educational offerings will encourage visitors to examine their place in the complex web of life and their impact on the planet.

Visitor experience Every visitor at Ngaren will be able to experience themselves as the protagonist of the story that is being narrated: the journey of how humans came to be over the course of the history of life. This story is the most adventurous and exciting story we could ever tell, and it is a tale that we are still discovering. The uncovering of fossils and amazing scientific findings of research being conducted by scientists around the world, provides us with new evidence and new drama in the story of who we are, on a daily basis.

This story has never been told in full. And because the details of the story are still being revealed in the layers of sediment, and mysteries of the fossils that scientists are uncovering, it is a complicated yet intriguing challenge. Ngaren, with its focus on innovation and cuttingedge science will continuously develop new content and exhibits to match the ever-evolving narrative of this story.

The start of the visit will be the same for everyone - the Planetarium.

This introduction will act to establish a mindset for the visit. It will summarize the narrative of the museum, and provide a glimpse into what to expect throughout the experience. It will also aim to stimulate and make visitors curious, and energize them to explore the museum further.

After the Planetarium introduction, visitors will enter the Orientation Hall, a spacious atrium with wide glass windows overlooking the Great Rift Valley. Looking out over this beautiful natural landscape, visitors will be introduced to the actual location where the story of humankind started. With innovative technical media the visitors will be able to see this landscape as it was millions of years ago and meet with early ancestors. Here they will be able to truly connect with early hominins and establish a connection between the present and the past.

This encounter will be the start of the main part of the museum, with a suggested route to follow, but where people can also choose their own path if they are short on time or would like to explore different exhibits in a different order.

The five main museum galleries will all be organized around themes which will be introduced by “protagonists”. These “protagonists” will be fossil or scientific findings that are being picked to trigger visitors’ curiosity and pull them into the narrative.

After the galleries, the visit will continue to a gallery of games of different sorts to make visitors play with evolution and cooperation, as a transition into three immersive galleries called Treasure Rooms in which visitors will be able to experience nature with all their senses, cultural diversity of people worldwide, meet inspirational people that are leading scientific research, and developing new ideas for sustainable living.

Visitors will end their visit having the opportunity to discuss their thoughts and ideas with Ngaren staff and special guests that will contribute to make the Ngaren experience even more personal and useful to be continued beyond the physical boundaries of the museum.

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Digital technology, special effects, and immersive experience will all in compelling and scienti

Artist’s impression of Australopithecus Afarensis by John Gurche.

live science bring to life the narrative fically accurate ways.

Collection While Ngaren exhibits will include original fossils and artifacts, when legal, possible and appropriate, Ngaren will not house a collection of real fossils and artifacts of human ancestors. In Kenya, the National Museums Act and Antiquities Monuments Act regulates the removal and trade in fossilized human remains that pre-date 1895. The National Museum of Kenya is authorized to compulsorily acquire remains, and therefore Ngaren will include a collection of scientifically accurate replicas, casts and models. Modern 3D printing, with the addition of the extraordinary work of paleoartists, anatomists, and scientists, allows for hyper-realistic and affordable reproductions. World experts will be commissioned to make models of extinct animals, models of trees and plants, mock-ups of (forgotten) landscapes. Digital technology, special effects, live science and immersive experience will all bring to life the narrative in compelling and scientifically accurate ways.

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African Global Modern

Look & Feel Ngaren will welcome a diverse public from all over the world, from different socio-economic-political and geographic backgrounds and ages, and will therefore employ a ‘visual language’ that will be understandable and appealing to all visitors.

The look and feel of Ngaren will be based around three key elements: African (our origin and the location of Ngaren), global (we are all interconnected with life and each-other on one same planet), and modern (forward looking and innovative).

The look and feel of Ngaren will aim to represent the connection between the past and the present, with elements drawn from tradition and nature fused with sophisticated, modern, technological and innovative design that personifies the Ngaren identity – one where humanity’s universal African legacy may be epitomized by colorful, diverse, geometric forms, not constrained to preconceived western stereotypes.

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Holding Power Ngaren will be a 30-minute drive from the Nairobi city center when the new roads from Nairobi have been completed.

The overall visit to Ngaren will offer an experience between 2 ½ and 5+ hours. The routing and exhibitions will be designed in a way that Ngaren can be enjoyed quickly, for example by a group of business partners with a limited amount of time to spend before their flight back home, or for a longer experience – i.e., a day out for a family.

The restaurants and terraces with their amazing view, the galleries and the Evolutionary Game Room will offer more for people who have a lot of time and interest. Workshops, masterclasses, lectures and other special events and exhibits will bring people back again and again.

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With the help of cuttingTurkana Boy will be broug becoming Ngaren’s Artist’s impression of Turkana Boy by Davide Bonadonna.

-edge 3D technology, ght to life “Mona Lisa”.

Turkana Boy Turkana Boy is an African Homo erectus fossil skeleton found by Richard Leakey and his team in 1984. It is dated around 1.6 million years ago and is the most complete hominin individual ever found.

The completeness of the skeleton has allowed scientists to make numerous comparative studies to mark important evolutionary stages of development into modern humanity. Also, they have been able to assess that Turkana Boy died when he was between 8 and 10 years old, and that he had a severe scoliosis that certainly required him being looked after by his community/family. These facts and more can be decoded from a fossilized skeleton.

At Ngaren, with the help of cutting-edge 3D technology, Turkana Boy will be brought to life becoming Ngaren’s “Mona Lisa”.

Turkana Boy will be Ngaren’s ambassador, the icon of the museum that is also immediately recognized as part of the brand of Ngaren.

Despite its age and the fact that it is a different species from living humans today, Turkana Boy is proof of humanity’s deep roots back in time and in Africa. Turkana Boy will be used in advertisements, promotions and other outreach for Ngaren as a must-see when visiting Kenya – becoming, hopefully, one more reason to visit Kenya along with its amazing parks with unique biodiversity.

Visitors arriving at Ngaren will be eager to meet Turkana Boy, and the interactive exhibit offered at the museum will draw visitors back because of the magic of the experience.

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Exhibit and architectural design Seed-funding Capital funding

Dec 2022 Final building and exhibit plan

Jun-Nov 2022 Construction tenders

Jan 2022 Architectural plan

Apr-Jun 2021 Architects contest

Feb 2021 Masterplan completion

Jan 2020 Start masterplan

Nov 2026 OPENING NGAREN

Nov 2025 Organizational set-up

Feb 2023 Start building Ngaren

Timeline

Operational funds 1st year

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ECONOMIC AND SOCIAL IMPACT

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HEALTHY ENVIRONMENT THRIVING SOCIETY PROSPEROUS ECONOMY Goal 4: Quality Education Through inclusive and equitable access to its onsite and online programs for educators, Ngaren will guarantee access to scientific literacy even beyond the museum walls.

Goal 5: Gender Equality Ngaren’s core message is about the equality of all humans as members of one same species, with no distinction for gender or sexual preference. It is a message of great empowerment for women and girls worldwide - as well as everyone else.

Goal 8: Decent work and Economic growth Ngaren will provide for new sustainable and inclusive work opportunities primarily for Kenyans.

It will also provide cutting-edge training for young people, creating a new generation of professionals in science and museum studies.

Goal 10: Reduced inequalities One of Ngaren's core values is to show that Africa has a potential to implement and host world class projects. By building Ngaren, Kenya will become a centre for science and museum innovation and thinking.

Goal 7, 9 and 11: Affordable and Clean Energy Industry, innovation and infrastructure Sustainable Cities and communities.

Ngaren is being built as a Net Zero building which will utilize sustainable materials and renewable energy. In addition the project will stimulate sustainable economic and infrastructure development in Kenya, and in Kajaido County, creating hundreds of jobs and opportunities for a rural community.

Goal 17: Partnering for the goals Ngaren inc. is a 501 c3 non-profit organization in the USA and a legal non-profit entity in Kenya.

As a new world-class cultural and educational institution, Ngaren combines expertise or different partners in the EU, USA and Kenya, and aims to broaden its partnership further with additional museums to be built on the Ngaren campus.

Goal 13, 14 and 15: Climate Action Life Below Water Life on land Ngaren’s primary message is that human beings are part of an interconnected and fragile web of life. Ngaren will stimulate discussion and thought, and give people the tools they need to act sustainably to support the future of the human family and of our planet.

Towards Agenda 2030 Ngaren will play a pivotal role in bringing tourism back to Kenya in a post-Covid environment and establishing Nairobi and Kenya as a site of world-class scientific literacy, education, and innovation.

In line with the UN Agenda 2030 Sustainable Development Goals (SDG), Ngaren will have particular impact on education quality (Goal 4) promoting inclusive and equitable access to its programs, with emphasis on the development of on-line classes and material for educators which will guarantee access to scientific literacy even in the most remote parts of Kenya. The program will start regionally, looking to make sure that rural schools have access to Ngaren’s world-class on-line educational programs designed to enhance the scientific literacy of school curricula in Kenya, but the aim is to rapidly expand access elsewhere around the globe. In addition, Ngaren will support Goals 5, 7, 8, 9, 10, 11, 13, 14 and 15.

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Science is not just

Education One of Ngaren’s primary goals is education. To this end, Ngaren aims to stimulate curiosity and a pro-science attitude for all visitors.

The belief in the importance of scientific literacy – that science and research are indispensable to our understanding of the world – is a critical element of the DNA of the institution, but we also understand that storytelling is often the most powerful means of transmitting information. Therefore, Ngaren will use a combination of real artifacts, immersive experiences, and relevant topics, to arouse a sense of wonder, encourage intellectual inquiry, and support the development of scientific research skills for students and visitors to the museum.

One of our goals is to contribute to knowledge about, and use of, scientific research, and to contribute to the notion that science is not ‘just an opinion’, but a solid, trustworthy, and diligent way of thinking and working.

an opinion.

In addition, Ngaren aims to give visitors the tools to interpret the information they see and hear in the news, social media, and in conversations with others, in a diligent and methodical way – to make them thoughtful and informed citizens of the world.

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One of our goals is to contribute to know and to contribute to the notion that science is not ‘just

The Big Five When you go on safari in Africa, chances are that seeing the Big Five is on your wish list. The Big Five - Lion, Leopard, Rhino, Elephant and African Buffalo - are considered the five most impressive animals in the savannah – a “must see”. The Big Five is both a motivator and an organizing principle for people’s voyage. The Big Five is also a metaphor for Ngaren’s educational principles - five starting points that fit Ngaren’s view of how we, as an institution, can arouse interest in human origins and our environment.

The Big Five concepts for Ngaren’s Educational Framework are: Wonder, Real, Relevant, Inquisitive, and Science-Positive.

Wonder At Ngaren, we use wonderment as the natural starting point of the learning process. Wonderment expresses itself as questions, which lead to curiosity and ‘the desire to understand’.

Ngaren will therefore employ wonder as a way of engaging visitors and inspiring inquisitiveness. The goal is that all visitors to Ngaren will be amazed and “wowed”. Educational activities at Ngaren will all start with a “wow” factor – aimed at all levels of educational background and age. Objects, examples, or phenomena will be chosen to instill genuine amazement – and inspire inquiry that goes beyond more mundane questions such as “how old, is it?” or “don’t you like this?”. By employing appropriate didactic strategies, wonder will then lead to curiosity and enthusiasm.

Real At Ngaren, our focus will be on real objects, (or life-like replicas when real artifacts are not possible), real facts taken from nature, real research examples, and real scientists. Our objects and

encounters will aim to make abstract educational concepts (such as evolution) easier to understand. Ngaren will be filled with objects (real and life-size models), real scientists, and real examples of research. Ngaren will strive to bring people into contact with natural history, and to extend the learning environment beyond the walls of the museum – making the learning and information at Ngaren relevant to “everyday” life. Visitors will be introduced to organisms, specimens, fossils, and artifacts that have lived and existed on our planet for millions of years. People will be able to view, touch, examine, hear, and smell artifacts – the experience will be immersive and tactile. Scientists will be available and accessible to share their personal stories, their successes, mistakes, enthusiasms, passions, and fascinations. These encounters will allow visitors to connect to the science in the museum on a more personal level. By giving visitors access to scientists who will convey their knowledge and experiences with passion - relay the experience of the dinosaur they excavated, or the spider that they named - visitors will be exposed to new information in a relevant, live and exciting format.

Relevant At Ngaren we will do our best to show the richness of nature and its relevance to people’s lives. People are more likely to want to know more about a topic if it is relevant to them, but the relevance of nature is no longer self-evident. Human evolution, nature, and planet Earth are central themes of Ngaren. It is a critical goal of Ngaren to make the content and learning of these themes personally relevant for visitors. By providing visitors with a positive, interesting learning experiences, by creating connections to current events, placing the learning at Ngaren in the context of the real world, extending learning beyond the walls of the museum, and creating social learning experiences, the content of Ngaren can be made relevant.

ledge about, and use of scientific research, an opinion’, but a solid, trustworthy,

and diligent way of thinking and working.

Inquisitive People learn best by doing their own research, and therefore learning through research forms the backbone of Ngaren’s educational vision. Wherever possible, we will encourage visitors to find out more for themsel es and self-explore. Scientists conduct research in order to document, describe, analyze, and better understand the world. Young children also naturally engage in a sort of “research” to investigate and understand the world around them. They ask questions spontaneously, not hindered, or helped, by previous knowledge or pre-conceptions. They are, in many ways, authentic researchers. The didactics of inquiry-based learning that will be used at Ngaren will encourage this child-like inquiry for all visitors. Scientific rigor is the backbone of our educational vision, and we therefore aim to use research to inspire enthusiasm about science. We aim to stimulate an inquisitiveness, openness, cooperation, and creativity.

Science-positive We believe it is important for visitors to gain insight into how scientific knowledge is acquired. We aim o encourage a sciencepositive attitude and stimulate our visitors to do as real scientists do: question the world around them, search for answers, and appreciate their true value. Science has made unparalleled contributions to the development of human knowledge and our understanding of the natural world. Science also plays a critical role in the development of independent thinkers and is a driving force behind innovation.

At Ngaren, we think it is important that attention be paid to how scientific knowledge is generated. We want to educate people about science itself, how it works, why it is important. We want to encourage people to think like scientists, to ask questions about the world around them, to seek answers, and to appreciate the

mysteries of the world. Our goal is to encourage people to question and learn more about the world around them – from the production of the food they eat, to the smartphone in their pocket. We want to encourage interrogation of how science works. We want to convey that science is complex and not always uncontroversial, such as climate change and evolution.

Life-long learning for everyone Ngaren’s educational model is based on the concept of life-long learning. We will therefore design the museum and educational offerings o cater to people of all ages, backgrounds, and levels of education. The goal is that everyone who visits Ngaren will learn something, and gain new insights. The core promise of Ngaren is that it will promote critical thinking and scientific inquiry, encouraging visitors to identify problems and ask questions, evaluate information and data, and draw conclusions from evidence.

Then, with the knowledge and empathy Ngaren gives people, they will be better informed, inspired and empowered to support the future of the human family and our planet.

This is the overall key message of Ngaren. Therefore, when visitors leave the museum, we hope they will be motivated to continue to learn and make changes in their behaviors. As part of the Ngaren experience and brand, online and offline content will be created that will be available at the museum and on the website and online portals, through educational offerings and in the live streams of conferences.

The brand of Ngaren will continue to develop materials, offerings and content that will establish Ngaren as a world-class scientific brand.

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There it is … A majestic building rises up before my very And it’s worth the journey; the beautiful landscape surroun It doesn’t take me long to find a seat in the planetarium wh a journey to the past. I start to relax and the next moment I images of Earth bring me back in time, to this place, here an all around me. Then, to my surprise, I recognize myself amo photo …

When I enter the main hall that overlooks the Great Rift Vall at this valley with even greater respect. Suddenly, while loo I’m still at Ngaren, but now there are apes, giant warthogs a different from the ones I know today. An audio explains tha I see a two-legged figure walking. He looks human to me.

y eyes. Ngaren! After a long trip I’m finally there. nding me holds a promise of what I’m about to see. here a sweet voice welcomes me on my journey, I’m taken into the universe. I feel tiny. Beautiful nd now. From the dome center faces are projected ongst them. Now I understand why they took my

THE MUSEUM

ley my eyes need to adjust to the light. I now look oking at the landscape, the whole scenery changes. and strange elephants. They look familiar, yet at we’re back in time 2 million years ago. There,

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Suddenly, I am back in time 2 million There, I see a It looks human to me.

years ago. two-legged figure walking.

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Why Ngaren?

“Ngaren” means “the beginning”. It is a word from the language of the Turkana, the inhabitants of the area in Northern Kenya where Richard Leakey and his family have pioneered and made scientifically significant discoveries on human origins and evolution. This region is an extraordinary window into the past, with rich fossil layers that encapsulate major evolutionary events from the Mesozoic era to the present. It is in the Turkana Basin that the Leakey family initiated a series of groundbreaking hominin discoveries spanning more than 4 million years of human evolution. Among these, Turkana Boy is the most complete hominin ever found – a unique specimen of immense scientific importance to interpret our human journey.

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Ngaren means “the beginning”.

It is the beginning of a journey.

A marvelous one that began a long time ago.

The human journey.Your journey.

A journey into the past.

In search of your origins.

To discover your identity.

Your kinship.

Your place within nature. Your humanity.

It is a journey to understand who you are and where you’r

A journey of intellectual enlightenment.

Full of amazing encounters.

Key messages Ngaren’s mission is to translate the science of human origins into content, because this story is extraordinarily relevant to how we as human beings understand our place on earth, who we are in fact, how we live our lives, our impact on the environment, and how we will continue to survive on this planet. This story shows us:

’re heading.

• that we are interconnected with all life; • that we are all one people, with common African origins; • that we are more similar than we are different; • that skin color and nationality are irrelevant; • that climate and our mutual relationship with nature are crucial to our survival.

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Welcome hall

600 sqm Dome 800 sqm Orientation Hall 600 sqm Research rooms: A field of Pancakes A dinosaur in Africa A whale in the desert A skeleton of a boy A face whith a chin

500 sqm 1200 sqm 1o00 sqm 1200 sqm 1200 sqm

Treasure rooms: Symphony of nature Homage to humanity A treasure trove of ideas

400 sqm 400 sqm 400 sqm

Terrace cafeteria Exploration station

600 sqm 600 sqm

The Storyline Ngaren: The Museum of Humankind is intended to be the museum of the “human journey”. The visit to the museum is being designed so that visitors to Ngaren will travel through the rooms and galleries on a journey that mimics a real-life journey: • the Welcome Hall is where visitors will prepare for their journey – here they will buy or check their tickets, take off their coats, and start planning their visit with the assistance of helpful and welcoming Ngaren staff; • in the Planetarium visitors will then be given a preview or overall glimpse of what the Ngaren journey will entail. A digital show will help visitors develop a mindset for their journey and further prepare for their voyage; • the Orientation hall is where visitors will be able to create a connection with the location, the Great Rift Valley, and their African ancestors. Here, visitors will also be told important information on safety, and logistics, and be able to choose the path through the museum that they prefer; • if desired, visitors can then go outside to the Exploration Stations, to explore the surrounding landscape and get more information on its scientific interpretation. This will allow them to take the most advantage of the museum galleries. This option will be available at any time during the visit to the museum; • the five Research Rooms are the “proper” museum galleries – each is a container holding unique stories. The stories are all introduced by “protagonists” that welcome visitors into the galleries. The Research Rooms are connected to each other through an underlying storyline – the story of humankind presented to the visitor as a serendipitous evolutionary journey: from the origin of life (A field of pancakes), through

the dinosaurs’ extinction (A dinosaur in Africa), the rise of mammals and the diversification of primates (A whale in the desert), to the start of the hominins’ line (A skeleton of a boy) and the spread and survival of Homo sapiens – the only hominin species alive today (A face with a chin); • the Evolutionary Game Room is a gallery full of individual and social/group interactive games for visitors of all ages.

The activities in the Game Room will be designed to deepen a visitor’s understanding of the mechanisms of evolution and cooperation, in a playful, more approachable way. In this gallery visitors can discover new things about themselves.

They will realize that humans are inventive, smart, and cooperative, as well as competitive, or perhaps feel empowered to make changes in their own personal behaviors. Here, the message will be that individuals can change the world, and that we live in a world worth being treasured; • the visit to Ngaren then continues with three Treasure Rooms which will be immersions into the beauty and importance of biodiversity.

These rooms will make visitors experience that all humans are part of nature, and that we are all connected to each other, and to the rest of life on this planet. These rooms will emphasize that we are members of one big family of humans, and illustrate the importance of taking care of the planet which is our one and only home.

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Ngaren is a journey into the past, in search of your origins.

Wherever you go, whatever you do, you leave traces behind.

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Humans are not the pinnacle of evolution.

We are part of nature and interd

The narrative Our planet is our home. It is beautiful, amazingly diverse, but also quite fragile. Each of us shares a common story of how we came to be who we are today. At Ngaren, you too will be a protagonist in the marvelous story of life. Welcome to Ngaren where this story will rapture your heart and mind. (Planetarium) Before starting your journey into Ngaren, you will want to acquire the right tools to get oriented for your journey. Experience how tiny you are before nature. You are in the Great African Rift, a beautiful and magnificent place that has emerged from the uplifting of the earth’s mantle. It roars of the power and dynamicity of nature: although you don’t notice it, it keeps moving under your feet. It is also a very symbolic place for your human journey: it records the longest time span of human history – more than four million years of human evolution in many different forms. Two million

years ago you would have met your ancestors fetching water in the rift lakes. You are suddenly back then: there are human-like figures in the distance. They are your ancestors.

(Orientation Hall) This introduction is only a glimpse into what you will see and learn inside Ngaren. You will need to trust that all that you will see, learn and experience during your journey is real, validated by facts, by scientific evidence. The past is preserved in what we find in the present, and more and more we have sophisticated tools to be able to interpret it. Through science we can disclose an otherwise unknown story. (Exploration Stations) Through the fossil and other scientific evidence, we know that life started way before human life on Earth and that all life descends

from one single common ancestor. You are part of life, like any other extinct and living being on Earth. Do you know that you share 60% of your DNA with a banana? (A field of pancakes)

Even dinosaurs are part of this story. They dwelled in a very different world from today for 160 million years, and despite their success they became extinct during the last mass extinction, 66 million years ago. However, life did not cease completely, rather new ecological niches opened up for other life forms. This is how mammals began to thrive and diversify, becoming the new rulers of the planet and reaching enormous sizes too. Without the dinosaurs’ demise, even humans wouldn’t be here. You, yourself, wouldn’t be able to exist on this planet. This is evolution. (A dinosaur in Africa) The story of life is full of amazing stories. Important fossils of whales uncovered from sandy deserts in North Africa are keys allowing scientists to reconstruct their evolution over forty million years and piece together the larger story of life on this planet. Whales are marine mammals who evolved from terrestrial mammals that slowly moved to the sea, losing bits of a typical quadruped’s skeleton on the way. During this time, lands and oceans shifted, climates changed dramatically, and evolution ran its course. Meanwhile, primates – a big and extremely diverse group of arboreal animals that includes living lemurs, monkeys and apes – were thriving and radiating in a world of lush forests, until the Great African Rift slowly changed the uniformity of the African continent. On both sides of the rift, lands were rising up, becoming barriers for moisture circulation and favoring the formation of mosaic habitats of woodlands and grasslands, from whence your ape ancestors started to abandon

dependent with each other and the rest of nature.

their arboreal lives, slowly transitioning into a terrestrial locomotion on two feet. Your ancestors’ journey had no destination, was one

of chances, with many experiments and failures. This too is evolution. (A whale in the desert) So, you have now learned that the human lineage is rooted in Africa.

We share a last common ancestor with living chimpanzees around seven million years ago. More and more, new fossil, behavioral, genetic,

and environmental evidence explain the story of the hominin lineage in details. This work would be impossible without the work of scientists like the Leakeys in East Africa. Fossils show that two million years ago there were hominins that look more human than not.

we are all from Africa and universally human. (A face with a chin)

So, what makes you human? One of the traits we share as humans is hyper-sociality – a strength, an adaptational advantage, and a beautiful product of evolution. Together we have been able to form communities looking after each other, developing reciprocity to strengthen useful bonds, enlarging networks, spreading beyond our biological limits. What happens if you don’t collaborate? You can test these hypotheses live. You realize that we are all interconnected, wired in the web of life with animals, plants, and each other. Being cooperative and helpful is an evolutionary advantage. We need each other.

What does this mean? Not only bipedal, with small jaws and big brains, but also behaving more and more like us. This is why Turkana boy touches your heart: though not yet as intelligent and technological as you, he could have not survived without the support of his community.

Compassion and cooperation were part of our successful adaptation as a species. We are the outcome of evolution. (A skeleton of a boy)

(Evolutionary Game Room)

Today, sapiens is the only hominin species alive. However, we

Human cultural diversity is an immense treasure as well. It is expressed through a variety of languages, behaviors, and cultures the legacy of a pre-globalized world and yet what make us who we are today. We want to keep honoring our roots like a family heirloom. (Homage to Humanity)

weren’t alone on the planet, both in Africa, and out of Africa, until quite recently. Our species evolved in Africa and moved out of Africa colonizing every corner of the world. In the process, other hominins that formed a fragmented regional variation derived from earlier migrations were assimilated or outcompeted. This is true for species such as the Neanderthals, the Denisovans, and perhaps multiple other species that have yet to be discovered. All living humans today are Homo sapiens, regardless of differences in color of skin, shape of eyes, susceptibility to particular diseases or food intolerances.

We all share a common ancestor in Africa. This means that

In a world in constant change, we must value biodiversity as something fundamental for humans’ sustainability. It is time to appreciate nature with all your senses. Biodiversity is beautiful and important; it is worth being taken care of. (Symphony Room)

After this long and adventurous journey, you may want to share your thoughts, experience and commitment to continue to treasure the world and all humanity. You are more empowered now that you know that we are one people. Every journey starts with a single step. (A treasure trove of ideas and great minds)

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Every journey starts with

a single step.

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Gallery

Objective

The Dome

The Orientation Hall

To shape the mindset; to make visitors feel tiny before the immensity of the universe and the beauty of life, opening up to questioning their human exclusiveness.

To immediately connect visitors with the environment and the past.

Exploration stations

To have visitors read the book of nature.

A field of pancakes

To introduce visitors to the time depth of the origins of life and the mechanisms of evolution.

A dinosaur in Africa

A wow experience into the African dinosaurs’ world; to make visitors realize that nothing in life is permanent.

A whale in the desert

To educate visitors on their mammalian origins and evolution as primates.

A skeleton of a boy

A mind-blowing encounter with Turkana Boy; to persuade visitors that evolution applies as much to humans, as to any other life forms.

A face with a chin

To make visitors understand that we are all part of one same family of humans.

Evolutionary game room

To make visitors experience how cooperative they are by nature and sense their connection with biodiversity.

Symphony room

To appreciate nature with all senses.

Homage to humanity

To value human cultural diversity.

A treasure trove of ideas

To inspire and empower visitors to support the future of the human family and planet.

Learning outcome

Key message

We are part of nature; we are all connected.

We are all connected.

There is a strong connection between human evolution and this place.

This is where we all come from.

Knowing our environment through sediments and fossils is key to understand our past.

The present is the key to the past.

Evolution explains life on Earth.

All life has one common ancestor.

Despite their success, dinosaurs went extinct. Their demise opened up for mammals’ success.

Everything changes.

Humans are apes.

Environmental changes trigger evolution over time.

Africa is humanity’s homeland.

Evolution applies to humans as well.

We are all from Africa . Our differences are expressions of our evolutionary history.

We are universally human.

By cooperating and using our brains we can change our behavior for the better.

We need each other.

We need to take care of our world.

Our planet is our home.

Human diversity is something to respect and protect.

We are all one family.

There is a lot we can do.

Every journey starts with a single step.

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CONTENT CONCEPT

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A journey into the universe to shape the mindset: we are part of nature, we are all con

Planetarium Objective: To shape the mindset; to make visitors feel tiny before the immensity of the universe and the beauty of life, opening up to questioning their human exclusiveness.

Learning outcome: We are part of nature; we are all connected.

Key–message: We are all connected.

nected.

You start your journey with an all-digital movie that takes you into the universe, the Milky Way, our solar system, and then zoomsin onto our little blue planet: Earth. You will be surrounded by images of different ecosystems, from all continents and oceans, with beautiful landscapes and iconic animals. You will see faces of people from all over the world and you will recognize yourself on the screen: the picture that was taken when you purchased your ticket is being used in the movie, but only during your view. The voice-over recites: “This is your birthplace. Ngaren is where the story of humankind unfolds. Here you will experience your human journey with all your senses, mind, and heart – how you came to be the walking upright, intelligent, social, inventive, and compassionate human being that you are. Starting from a tiny particle in the water billions of years ago, you are going to experience that coincidence was a big part of your journey: being a mammal when an asteroid put an end to the dinosaurs’ rule; effectively adapting to unceasing changes in the environment that caused extinction throughout; being the only hominin alive today, among many others that you will encounter during your visit. Welcome to Ngaren, where the human journey begins”.

Size: 800 m2 Type of gallery: Immersive; hearts-on.

Holding power: 15 minutes.

Icon: The Dome.

Must-sees: All-digital IMAX movie.

Collection: None.

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Artist’s impression of the Planetarium at Ngaren by Davide Bonadonna

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Orientation hall You are standing on the Great Rift Valley, a key landmark for the human journey. It is beautiful and magnificent. It is a natural environment, the result of natural processes, that happened during tens of millions of years. Here you connect with the environment and with the past.

Objective: To immediately connect visitors with the environment and the past.

Learning outcome: There is a strong connection between human evolution and this place.

Key-message: This is where we all come from.

When you exit the planetarium, you enter a spacious atrium with wide glass windows overlooking the Great Rift Valley. There’s a strong connection between you and the environment. The hall is a dialogue between the inside and the outside, between the past and the present. The landscape changes depending on the time of the day, weather, season. On bright days you can see the white top of the Kilimanjaro, further to the south.

While you are looking at the landscape as it is now, suddenly you travel two million years back in time! Through an innovative system, the transparent glass fades into images of that original landscape with virtual hominins of australopithecines and early Homo roaming across the valley - volcanoes fuming in the distance. It’s fascinating!

You are starting to connect with your ancestors. It is a glimpse of what you are about to learn and experience inside the galleries.

You are becoming eager to see the rest of the museum.

of volcanoes, wind, water, rain, sunshine, heat, plants, animals, and microorganisms. It is a story of geology, climate, and evolution – the natural process that causes life to change over time.

If you want to learn more about the formation of the Great Rift valley and why it is a special place to find fossils, go to the terrace. You may do that anytime during your visit, or while having a coffee and samosa break. You will find several exploration stations there to help you read the landscape.

In the Orientation Hall, you will also find information about how to navigate inside Ngaren, including fast tracks to a particular gallery.

There are five research rooms where you can learn about nature, experience the scientific method, and build up empathy with nature and your human family.

Size: 600 m2 Type of gallery: Experience; hearts–on.

Holding power: 5 to 10 minutes.

Icon: Magic window.

Must-sees: ‘A glimpse into the past’.

Collection: None.

Have you ever wondered how the Great African Rift was formed?

What you see is a landscape that has emerged from the uplifting of the earth’s mantle. If you look carefully, you can identify colored layers - different shades of brown, red, and yellow. They tell a story

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Artist’s impression of the Orientation hall at Ngaren by Davide Bonadonna

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You are learning to read the ea

You understand between the environmen

rth. the connection t and you.

Exploration stations Objective: To have visitors read the book of nature.

Learning outcome: Knowing our environment through sediments and fossils is key to understand our past.

Key-message: The present is the key to the past.

There are scientists that are experts in reading the earth’s layers.

With the help of an exploration station, you too will be able to read the surrounding landscape. It is fun and useful, and it helps you understand the big temporal and physical processes underlying the evolution of life, of which you are part of.

Earth’s surface may seem solid, but it is mobile, migrating over hundreds of millions of years to form continents, islands, and oceans.

It is always moving: along cracks in the earth’s crust, volcanoes blow melted stone and ashes into the sky, earthquakes violently shake the lands as large parts of the earth’s crust, the tectonic plates, drift slowly apart. The land is pushed up to form mountains and erosion wears them down again. The land you see in front of you wasn’t always like you see it now and won’t be like this in the future. The world is changing constantly, slowly, but non-stop.

The Great Rift Valley is a fossils’ hotspot. Amazing evidence of the origin and evolution of humankind in East Africa is eroding from its sediments, along with paleoenvironmental data that allow the reconstruction of climate and ecology at different times.

Touch screens, animations, film images, and augmented reality will help you read the environment. Do you want to see how the landscape in front of you was formed? Look through that telescope: you will see an outline of the mountain to distinguish the build-up of layers that formed that particular section over many millions of years, at different climate and environmental conditions.

Type of exhibits: Hands-on.

Holding power: 10 minutes.

Icon: Telescope.

Must-sees: Rift valley through AR telescopes.

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The present is the key to the past You will no longer see the world with the same eyes.

Research rooms What we find in the geological, paleontological, and – increasingly – in the genetic record are snapshots of something that happened a long time ago. The history of life for a very long time did not include humans, as we appear only at the very end of the evolutionary journey that began billions of years ago. Experiences, hands-on learning, and games will trigger your personal investigation into humanity’s origin, evolution, and their migrations to every corner of the world. Throughout the museum galleries, you will have surprising encounters and make amazing discoveries that will help you grasp that climate and environmental factors have always been driving forces of evolution and have greatly affected the human journey. In what way are they affecting your future?

You are free to visit these galleries in the order you like, but if you prefer a chronological path you may follow the designated route.

They are called after their protagonists.

1.

2.

3.

4.

5.

A field of pancakes A dinosaur in Africa A whale in the desert A skeleton of a boy A face with a chin

The first two galleries are dedicated to the origin of life and the time of dinosaurs, a deep past that connects to your human journey by explaining the time scale of evolution, the relationship of all life since the beginning, and its impermanence due to dynamic natural processes that happen inevitably. The other three galleries take you through your evolutionary journey of humans in and out of Africa, revealing a serendipitous story about how you got here.

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All life has one com

A field of pancakes Objective: To introduce visitors to the time depth of the origins of life and the mechanisms of evolution.

Learning outcome: Evolution explains life on Earth.

Key-message: All life has one common ancestor.

A replica of a field of fossil stromatolites on the floor opens a gallery on the origins of life and the physical elements necessary to sustain it, more than three and a half billion years ago. Stromatolites are layered rocks of different and fascinating shapes that form in shallow waters by sticking and cementing microorganisms with mineral grains. You realize that water has always been vital for life.

Stromatolites occur widely in the Precambrian, they are the earliest evidence of photosynthetic bacteria adapted to water. What links us to these bacteria and other types of single-celled organisms, the archaea, that developed next? For two billion years, bacteria and archaea were the only life-forms on Earth. Then something extraordinary happened: a bacterium worked its way inside an archaeon and survived, starting a mutually beneficial relationship. As a result, complex life could emerge. Everywhere in the gallery around you, you can see wonderful creatures swimming: sponges, mollusks, worms, arthropods, brachiopods and echinoderms, bivalves, trilobites, and prawns. They are part of the Cambrian explosion of life, 50 million years ago, when different animals’ building-plans started to develop. One of these creatures, Pikaia gracilens, turned out to have a rudimentary spinal column, making it one of your earliest ancestors. Look, there it swims!

mon ancestor.

Size: 800 m2 Type of gallery: Immersive.

Holding power: 10 min.

Icon: Stromatolite.

Must-sees: Interactive steppingstones floor.

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A dinosaur in Africa Objective: A wow experience into the African dinosaurs’ world; to make visitors realize that nothing in life is permanent.

Learning outcome: Despite their success, dinosaurs went extinct.

Their demise opened up the avenue for mammals’ success.

Key-message: Everything changes.

Did you know that there were amazing dinosaurs living in Africa? 66 Million

years ago the dinosaurs became extinct after the earth was hit by an enormous meteorite. Dinosaurs were amazing creatures that tell the story of a world very different from the one we now know. However, the human journey is profoundly linked to the dinosaurs’ extinction: their disappearance left open new ecological niches that were occupied by mammals who thrived in diversity since.

The dinosaurs’ story spans over 160 million years, an enormous period, long enough to evolve into many different forms and sizes. At Ngaren you can see some of the most iconic of these animals, combined with exciting audiovisual effects, and familiarize yourself with the interconnection between natural selection, environment, and luck.

To have a taste of what the world looked like in the age of dinosaurs, stop at this video station and watch an animation of the orogeny and break-up of the Pangea supercontinent. Here you can learn more about plate tectonics and discover how very old the African continent is. And do you realize how big Africa is? Due to a distortion in common Mercator projection maps, Africa is perceived as much smaller than its actual size. You will be surprised to know that with more than thirty million square meters it can fit China, India, Japan, Mexico, all of the US, and several European countries, all combined.

Play with the puzzle right there to fit as many countries as you can!

African dinosaurs are fascinating and largely unknown to the public audience. Ngaren will show you real fossils and real size replicas of some of the most iconic of them. Spinosaurus welcomes you to this grand gallery. A giant river monster bigger than T. rex, it is the first dinosaur that took to water, evolving a croc-like snout and a phenomenal tail to thrust in river waters and hunt enormous fish. You are one hundred million years back in time when Africa and the whole world were very different from today. Your journey across African dinosaurs is full of real size fossils and replicas of unique specimens.

And VR immersions in a mind-blowing Paleo-aquarium!

Size: 1,400 m2 Height: It needs to accommodate tall dinosaurs like Giraffatita (ca. 16 m).

Type of gallery: Immersive; hearts-on; hands-on.

Holding power: 20 min.

Icon: Spinosaurus.

Must-sees: African unique specimens reconstructed in real size and the Paleoaquarium.

Collection wish list: • Spinosaurus • Giraffatitan • Carcharodontosaurus • Mosasaurus • Pterosaurus • Kentrosaurus • Ouranosaurus

Additional items for a pan-African collection: • Saturnalia • Heterodontosaurus • Massospondylus • Atlasaurus • Dryosaurus • Suchomimus • Paralititan • Angolatitan M • ajungasaurus.

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A whale in the desert Objective: To educate visitors on their mammalian origins and evolution as primates.

Learning outcome: Humans are apes.

Key-message: Environmental changes trigger evolution over time.

The fossilized snout of a whale is found more than 700 km inland from the present coastline of the Indian Ocean, at an elevation of 600 m above the sea level. Today this is a semi-desert in West Turkana: how is that possible?

This story started 17 million years ago, when East Africa was very different from today. The Great African Rift wasn’t there yet, and a big river connected the Indian Ocean with lakes deep inside the African continent. Where there is only sand today, a beaked whale managed to mistakenly enter a river from the ocean and got stranded in shallow waters. The climate was also very different from today: it was wet and humid, with vegetation that would resemble lowland tropical forests.

You can see a variety of primates, hanging from the trees. Some have tails, some have not. These latter are apes, like today chimps, bonobos, gorillas, orangutans and… humans!

This room provides lots of insights on how evolution works, exploring on the evolution of mammals after dinosaurs became extinct.

Size: 1,200 m2 Type of gallery: Immersive; hands-on; hearts-on.

Holding power: 15 minutes.

Must-sees: Theatrical animation of the whale in a changing environment.

Icon: The Turkana beaked whale fossil.

Collection wish list: • replica of the Turkana fossil whale snout and relative model; • real size models of extinct fauna and plants contemporary to the Turkana fossil whale; • skeletons, teeth, and models of Miocene apes (to name a few Aegyptopithecus; Proconsul africanus; Proconsul major; Proconsul gitongai; Kenyapithecus; Victoriapithecus); • real size models of living great apes.

In the same period of time (Miocene, 23-5 million years ago), when global climate was warmer and the whale was swimming in the river, there was an extraordinary diversity of apes. Fossil deposits in Kenya and Uganda provide for amazing evidence, like Proconsul africanus the first and best-known Miocene ape found in Africa. Look at the fossils: you can touch them and get familiar with differences in size and shape of teeth and bones. Miocene apes varied largely in size.

Their dentitions and skeletons, though fragmented, tell a story of different adaptations to forested environments. You are now able to tell from a bone fragment how that animal moved. And the size of a canine might tell you a lot about the social system of that animal’s group.

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We will tell the story of our common African origins thro compelling protagonists, and state of the art science storytel that will empower people to use to make better decisions about the world they

ugh immersive exhibits, lling,

scientific thinking, live in.

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A skeleton of a boy Objective: A mind blowing encounter with Turkana Boy; to persuade visitors that evolution applies as much to humans, as to any other life forms.

Learning outcome: Africa is humanity’s homeland.

Key-message: Evolution applies to humans as well.

He was found almost complete, which is already exceptional. He was found in Turkana, on ancient lakeshores. He lived about 1.5 million years ago. At that time, lake basins are found all along the Kenyan Rift valley and volcanoes are bubbling lava. Tectonic forces have formed and modified this landscape over hundreds of thousands of years, breaking and lifting the earth, repeatedly changing the shape and size of catchments and drainage networks – and with it, rainfall. Forests have disappeared to give way to savannah and open habitats full of mammals resembling today’s wildebeest and giant warthogs. Look through the binoculars: there is a boy by the river. He is Turkana boy.

He is about 10 years old. His teeth speak of a younger age, his skeleton indicates an older individual: he is quite tall and lean, walking on two feet. His braincase is smaller than yours, yet bigger than other hominins. What does that tell you? His cognitive capacities were not quite as good as yours. However, he and his people were knapping beautiful stone tools already, shaped like big almonds. They are called Acheulean handaxes. Have a look at these very old examples and play with models of some of them. That video screen shows you how they were manufactured by modern flintknappers and you can see this ‘live’ during our science sessions. They are worked bifacially into symmetrical tools of different sizes. Some are really huge! In Olorgesailie, not far from here, you can walk over fields where many are found in association with butchered animal bones. What other types of stone tools are found in the hominins’ fossil record? What do they tell about their intelligence? Dig deeper in that side room, where you can also get to know the Lomekwi stone tools dated 3.3 million years ago, the oldest ever found.

Evolution applies to humans as well.

The Turkana boy’s skeleton also tells a story of disease and compassion: a malformation of the spine was probably the cause of his death, but it also shows that his community took care of him, as he would not have survived until the age of ten otherwise. This resonates with feelings that you too have. Talk to him! A virtual model is there to interact with you. When did we start developing compassion? Is this an ingredient of the evolutionary recipe that made us the social, intelligent, problem-solving beings that later went all over the world? Actually, hominins like the Turkana boy were leaving Africa already, as shown by some key fossils from China, Southeast Asia and Europe! There is a dedicated exhibit telling you more about it.

But ... wait a minute: who are all the others? Models of early hominins are all over the room. You can finally meet all your early African ancestors like Sahelanthropus, Orrorin, Ardipithecus; the australopithecines from South and East Africa including the famous Lucy, the Dikika baby, and robust Paranthropus; early members of the genus Homo – habilis, rudolfensis, African erectus, heidelbergensis.

They are made by artists after painstaking consultations with scientists. You can see that they walked upright too, but there are differences. Some have arms that are quite a bit longer than yours.

There are footprints on the floor… and their feet are not exactly like yours either… Their height is a bit short… And their faces ... Wow! There is so much to grasp from this gathering: who is who? When did they live, for how long, and how do we know that? What did they eat? Did they cook food already? Did they knap stone tools? Are they found in Africa only? Did they live together at some stage? Why are they no longer here? Are they part of your journey? Indeed, they are your ancestors, and their story encompasses almost 7 million years.

Must-sees: the encounter with Turkana Boy. Collection wish list: the most complete collection of real size models and replicas of fossil specimens of early hominins (some enlisted below).

• Sahelanthropus tchadensis • Orrorin tugenensis • Ardipithecus kadabba • Ardipithecus ramidus (Ardi) • Kenyanthropus platyops (KNM–WT 40000) • Australopithecus deyiremeda • Australopithecus africanus (Mrs. Ples, Little foot, Taung child) • Australopithecus sediba • Paranthropus aethiopicus (Black skull) • Paranthropus robustus • Paranthropus boisei (Zinjanthropus) • Homo habilis (KNM–ER 1813) • Homo Rudolfensis (KNM–ER 1470) • Homo ergaster from East and South Africa (KNM–ER 3733; KNM– ER 3883; KNM–WT15000 Turkana Boy; DNH 134) • Homo erectus (specimens from Java, China, Georgia).

Size: 1,200 m2 Type of gallery: Hands–on; body–on; social–on.

Holding power: 20 minutes.

Icon: Turkana Boy.

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You are face to face with Turkana Boy.

Talk to him!

Artist’s impression of the encounter with Turkana by Davide Bonadonna

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We are universally human.

hospitable regions like the Levant and South Africa at the onset of one of the glacial periods, around 110,000 years ago. They were not alone, though, for some time: the fossil and genetic evidence is starting to reveal other regional variants like Homo naledi in South Africa - and possibly other “ghosts” in sub-Saharan Africa. Even outside of Africa, sapiens are not the only ones around… In the next exhibits, you will discover the ‘out of Africa’ story, along with what was happening ‘in Africa’ meanwhile.

A face with a chin Objective: To make visitors understand that we are all part of one same family of humans.

Learning outcome: We are all from Africa . Our differences are expressions of our evolutionary history.

Key-message: We are universally human.

Look at yourself in the mirror: what makes you human? You might be surprised to know that, from a skeletal point of view, your chin, along with your relatively small brow ridges and globular skull, define you as a Homo sapiens.

How old is your species? Real size replicas of the earliest fossil skulls of anatomically modern humans from North and East Africa welcome you to the story of your direct ancestors during the past 300,000 years. Once again, it is a story where the physical conditions of the environment drive competition, survival, and extinction.

Abrupt and repeated changes in climate during the Quaternary ice age caused the extinction of almost all of the hominins that you met in the other room. Because, when ice was accumulating in the arctic, Africa dried up, forcing plants and animals to move to survive. Species that could not adapt were inevitably wiped out by natural selection.

Your direct ancestors in Africa did well: by then they were highly mobile and social, as we know from the fossil and archaeological record that you have the chance to admire in this gallery.

As you can see, these stone-tools are more refined than the ones you saw in the early hominins room. There is actually a correlation between time and technological sophistication, which shows you that a lot is going on in the cognitive, cultural, and social development of these people. They hunt big game and eat around fires. They knap amazing tools out of rocks. There are many different types of tools, showing that they served different purposes, like today’s hardware tools - to saw, to cut, to bash, to scrape, to drill. Try for yourself!

Your sapiens ancestors were also being repeatedly challenged by environmental constraints, being forced to migrate into more

Your sapiens ancestors were not the first humans to leave Africa.

Also, they didn’t leave Africa just once, but the one exit that gave rise to the rest of the living humanity can in fact be ascribed to a particular event. You may have heard of the so-called “African Eve”, a fictional woman whose mitochondrial DNA represents the origin of all the variants known in humans today, as if she was the mother of all humans that have originated since. This concept is one of the milestones in the reconstruction of the human journey and it deserves a private exhibit where you can play with evolutionary genetics: markers, mutations, bottlenecks, drift. Although these terms might sound alien at first, you will see how easily they translate a fundamental property of life: inheritance. It is through this mechanism that variations among individuals can cumulate and feed natural selection. Here you can find out why humans have different skin colors, hair types, even different susceptibility to particular diseases or to digesting non-human milk. How fascinating is it to realize that all these differences reveal different adaptations along the evolutionary journey of human populations? Did you know that some European hunter-gatherers were still dark-skinned 7,000 years ago?

Now, have a look at this luminous wall map: it shows maps of the world over the past 150,000 years. There are different ways to query this interactive map: you can focus on particular regions to see what was going on during warm or dry periods. You can watch the Sahara Desert retracting and expanding, or you can let the map play automatically to show you possible “corridors” of early waves of humans out of Africa, towards the Sinai and the Mediterranean, and introduce you to the “southern dispersal route” - the migration events associated to the peopling of South Asia and Northern Australia 65,000 years ago. This map will show you how these dispersals happened when sea levels were lower and lands like New Guinea and Australia were bridged. It is the last Ice Age, the Late Pleistocene, when periods of glaciation at high latitudes affected climate and sea levels globally. The animation shows you the peopling of the whole world and its relative chronology. Did you know that the Americas are the very last continent to be colonized by humans only between 20,000 and 10,000 years ago? Humans are by then

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carrying sophisticated spears and implements to the point of being a serious menace for an already endangered megafauna, threatened by drastic climate change.

The story of the peopling of Eurasia is fascinating too. When your African ancestors reached West Eurasia around 45,000 years ago, they found other humans well adapted to the cold temperatures of the ice age: the Neanderthals. This is a story that deserves its own exhibit: who were the Neanderthals? Were they African too? How different were they from your ancestors? How do we know? Where are they found? Is it true that there is Neanderthals’ DNA in living people?

The genetic and fossil evidence is revealing more regional variation of hominins in Eurasia besides the Neanderthals, some of whom are interesting relics of the earliest migrations out of Africa by Homo erectus like Homo georgicus and luzonensis. And what about “the hobbit”?

There is an exhibit dedicated to ongoing research and new finds.

Fossil hunters and scientists continuously discover new evidence that might add or revise some of the information that you have been learning thus far. This is how science works. There are monitors that at particular times of the day are connected live with scientists working in the field, or fossil preparators at the Turkana Basin Institute. You can ask them questions and have a taste of what it means to be a scientist, a discoverer, a professional in science.

Size: 1,400 m2 Type of gallery: Hands-on; body-on; social-on.

Holding power: 20 minutes.

Icon: The family photo wall.

Must-sees: Pepper’s ghost mirroring visitors’ faces on modern human skulls of different ages.

Collection wish list: • Replicas of Homo sapiens skulls of different ages and sex.

• The most complete collection of real size models and replicas of fossil specimens of early Homo sapiens (Jebel Irhoud, Morocco, 315,000 y; Florisbad, South Africa, 260,000 y; Omo Kibish 1, Ethiopia, 195,000 y; Misliya Cave, Israel, 180,000 y; Herto, Ethiopia, 160,000 y; Qafzeh, Israel, 120,000 y) and contemporary hominin species – Homo heidelbergensis, Homo naledi, Homo neanderthalensis, Homo flor siensis, Homo luzonensis, Chinese specimens. List to be compiled carefully after making final decisions about exhibits.

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Experience your humanness through games.

Evolutionary game room Objective: To make visitors experience how cooperative they are by nature and sense their connection with biodiversity.

Learning outcome: By cooperating and using our brains we can change our behavior for the better.

Key-message: We need each other.

You have seen how much you and all life are so dependent on the environment and from each other. We are all interconnected, wired in the web of life in a way that we can not do without other animals, plants, and each other. Human hyper-sociality is a strength, a beautiful product of evolution, a plus when speaking of adaptation: together we have been able to form communities looking after each other, developing reciprocity to strengthen useful bonds, enlarging networks, spreading beyond our biological limits. There is lots of evidence that shows that people are altruistic, regardless of rewards or punishments. People give blood, give to charity, risk their lives to save others - and often anonymously. Psychologists and economists have been studying altruism through experiments that you can participate in at Ngaren, and directly test one of the characters that have co-evolved with your genes, enabling the worldwide success of humans as a species.

There are also games about evolution in general. By playing with them, you will learn the principles of evolution and how an ecosystem is built. There is a game to make you experience what it means to be a fish in a changing ocean, with rising temperature, acidification, and plastic becoming part of the plankton. Or a pollinator in a chemically poisoned field of crops. You will experience compassion and empathy for the natural world and perceive the “human risk” in a fictional, nevertheless effective way.

After the game room, you feel energized and have discovered new things about yourself. You realize your species is inventive, creative and smart, and that your peers are all human beings worldwide! If we combine forces, we can really change the world, our world. A world worth being treasured.

Size: 600 m2 Type of gallery: Hands-on.

Holding power: 20 to 30 minutes.

Icon: Jenga! game.

Some evolutionary game-theory games have been designed for a museum audience. There will be games for individuals and groups.

Some of the games that are played here will also be sold at the museum shop, to continue the Ngaren experience back home.

Play these games to see how cooperative you are by nature, and to experience your connection with all biodiversity. There are pinballs, slot machines, video games, board games, and escape rooms, all designed to make you interact in a fun way with your human nature. Play it and you may discover things about yourself that you didn’t know.

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Your peers are all humans worldwide!

If we combine forces, we can really change the

world, our world.

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Our world is a world

Treasure rooms Ngaren’s treasure rooms are a hymn to the beauty and importance of biodiversity, expressed through the richness in species and habitat diversity, along with the very human cultural diversity worldwide.

You are going to end your visit to Ngaren with a series of immersive galleries with audio and visual exhibits. You will feel moved, inspired, and empowered to take care of nature and each other.

In the first gallery, you will experience the sounds of nature, recorded by naturalists from different habitats worldwide. In the following gallery, you will be immersed in the cultural diversity of people worldwide, including experiencing their linguistic diversity. Finally, you will meet inspirational people that are leading scientific research and developing new ideas for sustainable living.

worth taking care of.

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Appreciate n

ature with all your senses.

Symphony room Close your eyes and relax. Enjoy the sounds of nature and smell some of its fragrances. A soundscape brings you to different habitats: grasslands, mountains, deserts, temperate and tropical rainforests, oceans, and freshwaters. Each habitat vibrates of an orchestra of animals and plants, but also of storms and breeze, streams and waterfalls. There are sounds of insects, reptiles, amphibians, birds, and mammals. And those of fish, whales and sea anemones. Sounds of a healthy habitat. Listen to what happens when humans interfere.

For an idea of the type of experience, see Bernie Krause’s website: https://www.legrandorchestredesanimaux.com/en

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Value our human cultural diversity.

Homage to humanity Today we are the only humans alive. We have become ubiquitous, we live everywhere and through adaptations to different environments, we have evolved different physical and cultural traits. This is an immense treasure to look after: what makes us interesting is our diversity, expressed through a variety of languages, behaviors, and cultures. Ornaments are beautiful implements of cultural expression and are largely found in the past record too. One of their earliest pieces of evidence is the use of shells as beads in Morocco and South Africa about 80,000 years ago. Did you know that the oldest evidence of ostrich eggshell beads is dated 40,000 years ago and is found in Kenya? They are used as proxies of age, marital and social status, and to mark belonging to one group. Ostrich eggshell beads have been widely used by African hunter-gatherers and pastoralists until quite recently. In this room, you can enjoy displays of ornaments both recent and archaeological from all continents.

The walls are filled with images of cultures from all over the world, most of whom are endangered.

For an idea of the type of images, see https://www.jimmynelson.com https://stichtinglily.nl/foto-archief/ https://www.africanceremonies.com

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You feel inspired and empower

of your family

A treasure trove of ideas and great minds This last room is there for you to be inspired by great ideas to change the world. Some of them are already ongoing projects, others are just ideas that need implementation through science, technology, and creativity to become real. There are people, NGOs, nations presenting ideas about food security, sustainable energy, human rights, education, and scientific research.

You will also meet Richard Leakey, founder of Ngaren, who will talk to you about his dreams and impact in the field of conservation and human evolution.

This room will be a mixture of video stations and exhibits to stimulate your curiosity about subjects that interest you the most. Also, you will find Ngaren staff there to talk and receive your questions or commitments to continue to treasure the world and all humanity.

red to support the future and planet.

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The structure

of Ngaren is designed so that its mission is the engine – the driving force that will propel the institution forward.

Ngaren’s organizational structure The organizational and management structure of any institution is important. However, for a mission driven institution such as Ngaren, it is critical. The structure is being designed to ignite innovation and ensure that the institution stays true to its core values. In addition, it is critical that Ngaren be developed in a way that anticipates not only the challenges and obstacles that any new organization might face as it develops, but also attempts to predict any specific challenges that Ngaren may encounter due to the location, uniqueness, and nature of its mission.

Ngaren’s vision is to create a unique, one-of-a-kind museum experience – one that is participatory, customized, and social.

Therefore, the organizational structure of Ngaren is visitor-focused, placing the audience and participatory experience at the center of the institution. The quality and integration of the constituent parts of Ngaren will be critical for the development of a well-functioning institution. The main proposed structure for the Ngaren museum is to establish four divisions or “centers” that will work together – all prioritizing visitors’ experience and participation as the center of the structure.

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Organizational structure core values Science and Innovation as an Engine. By creating an “innovation lab” at the department level that clusters scientific expertise, innovation, digital technology, and fresh thinking together, Ngaren will be able to institutionalize its core values. This department will be the engine for implementing new ideas and projects, refining goals, keeping focused on the mission, staying ahead of the curve and achieving better outcomes. The Innovation Lab will be responsible for maintaining the scientific integrity of the content of Ngaren and establishing and maintaining relationships with academic institutions, digital and special effects experts and cutting-edge technological development.

Customer Focus and Public Participation. Ngaren places the experience of visitors and public participation at the very center of its mission, values, and organizational structure. The fundamental concept for Ngaren is to create transformative experiences that have real meaning in the lives of visitors. By creating personal relevance for visitors to these experiences, Ngaren will be able to continue to attract audiences and educate visitors. This includes prioritizing the customer’s desire to see scientific, interesting, informative, educative and entertaining exhibitions, and to come away with accurate information and knowledge. But it also means creating a transparent, open and learning environment that encourages participation and critical thinking. By placing the visitor experience and public participation at the center of the organizational structure, Ngaren will ensure that the institution is driven by audience engagement and experience.

Brand Recognition and Institutional Advancement.

Ngaren’s vision is to become a global brand recognized and respected in the world of paleo-anthropology, museum experience, digital technology, education, innovation and immersive experiential education. The structure of the organization reflects these priorities and prioritizes institutional learning and growth. Ngaren will need to continue to develop revenue streams and attract investment/donations to achieve this goal, and be able to continuously transform itself and grow and evolve with the changing times and changing science and technology.

As Ngaren builds its brand and awareness into a global institution, the proposed organizational structure will ensure it remains relevant and cutting edge.

Education and Learning. A fundamental goal of Ngaren is to catalyze global and local dialogue on urgent and compelling issues, and inspire action grounded in an understanding of our history, human origins, and our shared heritage. The proposed structure seeks to ensure that this goal is prioritized in all the functions of the museum and that science, education, and learning remains a driving force compelling the institution forward.

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The

Innovation Lab is the “wow”engine of Ngaren.

The Innovation Lab This area of Ngaren is responsible for finding and advancing breakthrough scientific discoveries that can be showcased in exhibits and imagining how the science can be translated into stories and experiences for the visitors and users of online content.

The Innovation Lab is responsible for working with the exhibit and education team to bring new discoveries and ideas to life as exhibits and online content. The Innovation Lab will be responsible for generating ideas, and testing and launching new ways of communicating science. It will be responsible for partnering with designers, academic researchers, strategists, and scientists together with external partners from academia, the private and non-profit sectors and government.

This will be the center for scientific staff and scientific integrity, as well as science story-telling and strategy. In addition to on-site content, responsibility for the development of online content will also be housed in the Innovation Lab. Information and the distribution of information is at the heart of the mission of Ngaren.

Digital technicians in the Innovation Lab area will be dedicated to bringing science to life – and the department will include digital artists, animators, storytellers and special effects specialists as well as scientists, all working to create groundbreaking immersive and compelling exhibits and stories about who we are as a species and how we came to be.

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This center will take the responsibility for content

once exhibits

over and exhibitions from the Innovation Lab have been created.

The Center for Exhibition and Visitor Management Ngaren’s goal is to be a world-class visitor attraction to which the general public can come to learn about the evolution of humankind, experience immersive exhibits, and get a glimpse into the past, present, and future of our planet. Ngaren’s vision is to become a cultural icon in Kenya and Africa. Maintaining a world class museum focused on visitor experience and public participation is therefore paramount to the success of the institution.

The Center for Exhibition and Visitor Management is responsible for visitor attraction functions (the galleries, planetarium, and special exhibitions), and oversight of digital content and will be tasked with maintaining the highest quality visitor/user experience. It will manage exhibitions, and work with the center for education and learning to implement the educational programs, and all related products, such as web projects, on-line lessons, etc.

This Center is responsible for the content and product of Ngaren as seen and experienced by the public and will be responsible for the day-to-day operations of the museum. This responsibility includes the exhibitions themselves (both the permanent and the temporary ones), the reception of the public, the visitor support, demonstrations, maintaining on-line and digital exhibitions and information, accompanying printed matter, and other external collateral.

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The vision is for Ngaren a hub of lear sought out institution

internships

to become rning and a respected and n for graduate students, and academic fellowships in a new museology.

The Center for Education and Learning At the core of Ngaren’s mission is the ambition that Ngaren be a driving force igniting innovation and inspiring discussion of critical social issues. The Center for Education and Learning will be responsible creating and developing the pedagogy for educational offerings, and overseeing the development of educational program content for Ngaren products. This center will be responsible for creating and deepening the museum experiences through a wide variety of platforms and venues – on-line and in the community, outreach with academic institutions etc.

Staff in this area will work with the Innovation Lab and the Center for Exhibit and Visitor Management to incorporate educational components throughout exhibitions, collections, public programs, publications, and enterprise activities. It will be responsible for catalyzing dialogue on urgent and compelling issues, inspiring action grounded in an understanding of our history and human origins and our shared heritage. It will work to activate the entire museum space and offerings for learning, socializing, reflection and community exchange. The staff in this department will work with communications and business development to form partnerships with school and academic institutions to co-brand materials, curriculum and content for distribution/use globally.

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This is the critical “

“operations division” of the organization – the nuts and bolts of non-programmatic functions.

The Center for Administration, Business Operations, Fundraising and Institutional Advancement This Center serves both the internal organization and external stakeholders of Ngaren and, because of the importance of these functions to the success of the institution, it is recommended that this unit be led by the Chief Executive Officer (CEO).

The CEO will be appointed by the Board of Directors to lead the organization but also functions, in this capacity, as a division director for the Center for Administration and Business Operations.

This Center oversees three main functions: Fundraising and Institutional Advancement, Administration and Operations.

Under these three divisions fall responsibility for: • Communication and Events, Fundraising, and Business Development (under Fundraising and Institutional Advancement); • Human Resources, Financial Affairs, Legal (Administration), Board Relations and Advisory Committees (under Administration); • Technology/Help Desk, Building Maintenance/Facilities, Building Management, Security, Restaurant and Café Management, Museum Shop Management (Under Operations)

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Ngaren will

opportunities

in museo

develop unparalleled for locals to learn and train ology, content creation, and science storytelling.

The Ngaren Academy One of the goals of Ngaren is to reduce inequalities in Africa, providing for decent work, economic growth and gender equality accessible to Kenyan and African citizens. In order to do this, Ngaren will establish itself as a hub of learning, and a respected and sought out institution for graduate students, internships, and academic fellowships in museology, science storytelling and digital content creation. Our intention is to develop unparalleled opportunities for local staff to learn a variety of skills and knowledge needed to work in a new museum environment. Ngaren will partner with African universities, international academic institutions and museums, and activate the entire museum space for learning and education. Interns and fellows from Kenya and elsewhere in Africa will be trained and work side by side with the Education and Learning Center teams and staff in the Innovation Lab, as part of a dynamic academy that prioritizes a student-focused leadership curriculum that develops world-class skills, intellect and innovation. The academy will offer exposure to science, global issues and encourage dialogue, problem solving and entrepreneurship that fits with the vision of Ngaren as a groundbreaking institution.

The training of new professionals and volunteers Ngaren has a social responsibility to reach out to the wider community. By offering opportunities to those who want to participate in the Ngaren vision without being able to engage in formal employment (for reasons of age, education, background, personal circumstances, etc.) or to those who are enthusiastic about the goals of Ngaren and want to be part of the organization, even without seeking formal employment, Ngaren can extend its influence and widen its impact. Volunteers will fall under the Center for Experience and Exhibitions.

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Photo merging with image under license from turkanabasin.org.

Photo courtesy of turkanabasin.org.

Chris Curtis/Shutterstock.com.

Mac Aughey/Shutterstock.com.

Nightman 1965/Shutterstock.com.

Patrick Messier/Shutterstock.com.

Wavebreakmedia/Shutterstock.com.

Original drawing by Davide Bonadonna for Ngaren ©2020.

24Novembers/Shutterstock.com.

Photo courtesy of Harry Hook.

Photo courtesy of Naturalis Biodiversity Center of The Netherlands.

T-Part/Shutterstock.com.

Jacob Blount/Shutterstock.com.

VFX Video/Shutterstock.com.

SamaraHeisz5/Shutterstock.com.

Photo courtesy of turkanabasin.org.

John Gurche ©2020.

JordiStock/Shutterstock.com.

Aerial prospection of Ngaren’s site/ Photo courtesy of Otto Mruttu Architects.

Original drawing “A dinosaur in Africa” by Davide Bonadonna – Ngaren ©2020.

Riccardo Mayer/Shutterstock.com.

Rawpixel.com/Shutterstock.com.

Chart made on wordclouds.com.

Merging of Patrick Messier/Shutterstock.com with original drawing “A glimpse into the past” by Davide Bonadonna – Ngaren ©2020.

Photo courtesy of Federica Crivellaro.

Photo courtesy of turkanabasin.org.

Gettyimages.com.

Rawpixel.com/Shutterstock.com.

Photo courtesy of Federica Crivellaro.

Pavel Gabzdyl/Shutterstock.com.

Original drawing “A journey into the Universe” by Davide Bonadonna– Ngaren ©2020.

Merging of Patrick Messier/Shutterstock.com with original drawing

by Davide Bonadonna – Ngaren ©2020.

Original drawing “A glimpse into the past” by Davide Bonadonna – Ngaren ©2020.

Julija Sh/Shutterstock.com.

Page 82-83: Photo courtesy of turkanabasin.org.

Page 84-85: Catmando/Shutterstock.com.

Page 86-87: Original drawing of Spinosaurus Aegypticus by Davide Bonadonna –

Ngaren ©2020.

Page 88: Thongden Studio/Shutterstock.com.

Page 90-91: Oleg Senkov/Shutterstock.com.

Page 92: Photo courtesy of turkanabasin.org.

Page 94-95: Original drawing “The encounter” by Davide Bonadonna –

Ngaren ©2020.

Page 96: fizkes/Shutterstock.com.

Page 98-99: RIDVAN_BULBUL/Shutterstock.com.

Page 100: Photo courtesy of Susan MacPherson ARPS. Page 102-103: Petr Klabal/Shutterstock.com.

Page 104-105: Ethan Daniels/Shutterstock.com.

Page 106-107: Jackie Niam/Shutterstock.com.

Page 108-109: Photo courtesy of turkanabasin.org.

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Page 112-113: Photo courtesy of Federica Crivellaro.

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Page 120-121: T-Part/Shutterstock.com.

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Page 124-125: Original drawing by Davide Bonadonna – Ngaren ©2020.

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ORGANIZATIONAL STRUCTURE (Appendix 1)

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Chief Executive Officer

Innovation Lab

Digital Technology

Science Storytelling

Animators and Special Effects

Scientists, Writers and Paleoanthropologists

Visitor Management

Attendants and Volunteers

Center for Education and Learning

in museum educational curriculum developers/specialists

Online education curriculum developers/specialists

Center for Administration, Operations and Institutional Advancement

Fundraising and Institutional Advancement

Communications and Special Events

Administration

Business Development

Board Relations / Advisory Committee

Restaurant, Cafe and Shop

Finance

Legal

Procuremant and Supply Chain

PREFACE Center for Exhibit and Visitor Managemant

Exhibition Management

Online Content and Exhibitions

in Museum Content and Exhibitions

Ngaren’s vision is to create a unique, one-of-a-kind museum experience – one that is participatory, customized, and social.

Therefore, the organizational structure of Ngaren is visitor-focused, placing the audience and participatory experience at the center of the institution. The quality and integration of the constituent parts of Ngaren will be critical for the development of a well-functioning institution. The main proposed structure for the Ngaren museum is to establish four divisions or “centers” that will work together – all prioritizing visitors’ experience and participation as the center of the structure.

Operations

Human Resources

Staff Training

The organizational and management structure of any institution is important. However, for a mission driven institution such as Ngaren, it is critical. Therefore, the structure of Ngaren is designed so that its mission is the engine – the driving force that will propel the institution forward. The structure is being designed to ignite innovation, and ensure that the institution stays true to its core values. In addition, it is critical that Ngaren be developed in a way that anticipates not only the challenges and obstacles that any new organization might face as it develops, but also attempts to predict any specific challenges that Ngaren may encounter due to the location, uniqueness, and nature of its mission.

Technology/ Help Desk

This chapter describes the proposed organizational structure for Ngaren – the “centers” or divisions which will comprise the main structure of the institution and help attain the above goals.

Security

Building Maintenance

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ORGANIZATIONAL STRUCTURE CORE VALUES • Science and Innovation as an Engine. By creating an “innovation lab” at the department level that clusters scientific expertise, innovation, digital technology, and fresh thinking together, Ngaren will be able to institutionalize its core values.

This department will be the engine for implementing new ideas and projects, refining goals, keeping focused on the mission, staying ahead of the curve and achieving better outcomes. The Innovation Lab will be responsible for maintaining the scientific integrity of the content of Ngaren and establishing and maintaining relationships with academic institutions, digital and special effects experts and cutting-edge technological development.

• Customer Focus and Public Participation. Ngaren places the experience of visitors and public participation at the very center of its mission, values, and organizational structure.

The fundamental concept for Ngaren is to create transformative experiences that have real meaning in the lives of visitors. By creating personal relevance for visitors to these experiences, Ngaren will be able to continue to attract audiences and educate visitors. This includes prioritizing the customer’s desire to see scientific, interesting, informative, educative and entertaining exhibitions, and to come away with accurate information and knowledge. But it also means creating a transparent, open and learning environment that encourages participation and critical thinking. By placing the visitor experience and public participation at the center of the organizational structure, Ngaren will ensure that the institution is driven by audience engagement and experience.

• Brand Recognition and Institutional Advancement.

Ngaren’s vision is to become a global brand recognized and respected in the world of paleo-anthropology, museum experience, digital technology, education, innovation and immersive experiential education. The structure of the organization reflects these priorities and prioritizes institutional learning and growth. Ngaren will need to continue to develop revenue streams and attract investment/donations to achieve this goal, and be able to continuously transform itself and grow

and evolve with the changing times and changing science and technology. As Ngaren builds its brand and awareness into a global institution, the proposed organizational structure will ensure it remains relevant and cutting edge.

• Education and Learning. A fundamental goal of Ngaren is to catalyze global and local dialogue on urgent and compelling issues, and inspire action grounded in an understanding of our history, human origins, and our shared heritage. The proposed structure seeks to ensure that this goal is prioritized in all the functions of the museum and that science, education, and learning remains a driving force compelling the institution forward.

THE FOUR MAIN CENTERS OF THE ORGANIZATIONAL STRUCTURE The Innovation Lab The Innovation Lab is the “wow” engine of Ngaren. This area of Ngaren is responsible for finding and advancing breakthrough scientific discoveries that can be showcased in exhibits and imagining how the science can be translated into stories and experiences for the visitors and users of online content. The Innovation Lab is responsible for working with the exhibit and education team to bring new discoveries and ideas to life as exhibits and online content. The Innovation Lab will be responsible for generating ideas, and testing and launching new ways of communicating science. It will be responsible for partnering with designers, academic researchers, strategists, and scientists together with external partners from academia, the private and non-profit sectors and government. This will be the center for scientific staff and scientific integrity, as well as science storytelling and strategy. In addition to on-site content, responsibility for the development of online content will also be housed in the Innovation Lab. Developments in the field of Information and Communication Technology (ICT) and digitization/animation are developing at light speed. This phenomenon will impact Ngaren more than the average museum because Ngaren’s galleries and exhibitions - the product we are “selling” – will be immersive, data driven, exhibits and online content. Information and the distribution of information is at the heart of the mission of Ngaren. The technicians in the innovation lab will therefore be separate from the IT department which will be dedicated to operational infrastructure, help-desk and more quotidian tasks that enable offices to function. Digital technicians in the Innovation Lab area will be dedicated to bringing science to life – and the department will include digital artists, animators, storytellers and special effects specialists as well as scientists, all working to create groundbreaking immersive and compelling exhibits and stories about who we are as a species and how we came to be.

Chief Innovator and Scientist

Digital Technology Department

Animators and Special Effects Specialists

Science Storytelling

Scientists, Paleoanthropologists and Paleoartists

Relationship to Other Functions and Centers • Once exhibits and content have been created, they will be “handed over” to the Exhibition and Visitor Management Center, who will be responsible for upkeep and use of content in museums and online.

• There will be a dotted line to the IT/Help Desk department which will be housed in the Center for Administration, Operations and Institutional Advancement, since there will need to be coordination of the digital technology of exhibits and storytelling with the technology infrastructure, but the innovation and cutting-edge technology will be in the Innovation Lab. Staffing The Innovation Lab will be responsible for conceptualizing, developing and designing exhibits, and digital applications and designing displays, special effects, and animations that can bring to life the story of human origins. Staff will be responsible for innovation, and keeping the museum forward-looking abreast of new technology and cutting-edge science. Staff will work with Exhibitions on installation of new exhibits, and with the Education staff on creating content for schools, universities, and online courses and educational offerings.

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Innovation Lab Science Staff are responsible for: • Keeping abreast of research on new discoveries or data relevant to Ngaren’s mission; • Maintaining relationships with academic institutions and museums; • Imagining new exhibits and online content and developing exhibits and content.

PROJECT LEAD TIME

Special Effects Artists and Animators are responsible for: • Designing and creating new content for exhibits/displays; • Producing scientifically accurate drawings, animations, renderings, exhibits etc for galleries and exhibits; • Producing scientifically accurate drawings, animations etc for online content; • Working with education staff to bring educational curriculums to life through art and animation;

Relations with the other divisions Because, the Innovation Lab will be the “engine” of Ngaren driving its innovation and ensuring that the programs and offerings of the museum and online content remain relevant and exciting, it will be critical that the Innovation Lab have frequent, transparent and open communications with all other Centers and areas of Ngaren in order to perform its functions and guarantee success. The Innovation Lab team will need to receive constant feedback on how the exhibits and online content are being received, what is working and what is not working, and what the audience is hungry for – in order to create relevant, useful and educational materials. The Center will be responsible for the quality of the productions of exhibits but will need to rely on the Exhibit and Visitor Management Center staff to inform and assess the products delivered.

Digital Technology Specialists are responsible for: • Digitizing art and renderings created by special effects animators and artists • Coordinating with IT department on technical needs for galleries (power, wiring, connectivity, equipment etc).

Science Storytellers are responsible for: • Creating narratives with protagonists to tell scientifically accurate stories for online and on-sit content.

Pre-Opening Function Until the opening of the physical building, an Operative Innovation Lab will act as a production team for the realization of the exhibitions and productions. This Operative innovation lab will bring the Ngaren concept and narrative to life, finalize exhibits, subcontract with special effects companies, partners and vendors on the design of the exhibits and immersive experiences. After the opening, a regular task pattern can be developed with aim to have a certain number of new exhibitions per year – and continuous generation of content to keep Ngaren’s online and on-site offerings fresh and relevant.

1 major exhibition per year 4 small exhibitions 2 educational programs per year 2 web events per year 1 theme revision per year Planetarium program & promotions

1 year 2 months / each 6 months / each 3 months / each 1 year periodically

New projects should be recommended in annual strategic plans, ensuring that the deployment of people and resources from the entire Ngaren organization can be determined in advance, and progress monitored by staff in appropriate departments. A system of feedback and evaluation can be incorporated into the annual strategic planning cycle so that new projects are developed based on data from museum and online user-ship. Ngaren will encourage new ideas to percolate from everywhere in the organization – to encourage an innovative, creative and dynamic culture within the institution – but the Innovation Lab, through a process of budget allocation and approval will be tasked with creation of new exhibits and products.

Relations with parties outside Ngaren The Innovation Lab will need to maintain a vast network. This will include: • museums and amusement parks (leisure market); • exhibition designers and producers; • multimedia designers and producers; • education field, schools, universities (educational policy, knowledge transfer/internships, partnerships), municipalities (community building); • (human evolution) researchers (research, expertise); • digital technology companies and artists’ • scientists and specialists in appropriate and relevant fields • film companies and storytellers etc.

to Innovation Lab team to accomplish their goals. Business Development can only be successful if the museum is relevant to the visitors and the outside world, and if the museum exhibits and content conveys pertinent messages with strong and positive emotions, etc. This means that a common vision and goals are essential.

Advisory Board The Innovation Lab should also have an external advisory committee/board that includes representatives from technology and social media companies, scientists and academics, digital design and special effects experts etc. This will help with fundraising and partnerships for new business development, corporate sponsorship, and product development. This Advisory Committee would work with the board relations and staff person who will be the primary liaison. This staff function falls under the Admin, Operations and Institutional Advancement Center which reports directly to the CEO, and will likely be included in the job description of one of the fundraising staff members.

Consultation and decision-making Close cooperation between the Innovation Lab and other parts of the organization will be necessary for success. For example, the education program will need to be aware of new exhibits, new science and new technology being developed and tested in the Innovation Lab. The Center for Exhibit and Visitor Management will need to know what new experiences and exhibits will be coming down the pipeline and train guides and hosts in the galleries to answer questions and familiarize staff with the content and exhibit technology, and, therefore, needs to be able to connect

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The Center for Exhibition and Visitor Management Ngaren’s goal is to be a world-class visitor attraction to which the general public can come to learn about the evolution of humankind, experience immersive exhibits, and get a glimpse into the past, present, and future of our planet. Ngaren’s vision is to become a cultural icon in Kenya and Africa. Maintaining a world class museum focused on visitor experience and public participation is therefore paramount to the success of the institution. The Center for Exhibition and Visitor Management is responsible for visitor attraction functions (the galleries, planetarium, and special exhibitions), and oversight of digital content and will be tasked with maintaining the highest quality visitor/user experience. This division will take over the responsibility for content and exhibitions from the innovation lab once exhibits have been created. It will manage exhibitions, and work with the center for education and learning to implement the educational programs, and all related products, such as web projects, on-line lessons, etc. This Center is responsible for Chief Executive Officer

Staffing The Center for Exhibition and Visitor Management is responsible for the attendants that work in the public galleries (paid employees and volunteers) and will also primarily be responsible for ensuring that the exhibition areas are ‘ready for use’ daily. This area will also be responsible for managing the online content/updating information available online for schools and general public and ensuring that the content is accessible etc. The department will oversee the opening and closing rounds, quality control of the cleaning, central start-up procedures, breakdown procedures concerning building installations, etc. and volunteer coordination. In addition it will be responsible for the staff that works in the restaurants, cafes and museum shops.

Center for Exhibit and Visitor Managemant

Innovation Lab

Visitor Management

Attendants and Volunteers

Center for Education and Learning

the content and product of Ngaren as seen and experienced by the public and will be responsible for the day-to-day operations of the museum. This responsibility includes the exhibitions themselves (both the ‘permanent’ and the temporary ones), the reception of the public, the visitor support, demonstrations, maintaining on-line and digital exhibitions and information, accompanying printed matter, and other external collateral

Exhibition Management

Online Content Manager

Floor Managers

The main tasks for the department are: • welcoming and assisting the public in the exhibitions and teaching areas; • providing demonstrations, guided tours, etc.; • providing information, monitoring compliance with house rules by staff and visitors and in general all personal contacts aimed at the well-being of the visitors; • checking the maintenance and function of all appliances and interactives in the galleries and exhibitions, to ensure an excellent experience for the visitor; • monitoring the quality of the visitor experience • ensuring online content is updated and accessible to schools and public • answering online inquiries for content etc.

There are two divisions housed in this Center: Exhibitions and Visitor Management.

Exhibitions Division Exhibitions is responsible for overseeing permanent and special galleries and exhibitions, in the building as well as externally and online, web-based products, social media, and printed matter related to this activity.

Knowledge, skills, and expertise for Exhibitions Staff: • extensive knowledge of the organization and functioning of museums, visitor attractions, and of the commercial multimedia designers and producers working in this field; • project management skills; • knowledge of evolution history must be available, but does not have to be acquired through formal training; • knowledge of presentation methods and trends, both real and virtual, is important. This should preferably have been acquired at an institute with a comparable mission; • a great deal of practical experience is important, both with multimedia technology and exhibition design. Education or proven experience in theater technology, set production, stand

construction, etc. are recommended; • at least one of the employees must have basic knowledge and skills in multimedia production/management; • at least one of the employees must have a design background with skills in both spatial and graphic fields.

Visitor Management Division Visitor Management is responsible for: • overseeing the public areas of the museum during opening hours; • doing regular check-up rounds for the exhibition-specific facilities and interactives, schedules for museum attendants, tour guides, demonstrations, etc.

• overseeing an online booking system for (group) bookings; • staffing the visitor desk, and handling local ticket sales, online ticket sales, handing out floor plans, and providing general information about the presentations and other facilities.

• ‘floor’ management, both for educational activities and for the general public visiting the museum.

• To service schoolchildren and the general public, it is recommended that the department be divided into two task groups: Visitor Support and Educational Support. Educational support will oversee school groups but not be tasked with the development of educational content (content and educational curriculum etc will be developed in the Center for Education and Learning) Knowledge, skills, and expertise for Visitor Management: • proven visitor focus (experience in dealing with the public, for example, gained in a comparable institute and through training).

This is an absolute condition; • Floor Managers with some experience in management, quality assurance, and team leadership. This can be found in a public institution, but is probably easier found in the commercial world, for example in a retail company, or catering.

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Education Support Staff The Education support staff will be part of the visitor management team for Ngaren, responsible for coordination of school groups and visits. They will need to be well versed in the curriculum and content developed by the education and learning center staff, and the exhibits, but they will primarily be responsible for the oversight of groups coming to the museum – the logistics and staffing of actual tour and group visits.

Knowledge, skills, and expertise for Education Support Staff: • in-depth knowledge of both formal and informal education and hands-on experience working with youth groups, schools; • experience with multimedia learning environments, as well as a practical background in museum education; • sufficient skills to manage simple multimedia productions; • experience with project management; • experience handling large groups of youth; • presentation/teaching skills.

Volunteers Ngaren has a social responsibility to reach out to the wider community. Volunteers are an important mechanism that can help strengthen the bond between Ngaren and larger community. By offering opportunities to those who want to participate in the Ngaren vision without being able to engage in formal employment (for reasons of age, education, background, personal circumstances, etc.) or to those who are enthusiastic about the goals of Ngaren and want to be part of the organization, even without seeking formal employment, Ngaren can extend its influence and widen its impact.

Coordination of volunteers Volunteers will also fall under the Center for Experience and Exhibitions. A Volunteer Coordinator will likely need to be placed in the Visitor Support organization on the same level as the Floor Managers. The Volunteer Coordinator’s role is to advise the management of volunteer policy and ensure its implementation.

He/she is also responsible for effective and efficient internal and

external communication with and about voluntary and employment conditions. The coordinator oversees volunteer administration and ensures the implementation of intake, promotion, and departure procedures. The Volunteer Coordinator also maintains contact with all department heads or team leaders where volunteers are deployed. The coordinator is the point of contact for nonsubstantive matters, such as planning and recruiting volunteers.

Responsibility for the substantive activities of volunteers lies with the relevant departments.

Volunteer qualifications Anyone can qualify as a volunteer. Ngaren will focus on: • (former) employees from related institutes of industries; • students (in relevant fields of study); • those inspired by the objectives of Ngaren with a background or interest in services or education; • retired people; • local community members; • immigrants (with language capacities in different languages).

Deployment of volunteers Deployment of volunteers is, in principle, possible anywhere within Ngaren, at the request of the division management. Positions could include: • tour guides • host/hostess • educational project assistants • shop assistant • event assistant • translators The organization and coordination of the volunteers should rest in the Exhibit and Visitor Management Center. Recruitment and (re) placement of volunteers will be the responsibility of the division’s managers until a volunteer coordinator is appointed.

Rights and obligations Volunteers at Ngaren will be treated as important and professional additions to the Ngaren staff. Therefore, the rights and obligations of voluntary employees will be summarized in a volunteer engagement contract which would include: • each volunteer position has a written job description; • personnel management applies to volunteers, which provides, among other things, for performance interviews; • voluntary employment does not mean: free from rights and obligations; • direct expenses will be compensated; • minimum participation is 1 day per week for an annual agreement or 20 working days for a shorter period (project commitment); • volunteers are entitled to their facilities, such as specific task training, meetings, and incentives, at the discretion of the coordinator and/or the division management.

First Aid and Emergencies A first-aid certificate and training in emergency procedures will be mandatory for all division employees working in public areas. These can be acquired during the employment contract, but the staff employed at the opening of the Ngaren building will be required to complete these training courses before opening date. If necessary, first-aid certification may need to be part of the pre-opening training offered for initial staff.

community – outreach with academic institutions etc. The vision is for Ngaren to become a hub of learning and a respected and sought out institution for graduate students, internships and academic fellowships in museum-ology etc. Staff in this area will work with the Innovation Lab and the Center for Exhibit and Visitor Management to incorporate educational components throughout exhibitions, collections, public programs, publications, and enterprise activities.

It will be responsible for catalyzing dialogue on urgent and compelling issues, inspiring action grounded in an understanding of our history and human origins and our shared heritage. It will work to activate the entire museum space and offerings for learning, socializing, reflection and community exchange. The staff in this department will work with communications and business development to form partnerships with school and academic institutions to co-brand materials, curriculum and content for distribution/use globally.

Chief Executive Officer

in Museum Content and Exhibitions

Innovation Lab

Center for Education and Learning

The Center for Education and Learning At the core of Ngaren’s mission is the ambition that Ngaren be a driving force igniting innovation and inspiring discussion of critical social issues. The Center for Education and Learning will be responsible creating and developing the pedagogy for educational offerings, and overseeing the development of educational program content for Ngaren products. This center/department will be responsible for creating and deepening the museum experiences through a wide variety of platforms and venues – on-line and in the

in museum educational curriculum developers/specialists

Online education curriculum developers/specialists

Academic Outreach and Internship/Fellowship

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Staffing The Center for Education and Learning staff are responsible for creating the content for online and on-site educational components, workshops, courses, hand-outs and publications.

In addition, this Center will coordinate with the Innovation Lab on training, internship and career opportunities for Kenyan paleoanthropologists, anthropologists, museum management and design students to create opportunities for learning and credit with universities etc.

• creating extracurricular materials for use in Kenyan schools; • creating STEM, Adventures in Science, research, museum education and management programs for students and young career professionals; • developing and maintaining programs and educational projects, both in the building and externally i.e. web-based products and printed educational matter; • developing online lessons and content that can be streamed to schools and of site educational projects;

Education Staff are responsible for: • leveraging the power of non-formal learning in a museum setting; • developing partnerships with other institutions for the widest possible embedding of Ngaren’s content and proposition in educational systems of the country; • developing partnerships with global institutions for licensing and use of materials produced by Ngaren (actual licensing will be done by legal and new business); • working with universities and other institutions to offer opportunities for internships, learning and professional development opportunities; • Overseeing fellows and interns working at Ngaren; • developing content for guest speaker series and informational talks (working with special events to implement and produce); • hosting scientists/educators interested in partnering developing co-curriculums etc.

The Education and Learning Center requires staff with: • in-depth knowledge of both formal and informal education/ pedagogy of museum and online/digital learning; • experience with multimedia for learning and education, as well as a practical background in museum education; • experience with project management; • sufficient knowledge of/experience in the educational field to be able to design and organize group lessons for multiple levels of

education, language, age etc; • experience with design, and implementation of engaging educational programming for museum environments (on site, in schools and in the community, and online), the evaluation and reporting of these programs, and the connections with relevant educational and community focused organizations; • background in pedagogy for science education and science storytelling.

The Center for Admin/Operations and Institutional Advancement serves both the internal organization and external stakeholders of Ngaren and because of the importance of these functions to the success of the institution, it is recommended that this unit be led by the Chief Executive Officer (CEO). The CEO will be appointed by the Board of Directors to lead the organization but also functions, in this capacity, as a division director for the Center for Administration and Business Operations.

This Center oversees three main functions: Fundraising and Institutional Advancement, Administration and Operations.

The Center for Administration, Business Operations, Fundraising and Institutional Advancement The Center for Administration, Business Operations, Fundraising and Institutional Advancement is the critical “operations” division of the organization – the nuts and bolts of non-programmatic functions.

Under these three divisions fall responsibility for: • Communication and Events, Fundraising, and Business Development (under Fundraising and Institutional Advancement); • Human Resources, Financial Affairs, Legal (Administration), Board Relations and Advisory Committees (under Administration); • Technology/Help Desk, Building Maintenance/Facilities, Building

Chief Executive Officer

Center for Administration, Operations and Institutional Advancement

Fundraising and Institutional Advancement

Communications and Special Events

Innovation Lab

Center for Exhibit and Visitor Managemant

Administration

Business Development

Restaurant, Cafe and Shop

Finance

Legal

Procuremant and Supply Chain

Center for Education and Learning

Operations

Human Resources

Technology/ Help Desk

Security

Building Maintenance

Staff Training

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Management, Security, Restaurant and Café Management, Museum Shop Management (Under Operations) NOTE

- A Chief of Staff can support the CEO, and play a pivotal role in the information flow and policy planning.

- A Chief Operating Officer or Chief of Administration can oversee legal, human resources, and finance functions.

- A Chief of Institutional Advancement can oversee the fundraising, communications, external affairs and new business development areas.

Fundraising and Institutional Advancement Fundraising and Institutional Advancement oversees three functions: fundraising, communications and special events, and business development.

Responsibilities of Fundraising are: • implementing and designing museum’s fundraising, donor relations, membership services, • grant writing, developing high-net donor programs, tiered membership programs etc.

• establishing and maintaining relationships with foundations and corporations • overseeing direct mail, online donors, institutional donors, government donor relations.

The fundraising department requires staff with: • foundation and corporate grant writing experience • government grants; • donor relations; • donor reporting; • direct mail and membership programs.

Communication and Special Events Responsibilities of Communication and Special Events are: • planning, developing, and implementing integrated marketing and communications plans for exhibitions, educational programs, events, community and development initiatives, to maintain and potentially increase the Museum’s visibility and attendance; • oversight and development of the brand identity for Ngaren and ensuring that the organizational culture of Ngaren is consistent with the brand and mission of the organization going forward; • maintaining contacts with the press and media, and will need to consult directly with the CEO on the best approach for engagement of all eternal stakeholders; • maintaining relationships with all divisions and the departments within divisions so that it can promote Ngaren in the most effective way – and also respond to any potential criticism or negative media or public relations; • together with the division directors, developing a communication strategy for Ngaren.

NOTE

In a new and iconic institution like Ngaren, the Communication department will be a critical department responsible for the positioning of Ngaren as a cultural institution, as a partner for schools, universities, and other cultural institutions, government, municipality, donors, and sponsors. In the first few years of operations, this department will mainly need to focus on the development of Ngaren as a world class institution, and world-class recognized ‘brand’. In addition, the department will need to make sure Ngaren has a strong media and social media presence in Kenya and internationally.

Business Development Responsibilities of Business Development • maximizing the commercial viability of Ngaren’s products, image and content, form partnerships with corporations for “earnedincome”/co-branded ventures – i.e. marketing Turkana Boy and Spinosaurus or other Ngaren protagonists for use in shops and

externally (at Nairobi airport etc) .

• creating new products for museum shops, as well as the procurement, suitability and profitability of the products; • commercializing use of the museum for business and other special events (external rentals). Therefore, staff in this department will need to work closely with the caterer/restaurant; • creating co-marketing and collaborative for profit ventures – satellite shops or satellite museums in other cities etc.

The Business Development Department requires staff with: • a commercial focus; • knowledge of sponsoring and public philanthropy; • knowledge of the event marketing and tourism, preferably found in a commercial environment; • knowledge of retail and shop presentation • vendor relations and vendor negotiations experience.

Administration Administration oversees four functions: Human Resources, Finance, Legal and Board Relations.

Human Resources Human Resources is responsible for: • providing advice, guidance, personnel, salary administration, and management information to departments; • overseeing health insurance, pension, time off policy and accounts, etc; • onboarding new staff and exiting staff; • maintaining personnel files and legal documents; • providing human resource manual and updating information to be in compliance with legal and regulatory authority; • establishing and providing training to staff and volunteers; • establishing annual activity plans and performance evaluations; • Staff Training and oversight of a “Training Institute” that offers initial onboarding training as well as ongoing training and career advancement opportunities.

NOTE

The recommendation for Ngaren is to adopt a ‘service model’ organization. This means that the divisions themselves will be responsible for the implementation of personnel policy. Then it will be the responsibility of specific departments (who will have sufficient capacity and resources) to guarantee the implementation and enforcement of personnel instruments. Also, we will need to check on the local Kenyan law and regulations regarding how personnel policy and accountability can be managed.

There will be functional relationships and communications between Human Resources and Finance Departments within the annual budget and accounting cycles, and in the production of management information. Human Resources will work closely together with Financial Affairs when the budget development affects the employee count. If Ngaren is part of a collective labor agreement, they work together to determine the budgetary or legal consequences of changes in that agreement.

Finance Department The Finance Department will be responsible for: • financial oversight and administration of Ngaren; • guiding and realizing annual and multi-year budget and accountability cycles • providing financial reports for investors, donors, and other external financial stakeholders (along with the fundraising department) • implementing procurement policies, ensuring good financial controls, establishing signatory authority levels; • developing and maintaining financial management systems in which the revenue and expenses are directly aligned to activities, programs and functions; • holding departments accountable for overspending/providing monthly expense reports to department and center heads, CEO and board of directors • coordinating with fundraising on annual fundraising targets; • overseeing audit and financial compliance with legal;

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• creating finance handbook for staff, updating and keeping forms and systems relevant and practical.

NOTE

This department will be led by a Controller. He/she will need to be instrumental, along with the Division Directors in the development of the Ngaren budget plan, and assist in writing the annual activity plan. The Controller will report directly to the Supervisory Board so that they can call upon him/her directly for advice and information.

Legal Department (likely outsourced until Ngaren is a larger institution – or pro-bono function until in-house legal is needed) The Legal Department will be responsible for: • ensuring Ngaren conducts all activities in accordance with National law and regulations; • working with Human Resources to determine and provide legal guidance as it relates to visitor liability issues and human resources; • ensuring compliance with government and grant funding regulations; • providing legal advice regarding exhibitions, liability, reputational risk; • monitoring risk compliance; • working with management on any lawsuits or legal issues that arise as a result of activities, staff, guests, accidents, construction; • reviewing contracts, consultancies and external agreements.

Board Relations and Advisory Committee (most likely included in a role in the fundraising staff for start-up – maybe expanded as institution grows) Board Relations and Advisory Committee staff is responsible for: • maintaining relationships with board and advisory committee members; • serve as primary liaison with board of directors; • organizing board meetings, agendas and materials and maintaining minutes and legal documents necessary for governance;

• ensuring compliance with good governance and legal frameworks; • recruiting, onboarding and developing board members and board leadership • working with CEO on maintaining diversity and expertise on board.

Business Operations Operations Oversees three functions: Technology/Help Desk, Building Management (which includes facilities maintenance, restaurant and café, and museum shop operations), and Security.

Technology Support and Help Desk Technology Support and Help Desk Department are responsible for: • developing and maintain the systems in the museum and offices, giving advice on the purchase of new systems or software and contracting and supervising external parties working for Ngaren.

• oversee the institutions technological infrastructure and working in coordination with the digital technology specialists in the Innovation Lab and Exhibit and Visitor Management Center on requirements for servers, cabling, electric etc. needed for exhibits and online content.

• overseeing cyber-security and ensuring systems are protected from hackers and have adequate firewalls etc. for payment processing and information security.

• trouble shooting and coordinating maintenance, performing software updates etc for all parts of the museum, including the digital planetarium.

• maintaining digital building maintenance systems. (Building Management systems has evolved over the last decades, and (digital) technology is now more efficient and cheaper than old mechanical systems); • developing a practical ICT policy for Ngaren, as well as for system management and support for ICT for the entire Ngaren organization.

• providing adequate application of technology for information and

• • •

•

• •

communication needs for the entire organization. responsible for first- and second-line support: performing a helpdesk function, managing databases and networks, and managing and developing software and multimedia applications. advise on instruction and training for users of systems integrate new technology, and manage the multitude of links between existing and new systems, and manage the everincreasing demands placed on infrastructure so that all systems are integrated and managed within an overlying framework (the architecture).

Be able to adapt and grow – to act proactively to standardize systems and maintain data and information security in order to avoid redundant and overly complicated systems to develop, and avoid data breaches or system outages. provide insight into the costs and benefits of IT investments and operations at the level of the entire organization; ICT will need to proactively manage software and hardware at the museum.

Technology Project management needs to have: • proven experience in leading projects, especially in the field of implementation of new technology; • proven experience setting high standards for the management and quality of IT projects.

• proven experience in managing complex projects, especially in the field of implementation of new technology; • thorough knowledge of business processes and business goals of Ngaren; • skill in consulting with strategic partners of Ngaren.

NOTE

This department will have a dotted line to the Innovation Lab and digital technology staff responsible for exhibits, animation and digital storytelling, but the help-desk and support team will report through the Center for Administration, Operations and Institutional Advancement.

Building Management Building Management is responsible for Building Management, Facilities Maintenance, Restaurant, Cafes and Museum Shop Operations.

Building Management Staff are responsible for: • building management, technical and cleaning maintenance of building systems, security systems, reception systems and telephony; • purchasing policy and contract management for contracted-in labor and services (in coordination with finance); • quality control of the daily and periodic cleaning of the interior of the museum and the offices, window cleaning (daily maintenance is done by facilities staff); • oversight of telephony: operating telephone exchange and central communication equipment; provision of information of a general nature; performing administrative actions; • oversight of reception: receiving and referring visitors, providing information of a general nature, performing administrative actions; • placing central orders, stock monitoring central warehouse, printing services; • logistics & distribution: managing the shipping/expedition dock and warehouse • receiving and sending goods; mail sending and distribution to staff; • managing internal transport (office supplies, furniture, shop supplies); • performing repro work; supplements paper copying machines, collecting paper, organic waste, and small chemical waste; • preparing meeting rooms for use; • keeping track of the outside area (sweeping sidewalks, sprinkling water, etc.); • creating a disaster and emergency plan, updating plan and making sure it complies with national standards etc. for evacuation, fire etc.

• liaising with the local fire department, municipalities etc on any issues that might arise, thefts of emergencies; • conducting fire drills and upgrades of systems, protocal; • creation of a multiannual maintenance plan, engaging external

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experts when needing and providing required budgetary information to finance for capital improvements, system upgrades etc NOTE

A newly constructed building will need quality upkeep and maintenance from day one. In the first year, the focus will need to be on making sure that the facility is fully functioning, as inevitably some faults in the construction or the workings of the systems will surface, and some things will not work as well as expected. In that first year, the construction companies who performed the buildout will also still need to be involved in getting these last details functioning and fixed.

In the first months after opening, the Building Management Department will need to concentrate on archiving the “as-is” drawings of the building and the systems into a building archive, and familiarizing themselves with the building and the systems. The Department will also be responsible for developing a disaster and emergency plan and keep it operational.

Within the department, certain staff will need to be focused on the construction aspects of maintenance and planning, and other staff will act as a Technical Team. The Technical Team will be responsible for all the first line repairs and alterations, building systems and appliances, technical maintenance of installations and the preventive maintenance, as well as for resolving emergencies and breakage.

These teams are, in essence, the ‘handymen’, who are sufficient in carpentry and painting, electricity, electronics, and the repair and installation of multimedia equipment. These staff need to be capable of keeping all appliances and interactives functioning at a basic level.

Facilities Maintenance Staff are responsible for: • servicing internal staff and the customers/visitors to Ngaren; • cleaning, security, telephony, and reception; • managing facility contracts with suppliers of goods and labor; • creating a warm, hospitable, safe, organized, and clean environment;

• opening the building on time, in a ready-to-use manner; • making sure that staff behave appropriately and professionally at reception, and in public spaces, and that the telephone is always answered quickly and correctly; • ensuring that the Ngaren building exudes perfection, efficiency, and professionalism, and Ngaren’s technical systems are maintained in proper working order; • ensuring events are prepared and coordinated to perfection internally; • coordinating with the Communication & Events and Business Development Departments, and the caterer/restaurant to ensure efficiency and timeliness.

Restaurant, Café and Museum Shop Operations are responsible for: • staffing daily operations of the museum restaurants and cafes, and museum shops; • stocking and sales; • ensuring opening and closing, cleanliness and general functions of entities; • menus and specials; • coordinating with business development and special events for new products, rentals etc; • coordinating with communications and business development on promotions, product; • working with procurement and finance on vendor negotiations and contracts; • if applicable managing subcontract with external vendors for food services, catering etc.

Security Staff are responsible for: • welcoming visitors as part of the Ngaren family; • being familiar with everyone working in the organization, knowing them by name, and making sure they are aware of what is going on in the organization; • generally creating a safe and inviting environment; • attending the security booth during opening hours, and working closely with Reception.

• opening and closing the building, control rounds, and intervening in emergencies • intervening when needed due to disruptions or crime/other issues.

NOTE

The security of the building, the visitors, and the staff are also of paramount importance to the successful operations of the museum.

The proposal is that there be two categories of security personnel.

First, a small number of full-time security staff employed directly by Ngaren should be employed to fill key positions in the building (the security-booth, the reception). These positions are not only critical to operations and safety, but are also front-facing and public. All other security personnel, (security for the main gate, the premises etc.), can be hired from an outside firm. The 26 full time equivalents (FTE.’s) that are needed for that task are part of the exploitation budget of Ngaren and are not further mentioned here.

Innovation Lab 9 Chief Innovator and Scientist 1 Head of Digital Technology 1 Science Storytelling 2 New Content Development Specialists 3 FX and Animation Specialists 2

Center for Administration and Business Operations 62,4 CEO 1 Chief of Staff 1 Office of the CEO 2,4 Fundraising and Institutional Advancement 17 Communication 4 Business Dev. 10 Fundraising 3 Administration 12 Financial Administration 6 Human Resources & Organization

6 Operations 29 Director of operations 1 Technology helpdesk 7 Building Management 7 Facility Maintenance & Cafe/rest.

8 Security 6

Center for Exhibitions and Visitor Management 62 Chief of Exhibitions and Visitor Management 1 Exhibitions 10 On-site and online Exhibition staff 10 Visitor Management 51 Visitor Support 45 Educational Support 6

Center for Education and Learning 8 On-line edu 4 On-site edu 4

TOTAL 141,4

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Ngaren Management and Leadership The Kenyan Board of Ngaren and Supervisory Board The Board of Ngaren in Kenya will monitor the policy development, implementation, financial, legal, and operations of Ngaren. The board will appoint, manage and assess the CEO.

• •

The CEO The CEO of Ngaren will be the head of the organization and lead the division that consists of three departments: Administration, Operations and Institutional Advancement. In addition, this division will have a Chief of Staff and a Chief Operating Officer who report directly to the CEO and oversee certain functions. The CEO reports to the board of Ngaren in Kenya.

• • • •

The CEO is responsible for: • leadership of the overall organization, reporting to the board of directors; • chairing the management team that consists of the chiefs of the separate functional divisions (and direct oversight of Center for Admin, Operations and Institutional Advancement; • being the ‘face’ of Ngaren, tirelessly active in the promotion of Ngaren outside the organization, in conversations and meetings

• •

with stakeholders, visible in the media, and active on social media. responsible for building the Ngaren culture, strengthening the family character of the organization, and being an example to all staff for Ngaren, embodying the values of Ngaren; leading Ngaren in a manner that supports and guides the organization’s mission as defined by the Board of Directors; communicating effectively with the Board and providing, in a timely and accurate manner, all information necessary for the Board to function properly and to make informed decisions; overseeing financial performance and viability; developing resources sufficient to ensure the financial health of the organization; fundraising and developing other revenues necessary to support Ngaren’s mission; ensuring (along with the Controller and finance department/ board) fiscal integrity of Ngaren to include submission to the Board of a proposed annual budget and monthly financial statements, which accurately reflect the financial condition of the organization; fiscal management that generally anticipates operating within the approved budget, ensures maximum resource utilization, and maintenance of the organization in a positive financial position. overseeing and implementing appropriate resources to ensure

Supervisor Board/Board of Directors (as per Kenyan Law)

Chief of Staff

Chief Scientist/Innovatorfor Innovation Lab

Chief Operating Officer

Controller

Center for Education and Learning

Chief of Fundraising and Institutional Advancement

Chief Administrator

that the operations of the organization are appropriate.

• responsible for the hiring and retention of competent, qualified staff; • responsible for signing all notes, agreements, and other instruments made and entered into and on behalf of the organization.

The Chief of Staff The Chief of Staff will serve the following functions: • function as the policy advisor, and support the CEO and the management team in policy preparation and decision-making; • act as an intermediary for management team to CEO; • act as strategic lead on priority projects • spearhead strategic planning and annual budget and plans with Controller and management team; • prepare the meetings of the Supervisory Board and the Management Team of Center Heads (i.e. Innovation Lab, Center for Education and Learning and Center for Exhibit and Visitor Management). advise the CEO on strategic and administrative aspects of ongoing operations; • work with the CEO, board and management team on strategic planning and annual management plans; • draft the budget plan (in coordination with the Controller), the policy plans, and the activity plans of Ngaren (in coordination with the members of the MT and the Controller).

• be responsible for internal communication for policy or administrative aspects of the institution; • monitor the internal consultation and decision-making structure; • drawing up guidelines for a uniform company archiving policy.

The Training of Ngaren staff The Training Institute/Training Function Training is a critical tool to develop the skills and capacities needed by staff and volunteers to meet the needs of the organization. It is precisely in the early development stages of an organization, that the importance of training is at its highest. For the coming period (short and medium-term), training efforts should be focused on these categories. Ngaren will establish a Training Institute in the Human Resources Department that will be responsible for overseeing onboarding of new staff and ongoing training in the

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following areas: culture-oriented training, management training for new managers, function-oriented training and career training. This area will also need to work closely with the Education and Learning Center to provide content-oriented training on subject specific topics (paleo-anthropology, museum-ology etc) to staff members and utilize the presence of in-house fellows and interns for lectures etc. The Training Institute could offer “brown bag” information lunches and series of workshops that staff could attend to develop knowledge in addition to more formal training opportunities/ requirements as part of the individual personnel plans.

Culture-oriented training The culture of Ngaren is visitor-friendly, and customer-oriented.

Ngaren is also intended to be an innovative, entrepreneurial and dynamic organization. Human Resources will be tasked with putting together a comprehensive training program for new staff to onboard them to the institution and get all employees up to speed in terms of the core values and mission of the organization. In addition, all of the employees at Ngaren need to be focused on customer experience. On the first day of training, new employees should learn that their primary goal, no matter their position, is to create a pleasant atmosphere for visitors and other guests and to create a warm, open and transparent institution that values diversity, science and learning Employees should receive regular training so they have the tools to best serve customers and be given creative solutions to solve problems in the best way possible. It should not be unusual to hear about an employee going out of his/her way to provide a memorable experience for a guest. A strong customer experience starts with leadership and is delivered when every employee knows their role and impact. For most people, going to Ngaren will be a special occasion, so Ngaren needs to treat every guest, no matter if it’s their first visit or their hundredth, like a VIP. Success will come from understanding who the guests are and personalizing the experience to meet their needs. Employees need to pay attention, ask guests about their visit, and be encouraged to create one-onone interactions with visitors to enhance the Ngaren experience.

A personalized experience comes from valuing each customer and taking the time to make their visit amazing. For the members of the Center for Exhibitions and Visitor Management, this training needs to be set up before the opening of the museum.

Development of the new management In general, it is necessary to pay attention to support procedures in the implementation of a new organization. The selected managers will be new to their jobs and the challenge of a new museum. Everything is new, so flexibility and stress reduction will be important. This means that the quality of personnel care itself needs to be high during this period. Immediately after the opening of the museum, a training plan needs to be created for managers. In that training, people management skills should be further developed.

Major points of attention are: job evaluation, performance and appraisal interviews, the Individual Work and Development Plan (IWDP), absenteeism counseling, and interview techniques.

Training and education in the use of a job description and evaluation system are also important to successfully implement and operate in the new organization. Managers, Works Council, and the Personnel & Organization department will therefore be trained in the use of this system.

Function-oriented training Individual training programs will emerge from the organization as it develops. For example, employees are often given a position that they cannot yet fully fulfill for a variety of reasons. Courses and training modules can be created to increase specific knowledge and skills of staff. In addition, functions will change continuously as a result of changes in the work process of the institution, or as a result of developments in the field. Continuous development of employees will therefore need to be established as part of Ngaren’s management framework. Both the manager and the employee himself/herself will have a responsibility for this ‘life-long learning’ on the job. This learning culture should be incorporated into

performance reviews, and ongoing staff supervision. The P&O department will need to advise on suitable training and form.

Career-oriented training Both Ngaren and individual employees have a vested interest in career development. For the organization, it is important to be able to fill key positions and not to lose knowledgeable staff and expertise through staff attrition. For employees, being challenged and motivated are important for job satisfaction. So, to provide career-oriented training, there must be an insight into both the interests and goals of the organization and the interests and goals of the employees. Performance interviews will be important tools to identify employee interests.

The development of a career policy and future-oriented personnel planning is needed.

After the development of Ngaren, career-oriented training should become a structural part of the personnel tasks of the management, supported by the Personnel & Organization department.

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PROGRAM OF REQUIREMENTS (Appendix 2)

1

INDEX 1 1.1 1.2 1.3

The project definition - 8 Introduction - 8 The aim of this P.o.R. - 8 Identities - 9

2 The project organization - 10 2.1 The client - 10 2.1.1 Legal contract aspects - 10 2.1.2 Tasks of the client - 11 2.2 The CEO - 11 2.2.1 Tasks of the CEO: - 12 2.3 The Project Manager - 12 2.3.1 Project Manager’s tasks - 12 2.4 The Clerk of Works and his team (realization phase) - 13 2.5 The project organization - 13 2.5.1 Objective - 13 2.5.2 Task descriptions Clerks of Works and team - 14 2.5.3 Coordination and decision-making structure - 15 2.6 Steering Committee - 16 2.6.1 Assignment/ objective - 16 2.6.2 Overall job description - 16 2.6.3 Steering Committee members - 16 2.6.4 Frequency, location, and decision making - 16 2.7 Design Team - 16 2.7.1 Design Team members - 16 2.7.2 Design Team meetings- 17 2.7.3 The Architect - 17 2.7.4 Quantity Surveyor - 18 2.7.5 The Structural Engineer - 19 2.7.6 Mechanical Engineer/ Electrical Engineer - 20 2.7.7 Environmental Engineer - 21 2.7.8 The Planetarium Installations Adviser - 21 2.7.9 The Interior-design Architect - 22 2.8 Working Group(s) - 22 2.8.1 Assignment / objective - 22 2.8.2 Working Group members - 22

2.8.3 Frequency, location, and decision making - 22 2.9 Project Phases -23 2.9.1 Project phasing in general - 23 2.10 Project phasing - 23 2.10.1 Initiation phase - 23 2.10.2 Definition phase - 23 2.10.3 Design phase - 23 2.10.4 Construction Preparation phase - 24 2.10.5 Realization phase - 25 2.10.6 Aftercare (commissioning) phase - 26 2.11 Overall planning - 26 3 General design principles - 27 3.1 Purpose of the project - 27 3.2 Organizational design principles - 27 3.2.1 Basic principles for publicly accessible and separately

accessible areas. - 27 3.3 Principles and frameworks for the functional and spatial

program - 28 3.3.1 Cultural value - 28 3.3.2 Identity / recognizability - 28 3.3.3 Key issues - 29 3.3.4 Ambitions for the building- 29 3.3.5 Performance - 29 3.3.6 Atmosphere - 29 3.3.7 Spatial design - 30 3.3.8 Personal experience/ view -30 3.4 Location and access - 30 3.4.1 Entry and exit routes - 30 3.4.2 Access to utilities - 30 3.4.3 Entrances - 30 3.5 Office concept - 31 3.5.1 Flexible office walls - 32 3.5.2 Offices interior design - 32 3.6 Public spaces - 32 3.6.1 Museum design - 32

3

3.6.2 Education areas - 33 3.6.3 Visitors with disabilities - 33 3.7 Building installations - 33 3.7.1 Internal environment - 34 3.8 Logistics for visitors and staff - 34 3.8.1 Accessibility for the disabled - 34 3.8.2 Findability of functions - 34 3.8.3 Accessibility of building installations - 34 3.9 Logistics of goods - 34 3.9.1 Supply and removal of goods - 34 3.9.2 Waste - 35 3.9.3 Free passages for transports - 35 3.9.4 Internal transport of goods - 35 3.10 Compartmentalization and Safety - 35 3.10.1 Safety in the event of an emergency - 35 3.10.2 Escape route lighting / emergency lighting - 36 3.10.3 Notification - 36 3.10.4 Protection against lightning - 36 3.10.5 Rescue installations and fire extinguishers - 36 3.10.6 Safety in use - 36 3.11 Access control - 37 3.11.1 Compartmentalization - 37 3.12 Systems Safety - 38 3.12.1 Management of technical installations - 38 3.12.2 Emergency lighting - 38 3.12.3 Overvoltage protection - 38 3.13 Burglary protection - 38 3.13.1 Structural facilities (including hinges and locks) - 38 3.13.2 Electronic detection - 39 3.13.3 Personnel and procedures - 39 3.14 Fire and evacuation systems - 39 3.14.1 Electrical protection devices - 40 3.15 Quality standards - 40 3.16 Regulations - 40 3.17 Health and Safety - 40 3.18 Operating costs - 40

3.18.1 Calculation of maintenance costs - 40 3.18.2 Maintenance level - 41 3.18.3 Additional maintenance requirements - 41 4 Durability - 43 4.1 Rationale - 43 4.1.1 Building with tradition - 43 4.1.2 Building with nature - 43 4.2 Key Elements - 44 4.2.1 Materials - 44 4.2.2 Energy - 44 4.2.3 Water - 44 4.2.4 Management (waste, maintenance, etc.) - 44 4.2.5 Indoor Environmental Quality - 44 4.2.6 Land use & ecology - 44 4.2.7 Emissions - 44 4.2.8 Innovation - 45 4.2.9 Zero waste principles - 45 4.3 What we expect - 45 4.4 Energy - 45 4.4.1 Building Orientation - 45 4.4.2 Sun Shading and Natural Light - 45 4.4.3 Ventilation - 47 4.4.4 Solar PV power - 48 4.4.5 Isolation - 48 4.5 Water - 48 4.5.1 Water supply - 48 4.5.2 Rainwater Harvesting - 48 4.5.3 Water Treatment & Recycling - 48 4.5.4 Efficient water use during construction - 49 4.5.5 Storm-water and rainwater management - 49 4.5.6 Renewable, energy-based hot water system - 50 4.5.7 Ensure water quality - 50 4.6 Building materials - 50 4.6.1 Use of fly-ash in the building structure - 51 4.6.2 Reduce volume, weight, and construction time - 51

4.6.3 4.7 4.7.1 4.7.2 4.7.3 4.7.4 4.7.5 4.7.6

4.8 4.8.1 4.8.2 4.8.3 4.8.4

Use low-energy material in interiors - 52 Health and well-being - 52 Use low-VOC paints/adhesives/sealants - 52 Minimize ozone-depleting substances - 52 Low VOC emitting materials - 52 Acceptable outdoor and indoor noise levels - 52 Tobacco smoke control - 53 Provide at least the minimum level of accessibility for persons with disabilities - 53 Waste management - 53 Operational Waste - 53 Construction Waste - 53 Efficient waste segregation - 53 Storage and disposal of wastes - 53

5 5.1 5.2 5.3 5.3.1 5.3.2 5.3.3 5.3.4 5.4 5.4.1 5.5 5.5.1 5.5.2 5.5.3 5.5.4 5.5.5 5.5.6 5.5.7 5.5.8 5.5.9 5.5.10

Functional and spatial program - 54 Introduction - 54 Relationship schedule - 54 Standards and principles - 54 Standard measurements for requires spaces - 54 Stratification loss - 54 Traffic area - 54 Installation surface - 54 Facility design program summary - 54 Heights - 55 Reception & visitor services (2650 m2) - 55 Multifunctional Welcome Hall (the Main Hall) (1000 m2) - 55 Reception (50 m2) - 56 Cloakroom/locker room (250 m2) - 56 Sanitary facilities for visitors (120 m²) - 56 Storage (150 m²) - 56 School Group Coat-Storage (120 m²) - 56 Shop with an office (400 m²) - 56 Inventory Storage (30 m2) - 57 Security Control Room (30 m2) - 57 Auditorium (500 m2) - 57

5.6 5.6.1 5.6.2 5.6.3 5.6.4 5.7 5.7.1 5.7.2 5.7.3 5.7.4 5.8 5.8.1 5.8.2 5.8.3 5.8.4 5.9 5.9.1 5.9.2 5.9.3 5.9.4 5.10 5.10.1 5.10.2 5.10.3

Restaurants and catering functions (1,555 m2) - 57 Visitor Restaurant (600 m2) - 57 Staff Restaurant (300 m2) - 57 Office, changing room and storage (185 m2) - 58 Cafeteria and coffee bar (80 m2) - 58 Offices and meetings rooms (1,276 m2) - 58 Offices (885 m2) - 58 General Facilities for the office staff - 59 ICT test room (25 m2) - 60 Meeting rooms and Pantries (370 m2) - 60 Exhibition & education areas (9490 m2) - 60 Exhibition Areas (8,400 m2) - 60 Museum storage (150 m2) - 60 Exhibition Change Room (400 m2) - 60 Education areas (540 m2) - 60 Support Facilities (815 m2) - 61 Storage rooms (300 m2) - 61 Support areas (395 m2) - 61 SER rooms and MER - 62 Technical workshop (120 m2) - 62 The Planetarium (The Dome) (800 m2) - 62 Visitors journey - 62 The Dome Theater - 63 The setup of the Dome and the operation - 64

6 6.1 6.2 6.2.1 6.2.2 6.3 6.3.1 6.3.2 6.3.3 6.3.4 6.3.5

Physical requirements - 68 Introduction - 68 Urban development (environment) - 68 Wind nuisance - 68 Noise emission to the environment - 68 Building envelope - 68 Air and water tightness - 68 Insulation - 69 Vapor and moisture resistance - 69 Glazing properties - 69 Cold bridges - 69

5

6.4 Visual comfort - 69 6.4.1 Daylight and views - 69 6.4.2 Light protection - 70 6.5 Air quality - 70 6.5.1 Ventilation - 70 6.5.2 Flush ventilation - 70 6.5.3 Emissions and air quality - 70 6.6 Thermal comfort - 70 6.6.1 General temperature guidelines - 70 6.6.2 Comfort criteria and comfort in living areas - 71 6.6.3 Temperature differences between spaces - 71 6.6.4 Local discomfort - 71 6.6.5 Humidity - 72 6.7 Acoustic comfort - 72 6.7.1 Permissible sound levels - 72 6.7.2 Air and contact insulation - 73 6.7.3 Room acoustics - 73 6.8 Durability - 74 6.8.1 Sun protection - 74 6.8.2 Accumulating capacity - 74 6.8.3 Natural ventilation and night ventilation - 74 6.8.4 Renewable energy sources - 74 6.8.5 Reuse water - 75 6.8.6 Transport - 75 7 Construction requirements - 76 7.1 General requirements - 76 7.2 Roofs - 77 7.3 Facades - 77 7.3.1 Facade openings - 78 7.4 Daylight regulation - 78 7.5 Floors - 78 7.5.1 Carpeting - 79 7.5.2 Floor load - 79 7.6 Inner walls, doors, and facades - 80 7.7 Ceilings - 80

7.7.1 7.8 7.9 7.10

Suspended ceilings - 80 Stairs, ramps, and finishes - 81 Hinges and locks - 81 Resistance to molestation - 81

8 Installation technical requirements - 82 8.1 Electrical installation - 82 8.1.1 Electrotechnical main structure - 82 8.1.2 Artificial lighting - standard lighting, quality and quantity - 84 8.1.3 Communication Telematics - 85 8.1.4 Security installation - 86 8.2 Transport installations - 87 8.2.1 Elevators - 87 8.3 Mechanical Installation - 87 8.3.1 Climate concept - 87 8.3.2 Water use - 87 8.3.3 Sanitary facilities - 88 8.3.4 Air quality - 88 8.3.5 Air pollutants - 89 8.4 Control installation - 89 8.4.1 Building Management Features - 89 8.4.2 Individual operability - 89 8.5 Technical accommodation - 89 8.5.1 Technical rooms, shafts, etc. - 89 8.5.2 Technical infrastructure - 89 9 The site identity - 91 9.1 Parking - 91 9.1.1 Motorists parking - 91 9.1.2 Bicycle parking - 92 9.1.3 Bus parking - 92 9.2 The garden - 92 9.2.1 Footpaths - 93 9.2.2 Specials and special elements - 93 9.3 Functional and expedition access - 94

9.4 9.4.1 9.4.2 9.4.3 9.4.4

9.4.5

9.4.6

9.5 9.5.1 9.5.2

Sustainable site planning - 94 Landscape reservation and protection during construction - 94 Soil conservation (till post-construction) - 95 Design to include existing site features - 95 Reduce hard paving on-site and/or provide shaded hardpaved surfaces - 95 Enhance outdoor lighting system efficiency and use a renewable energy system - 95 Plan utilities efficiently and optimize on-site circulation efficiency - 96 Building planning and construction - 96 Reduce landscape water requirement - 96 Site, land-use, and transport management - 96

10 Budget - 97 10.1 Total construction budget - 97 10.1.1 Building site preparation - 97 10.1.2 Construction costs - 97 10.1.3 Grounds - 98 10.1.4 Design Team and interior decorator - 98 10.1.5 Additional advisors - 98

The Terrace - 106 The Exploration Stations - 106 3. The Research Rooms - 107 The Research Rooms - 107 4. The Evolutionary Game Room and Treasure Rooms - 112 Evolutionary Game Room - 113 Treasure Rooms - 113

Summary table of objectives, learning outcomes and key messages - 113

Schematic representation of the accessibility of the different areas of the institute. - 116

Annex 4: 1 Alternative project design and construction methodology 1

11 Annexes - 99

Annex 1: - 99

LEED Standard key basic requirements - 99

Annex 2: - 102

Examples of natural climate control systems - 102

Annex 3: - 103

Navigating the museum - 103

Ngaren is a journey - 103

Floorplan - 104

1. The Welcome Hall, the Dome, and the Orientation Hall - 104

The Welcome Hall (Main Hall) - 104

The Dome (Planetarium) - 105

The Orientation Hall - 105

2. The Terrace and the Exploration Stations - 106

7

1 THE PROJECT DEFINITION 1.1 Introduction

1.2 The aim of this P.o.R.

This Program of Requirements (P.o.R.) has been written to develop specific facility design program requirements for Ngaren, the Museum of Humankind (NMH).

The Museum will be located on a 200 plus acre plot of land in Loodariak, southwest of Nairobi in Kajiado County in the Great Rift Valley, in Greater Metropolitan Nairobi, Kenya.

This document is part of the Master Plan for NMH. It describes Ngaren Inc.’s input to the architects and consultants contracted by Ngaren Inc. to plan, design, and prepare construction documents for NMH. This program contains detailed requirements and design criteria for the major building facilities, including the technical installations and the site where the museum is located. Recommendations for interior and exterior aesthetics are also included.

The vision of the client for NMH is to build a physical museum, as well as online and offline content and educational materials and programs as stated in substance or words as follows: NMH celebrates the beginnings of all humanity. Dedicated to educating humankind on our shared past, NMH tells the story of our common ancestry, our epic journeys, and our future obligation to protect the planet that is our only home.

This P.o.R is prepared for Ngaren Inc. by Naturalis Biodiversity Center, Leiden, The Netherlands and Otto Mruttu and Partners Architects, Nairobi, Kenya, in cooperation with: • Van Beers Construction Management & Advice, Werkhoven, The Netherlands; • Halmos Advice, Wassenaar, The Netherlands; • Kenyan Green Building Society; • Grasp Design Ltd. Architects; • Urban Green Consultants; • Sustainable Inclusive Business – Kenya; • PEP Communication Ltd. Liability In the absence of willful malfeasance, bad faith, gross negligence, or reckless disregard of obligations or duties hereunder on the part of the Advisers, the Advisers shall not be subject to liability to the Client or any party in connection with the Client for any act or omission or losses suffered in the course of the design-, realization- or exploitation phase of the project.

The P.o.R. is a strategic document that lists the conceptual goals and strategic choices for the museum as a whole, as well as for the individual halls, exhibits, and facilities. It will be the basis for the architects when designing the project. However, this document is intended to cover more than the square meters and the number of electrical sockets, the building and its direct surroundings need to reflect the mission and spirit of Ngaren and this outline includes references to themes, aesthetics and overall look and feel for the institution. The building should not only house the museum, but it should also transmit the vision and the premise of NMH. It should embrace our visitors, make them feel welcome, and make their visit comfortable as well as memorable.

The P.o.R. is intended to provide guidance for the architects and the advisers in such a way that they can fully understand the project and feel part of the endeavor. In short, the P.o.R. contains all the information needed for the implementation of the building and the technical infrastructure. This document should be viewed as supplemental to the Master Plan. The Master Plan describes the concept, vision, and ambition of NMH, as well as the overall content, visitors flow, and some spatial requirements, and is therefore an important input for the architects and their teams. It should be read and understood in the context and as a supplement to this P.o.R.!

9

This P.o.R. describes the design- and infrastructural aspects of the building, as well as stakeholders’ involvement, legal requirements, and permits needed.

1.3 Identities This P.o.R describes the identities of the building, the site, and the organization.

• The building identity describes the inside and outside of the building, the placement of the building in the environment, the light, and finishes, etc. The building identity will be designed by the architect but the Master Plan and the P.o.R. will provide guidelines and insights. The ambitions of NMH are the basis for the building profile. The building-profile described in this chapter visualizes both the inside and the outside of the constructions.

This also includes accessibility, and management aspects. It describes the expectations for the new buildings in terms of the appearance of the interior and the exterior, accessibility, flexibility, and sustainability. Performance requirements are set for the indoor environment, management- and maintenance aspects, information, communication, and ICT facilities. The technical requirements are described separately. Important aspects include the use of materials, durability, energy consumption, and the look and feel of the museum.

• The site identity is defined as the identity of the whole site where the museum is based, the parking, the gardens, as well as service buildings, works of art, etc. The site identity expresses the ambition for the location and is described in word and using reference images. It imagines the buildings in the environment, the site planning, the footprint, the elevation of the buildings, the existing regulations, and other conditions. It describes the routing and logistics, car parking, bicycle parking and footpaths, outside facilities like recreational areas for visitors, but also functional areas for trash collecting, and expedition access for delivery trucks or media vehicles. Also, we look at sustainability at the area level. The sustainability ambition of NMH means we have

to realize the new accommodation (from realization to technical depreciation) in a socially and environmentally responsible manner. We will want to maintain and encourage biodiversity in and around the buildings, strengthen the local landscape and enhance ecological qualities. We will look at the use of sustainable and low-maintenance building materials, and, for the future, at multifunctional use of space and flexibility to assure the future value of the buildings and the area.

• The corporate identity concerns the design and look and feel of all general spaces such as the restaurant, the shops, the workshop spaces, educational spaces, as well as graphic expressions such as museum folders, entrance tickets, signage, merchandise, and digital expressions such as website and social media and so on. This also includes works of art and installations with objects outside the museum rooms, for example in the atrium, in the meeting rooms, or the corridors or outside of the museum.

2 THE PROJECT ORGANIZATION This section describes the project organization, hierarchy, decisionmaking process, and communication for the realization of NMH.

2.1 The client Ngaren Inc. is the client. Ngaren Inc. USA (Ngaren Inc.) is a 501c3 non-profit corporation organized and existing under the laws of the State of Delaware, with a mailing address of 520 East 90th Street, #5G, NY, NY 10128. Ngaren Inc. has decided that it aspires to engage in creating a new museum in Kenya, around the Rift Valley, referred to as “Ngaren: The Museum of Humankind” (NHM). The principal for the NMH project is Mrs. Ellen C. O’Connell, President, and CEO of Ngaren Inc. USA. Client for construction contracts (to be determined) may need to be a Kenyan legal entity and not a US non-profit.

Decision Making Hierarchy

Client Level

Steering Board

Design Team

Working Groups

The client's task or objective is to prepare policies, planning, budget, and organizational decisions necessary for the progress of the project. The Client needs to approve of the results achieved

and presented by the CEO of every project phase before granting permission to start with the next project phase.

2.1.1 Legal contract aspects The client enters into a contract with the architect. The architect will form his design team, consisting of different experts with expertise as described. The architect is free to choose his design team. In the event that the design architect is not registered to practice in Kenya, then the client will nominate a Kenyan Architect of Record together with consultants registered in Kenya to partner with the design architect and their consultants so as to ensure that the construction is in keeping with Kenyan laws and building codes.

However, before he enters into a contract with them, consent from the CEO is required. If this permission is withheld, the architect can ask the client to take the final decision. The decision of the client is binding. The project is being implemented in Kenya and in this regard, the construction standards, the consultant’s agreements and construction contracts will be anchored on Kenyan law. The P.o.R will therefore describe the legal relationships between the parties, this P.o.R. forms a comprehensive whole and is part of the contracts between the Design Team and Ngaren Inc. The P.o.R describes the range of tasks of every project participant, the project structure, and the expected end deliverables.

The project is set up according to the described phasing, as stated in paragraph 2.9. Each project phase, and milestone concludes with a form of presentation to the client. The next phase can only be started after the explicit consent of Ngaren Inc. For each project (partial) phase, written partial assignments will be issued by the CEO to the parties involved. Ngaren Inc. reserves the right to terminate the contract between the parties at any time, after a phase has been completed, or to formulate changes in the range of tasks. It is important to note that this being a project of national importance, the designers will be requested to surrender design copyrights and licenses to Ngaren Inc. in exchange for the appropriate agreed key milestone compensation for their deliverables and Ngaren will then be at liberty to advance the designs.

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2.1.2 Tasks of the client • approve the budget, planning, and organization of the project; • formally accept and approve of the final P.o.R.; • approve significant changes to the P.o.R. or the project’s basic ideas, principles, and goals; • appoint the CEO; • contract the architect(s) and his advisers; • contract third parties (insofar as not delegated in writing to the CEO); • formally accept and approve the Preliminary Design; • formally accept and approve the Final Design; • formally accept and approve specifications and plans contract documents (tender documents); • payment of the submitted invoices, under established payment schedules and agreements.

2.2 The CEO Ngaren Inc. will appoint a Chief Executive Officer (CEO) to lead the project on its behalf. The CEO will set up a Steering Committee to oversee the project. The CEO is accountable for the budget, the planning, and the quality of the design construction’s preparation process, the realization, and the aftercare of the building process.

The CEO represents Ngaren Inc. in contractual, financial, and project-organizational aspects, towards the architect and other consultants as well as the contracted construction and installation companies.

The PMO will have a secretariat that will build the administrative and operational support needed to implement the project and will have the decision-making authority and structure for the administration of the construction, budget, and changes recorded and guarded. All operational decisions, including decisions related to minor changes in the P.o.R., are taken exclusively by the CEO on behalf of Ngaren Inc. Decisions regarding changes in the budget or planning, major changes in the organization of the project, and major changes in the basic ideas behind the project can only be taken by Ngaren Inc.

In the early stages of the development of the project the CEO will contract an ad hoc planner to make sure all the procedures and regulations with regard to the change of the land are met, and a Landscape Architect.

The CEO will contract the museum installations designers and builders at a later stage in the process.

2.2.1 Tasks of the CEO: • compile/edit the P.o.R.; • organize, supervise and coordinate the architect selection procedure; • prepare adviser selection procedure (together with the architect); • prepare contracts for staff and consultants; • present the project to stakeholders and officials; • reach agreements with the local, regional and national representatives for the best possible fit between NHM and the infrastructures around it; • Coordinate the application and approval of all permits needed for the project; • take all necessary operational decisions to keep the project on target, on budget, and within planning; • represent (together with the Architect) the Client in dealings with the authorities, to obtain all necessary permits on time (such as building applications, etc.); • coordinate and manage the design-, construction preparation-, construction realization, and construction aftercare phase; • prepare for the Steering Committee meetings; • chair the Steering Committee; • organize the project groups, appoint project group chairs and accommodate their meetings; • check progress on all elements of the project and compare them with the P.o.R. and the specifications and plans contract documents; • draw up, check and monitor the overall- and detail planning; • draft, check and monitor the established procedures;

• compile periodic reports on the progress of activities, budget status, planning, and organization for the client; • communicate with all major stakeholders regularly; • organize, supervise and coordinate the building contractor’s selection procedure; • act as a sparring partner for the architect and other advisers.

2.3 The Project Manager The CEO will appoint a Project Manager to oversee the project daily.

The Project Manager reports to the CEO. He/she represents the CEO on the building site and in his/her dealings with contracted partners, third parties, and stakeholders. The CEO will also appoint a Clerk of Works and Resident Engineers. Their role will be to ensure that the project is constructed as designed and specified in as far as materials, workmanship and process are concerned. They will keep records of daily activities, workers on site and materials on site. They will also ensure that the Health and Safety Plan is adhered to.

2.3.1 Project Manager’s tasks As the representative of the CEO the project manager: • supervises the architect selection and tendering procedures in collaboration with the tendering office; • monitors the design, construction preparation, realization, and aftercare phase closely; • is a member of the Steering Committee; • participates in: - the Design Team (design/ construction preparation phase); - building constructions and engineering meetings (realization phase, to be determined); - the Working Groups (as chair).

• prepares periodic reports, including financial reports and progres s reports of ongoing activities for the CEO; • prepares progress reports for the Steering Committee meetings; • is the internal point of contact for the project organization; • monitors and checks the realization of the P.o.R., identifying

deviations and making recommendations accordingly for to the Steering Committee; • screens the documents supplied by the architect and other consultants per project phase; • screens (in the realization phase) the work of the building contractors and other contracted firms versus the structural contract documents; • checks, together with the members of the Design Team, the quotations submitted by the building contractors and other parties, and negotiates prices; • checks and monitors the overall planning in collaboration with the building management; • is the point of contact for the architects and other advisers, during the design-, construction-, preparation-, realization-, and aftercare phase, as well as for the building contractors (realization and aftercare phase); • determines, in collaboration with the Design Team, the remaining attention points/shortcomings during the aftercare phase/ warranty period.

2.4 The Clerk of Works and his team (realization phase) At the beginning of the realization phase, the CEO will appoint a Clerk of Works and Resident Engineers to oversee the construction daily. They will report to the Project Manager.

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Fig. 2 Project management organization

their professional responsibility and liability), to develop the plans and designs for the entire project, within the set time, the set budgets, the described procedures, and considering the designprinciples and the desired quality set forth in the approved plans. This work must result in presentations based on which the client can reach decisions, and in documents that are fit for realizing the project.

We expect that the architects and the project management will realize this project as a team. With their different positions, qualities, and responsibilities, they will need to work together and support each other to excel and complete the project to specification, on time and on budget. In practice, this means that they will consult each other often, discuss design options at the earliest stage possible, discuss potential bottlenecks and find workarounds to avoid them, discuss mistakes and resolve them to the client’s satisfaction, and not point blame. Only when the project organization works as a team will this project will realize its potential.

2.5 The project organization The organization chart of the project management is shown in figure 2. The global task descriptions of the various project participants are further elaborated at a detailed level in 2.5.1.

An alternative way of organizing the project is proposed by Otto Mruttu and Partners Architects. It is added to this report as annex 4.

A suitable project organization for the realization phase will be set up by the Steering Committee during the design phase.

2.5.1 Objective All participants within the project organization will be tasked (within

2.5.2 Task descriptions Clerks of Works and team The Clerks of Works’ team consists of: 1. Clerk of Works 2. Assistant 3. Cost specialist 4. Construction supervisor 5. Mechanical/electrical supervisor 6. Secretary Ad 1 Clerk of Works The Clerk of Works supervises the execution of the work and compliance with the specifications. He/she is the intermediary between the Program Manager and the contractor. The Clerk of Works takes care of the construction site management together with the assistant and the supervisors.

Tasks: • represents the client; • monitors the budget;

• monitoring the building process (preventing risks); • organizes and manages the site and the supervision so that the contractor can work according to plan; • monitors progress (planning); • takes care of the information flow to the various parties; • monitors, in collaboration with the supervisors, the quality of the construction process and checks if everything follows the agreement; • identifies (proactively) deviations from the specifications and/or the process and responds accurately; • handles changes in specifications adequately and, where necessary, deploys technical specialists are on his advice to move the construction process along; • directs and manages the supervisor; • advises the Program Manager and the PMO on changes in the work; • records events in diaries, lists, weekly reports and construction reports; • participates in the construction meetings; • prepares and arranges the delivery by means of a delivery protocol.

Ad 2 Assistant manager Supports the Clerk of Works in the performance of his/her duties.

Tasks • consults with the Clerk of Works about the proposed supplemental work and cost savings and prepares an advice; • participates in construction, work and coordination meetings; • is responsible for the project administration.

Ad 3 Cost specialist Supports the Clerk of Works and the supervisors in their financial tasks, specifically in assessing the supplemental work and cost savings submitted by the contractors and in assessing the quotations issued by third parties.

Tasks: • assesses the supplemental work and cost savings and keeps financial overviews of these changes; • consults with the Clerk of Works and the supervisors about the supplemental work and cost savings and offers made by third parties and gives his advice.

Ad 4 Construction supervisor Supervises the construction process, makes sure the process is progressing according to plan. Inspects the quality of the work delivered.

Tasks: • confers with the Quantity Surveyor; • is responsible for the administration of the construction, including delivery documents, product information, and working drawings; • assesses and checks building materials and products on the basis of specifications (drawings) and material schemes (this includes collecting quality declarations, attestations and certificates, requesting processing instructions and checking attestation and certificate numbers); • maintains contact with the contractor regarding the implementation of the construction; • keeps the Clerk of Works informed about the progress of the construction project; • checks compliance with safety regulations; • identifies possible bottlenecks in the planning, for example due to calamities or extreme weather conditions and, if necessary, providing advice to remove the bottlenecks or limit their influence; • coordinates the work performance with the implementing parties; • supervises the quality of the implementation; • checks the working drawings on the basis of the specifications; • monitors the required information flow, such as the production of work drawings; • signals deviations and supplemental work and cost savings; • conducts discussions with, among others, contractors, subcontractors, construction and housing supervisors and utilitycompanies;

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• collects data for revision drawings; • co-arranges the final delivery.

• collects data for revision drawings; • co-arranges the final delivery.

Ad 4 Mechanical and Electrical Supervisor Supervises the construction process, makes sure the process is progressing according to plan. Inspects the quality of the work delivered.

Ad 5 Secretary Performs support duties for the Clerk of Works and the rest of the team.

Tasks: • consults with the mechanical and electrical engineers; • is responsible for the administration of the relevant documents, including delivery documents, product information, and working drawings; • assesses and checks building materials and products on the basis of specifications (drawings) and material schemes (including collecting quality declarations, attestations and certificates, requesting processing instructions and checking attestation and certificate numbers); • maintains contact with the contractor regarding the implementation of the construction; • keeps the Clerk of Works informed about the progress of the construction project; • checks compliance with safety regulations; • identifies possible bottlenecks in the planning, for example due to calamities or extreme weather conditions and, if necessary, providing advice to remove the bottlenecks or limit their influence; • coordinates the work performance with the implementing parties; • supervises the quality of the implementation; • checks the working drawings on the basis of the specifications; • monitors the required information flow, such as the production of work drawings; • signals deviations and supplemental work and cost savings; • conducts discussions with, among others, contractors, subcontractors, construction and housing supervisors and utility companies;

Tasks: • arranges the team’s meetings; • takes care of business correspondence; • manages the agendas; • receives visitors; • processes incoming and outgoing mail; • provides facility support; • plans, prepare and takes minutes of meetings insofar as this service is not provided by the contractor; • drafts reports, letters and memos; • manages the archive.

2.5.3 Coordination and decision-making structure Within the project organization, there will be different levels of decision-making authority. These levels are broken down as follows (in hierarchical order): • Steering Committee; • Design Team; • Working Group(s).

Global task descriptions have been drawn up for the Steering Committee, the Design Team, and the Working Group(s).

2.6 Steering Committee 2.6.1 Assignment/ objective The Steering Committee is the link between the client and the Design Team and directs all operational project activities. The steering committee's task or objective is to coordinate all activities that need to be carried out for the project, and to monitor the costs

to make sure they are on budget. The Steering Committee must provide the Design Team with the information it needs to fulfill their duties. The Design Team must provide the Steering Committee feedback, updates, and product for approval so it can live up to that promise.

The Steering Committee also discusses all issues related to the development and progress of the project and that can influence or hinder the planning, budget, functioning, and look and feel of the designs and the realization of the project.

2.6.2 Overall job description • preparing/ taking operational decisions regarding the design, the budget, the planning, and the organization of the work; • communication with stakeholders; • ensuring the overall progress of the project; 2.6.3 Steering Committee members The Steering Committee is set up and chaired by the CEO. The Steering Committee consists of: • the CEO (chair); • the Project Manager; • the (Lead) Architect; • the Project Architect if summoned by the Architect; • adviser(s), if summoned by the chair or the Architect; 2.6.4 Frequency, location, and decision making • Meeting frequency: a minimum of once every six weeks.

The Steering Committee also convenes at the earliest possible moment when the chair or the lead architect requests a meeting; • Location: PMO offices; or via Zoom or other virtual communication if necessary.

• The Steering Committee strives for consensus. If consensus cannot be reached, the chair is the deciding vote.

2.7 Design Team The Design Team, led by the architect, meets periodically to interpret the P.o.R. and translate it into a design proposal. The development of the design takes place in steps, which are presented to the Steering Committee and the client for its approval.

The minutes of the Design Team meetings will be sent to the PMO who will use them as a guide for the agenda of the Steering Committee Meetings.

The participants in the Design Team must, each from their own vision and background, participate and contribute and must coordinate their input so a coherent design can be made.

The Design Team is responsible for the coordination of the architectural and technical installation design. The minutes of these meetings are put on the agenda of the Steering Committee for approval.

Any issue that may hinder the work of the Design Team needs to be brought to the attention of the Steering Committee.

2.7.1 Design Team members It is the responsibility of the Architect to choose the members of the Design Team. He can choose to combine tasks or organize tasks and members differently than proposed here. That is agreed, as long as all the tasks mentioned can be performed by the Design Team.

The Design Team is formed and chaired by the Architect. It is responsible for the tasks of: • the (lead) Architect; • the (project) Architect(s); • the Quantity Surveyor (deputy chair); • the Structural Engineer; • the Mechanical Engineer; • the Electrical Engineer; • the Environmental Engineer (ad hoc); • the Adviser for the Planetarium installations (ad hoc); • the Interior-design Architect (ad hoc);

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All consultants will produce their drawings, as scale drawings following standard Kenyan standards on a CAD system to be agreed upon with the CEO; In the event that the lead design architect is not registered in Kenya then they will have to incorporate a Kenyan registered architect who will be the Architect of record responsible for implementing the project.

It is also advisable to for the quantity surveyor to be a Kenyan registered quantity surveyor due to their knowledge and insight on Kenyan building codes, specifications, pricing and the construction industry. The project engineers if not Kenya based will be expected to have local partners.

2.7.2 Design Team meetings The Design Team meetings are chaired by the lead architect.

All the Design Team members take part in the meetings, some on an ad hoc basis. Other (ad hoc) advisers can be invited by the chair. The Project Manager also takes part in the Design Team meetings. The architect’s office compiles minutes of the meetings that, after they are approved by the chair, are sent to the Steering Committee. If the chair and the project manager disagree on a subject this matter is brought to the attention of the Steering Committee.

• Meeting frequency: once every 2 weeks.

• Location: architect's office.

• The Design Team strives for consensus. If consensus cannot be reached, the chair will decide.

2.7.3 The Architect The Architect will lead the design process and is responsible for all activities that ensure that the project will comply with the requirements set out in this P.o.R. within the budgets made available by the client. The lead architect is responsible for the work and activity of every member of his office, including the project architect(s).

2.7.3.1 The Architect’s tasks The architect will: • translate the P.o.R. into a high-quality Preliminary-, and Final Design, as well as into the structural contract documents; • advise the design team on all visible structural, architectural, mechanical, and electrical (auxiliary) elements. He/she needs to approve the definitive (auxiliary) elements before they can be included in the design.

• be responsible for the production of all architectural drawings for the preparation and realization of the project; • use of a Building Information Modeling (BIM) system during the design and construction stages to optimize the design.

• produce all necessary architectural drawings as scale drawings following standard • (Kenyan) concepts on a CAD system acceptable to the CEO; • gear the Preliminary and Final Design to the reference model of the construction site (to be supplied by the CEO), with gridlines, so that the general dimensions of the building(s) are fixed; • report in writing all discrepancies with the agreed P.o.R., as well as rectify/clarify these deviations before incorporating them into the designs; • implements all legal aspects of the building laws and regulations in the design plans and the structural contract documents; • be ultimately responsible for all textual contents of the structural contract documents written by his/her office or members of the Design Team; • coordinate his/her work with the overall planning; • coordinate his/her work with the detailed planning for the architectural drawings and detail drawings; • chair the Design Team; • will make sure all decisions made in the Steering Committee or by the CEO that lead to changes in the design are discussed in full with the members of the Design Team and are recorded in the minutes of the Design Team; • participate in meetings with the representatives of the construction- and installation contractors (during realization phase);

• provide a presentation to the client at the end of each project phase, in a format to be determined; • represent (together with the CEO) the Client in dealings with authorities, to obtain all necessary permits on time (such as building applications, etc.); • give aesthetic advice on any technical or engineering construction preparation drawings to minimize any mechanical or engineering components that are visible or interfere with the visible architecture; • be responsible for the daily construction supervision (separate agreement); • be responsible for the interior design (separate agreement); • administer the construction contract and carry out periodic inspections on-site during the realization phase (weekly), and will instruct the building construction supervisors; • make a provisional estimate of the building costs based on the Preliminary Design report (in a system set-up to be agreed with the CEO); • make a provisional estimate of the building costs based on the Final Design, which also specifies all construction/ installation components; • make a provisional estimate of the building costs for the structural contract documents; • needs to make sure that all the production drawings are ready to start construction, to proceed according to the planning; • compile a report on (visible) constructions, installations, and materials to be used at the beginning of the design process; • compile specific surface- and content provisions according to Kenyan Standards and where those do not exist then European Standards will be used.

• be responsible for the construction production drawings to be made by third parties; • assess and supervise all changes in the program and the structural contract documents; • conduct all necessary correspondence concerning the implementation of the project; • help the building manager and project manager in drawing up an

assessment report at every final delivery.

2.7.4 Quantity Surveyor The Quantity Surveyor provides estimates of the building costs and the planning for the architect and evaluates design choices.

2.7.4.1 The Quantity Surveyor’s tasks The Quantity Surveyor is contracted by the Architect and is part of the Design Team. The Quantity Surveyor will: • monitor costs and planning during the entire design and construction process; • be responsible for coordination between the architectural, construction and installation technical design team. He/she chairs meetings to ensure complete coordination between these components of the project; • be responsible for the timely provision of for the timely provision of architectural data for the development of the plans for the construction and technical installations; • produce the architectural preparation drawings under the final responsibility of the architect; • produce the structural contract documents in collaboration with the other Design Team members, whereby the architect is ultimately responsible for the substantive and mutual coherence; • process/include the requirements and specifications of the installations (to be specified by the Mechanical Engineer) in the architectural specifications and on the architectural drawings; • provide limited support to the CEO when selecting the building contractor(s), help to draw up the selection criteria, and be present at the presentation of contractors; • check all implementation and production drawings under the (final) responsibility of the architect; • initiate, supervise, and approve samples under the responsibility of the architect; • check relevant installation drawings that interrelate with the construction; • act as a member of the Design Team; • if necessary, participate in the meetings with the building

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construction representatives as the representative of the architect; • provide presentations to the Steering Committee (in collaboration with the architect) in a form that will be determined in further consultation with the CEO; • produce the architectural "as-built" drawings after realization.

Note: The above summary of the activities should be seen as a possible guideline for the organization of the work of this member of the Design Team and has no bearing in any contracts or agreements.

It is the privilege of the architect to determine the scope of the work of the Facility Engineering Consultant.

2.7.5 The Structural Engineer The Structural Engineer is contracted by the Architect and is part of the Design Team.

2.7.5.1 The Structural Engineer’s tasks The Structural Engineer: • screens and improves the technical P.o.R.; • delivers all building structure drawings, including the preliminary design drawings, as scale drawings following standard Kenyan standards and concepts on a CAD system to be determined; • consults with experts in the field of soil mechanics and civil engineering regarding the location and the surrounding terrain, and tests and matches the design with the data received; • draws up building structures construction cost overviews at the following increments: (1) the initial assignment, (foundation costs overview, cost plan 0), (2) the Preliminary Design (cost plan I); (3) the Final Design (cost plan II); the structural contract documents (cost plan III); compile specific surface- and content provisions according to Kenyan Standards and where those do not exist then European Standards will be used.

• be responsible for the construction production drawings to be made by third parties; • assess and supervise all changes in the program and the structural contract documents;

• conduct all necessary correspondence concerning the implementation of the project; • help the building manager and project manager in drawing up an assessment report at every final delivery.

2.7.4 Quantity Surveyor The Quantity Surveyor provides estimates of the building costs and the planning for the architect and evaluates design choices.

2.7.4.1 The Quantity Surveyor’s tasks The Quantity Surveyor is contracted by the Architect and is part of the Design Team. The Quantity Surveyor will: • monitor costs and planning during the entire design and construction process; • be responsible for coordination between the architectural, construction and installation technical design team. He/she chairs meetings to ensure complete coordination between these components of the project; • be responsible for the timely provision of for the timely provision of architectural data for the development of the plans for the construction and technical installations; • produce the architectural preparation drawings under the final responsibility of the architect; • produce the structural contract documents in collaboration with the other Design Team members, whereby the architect is ultimately responsible for the substantive and mutual coherence; • process/include the requirements and specifications of the installations (to be specified by the Mechanical Engineer) in the architectural specifications and on the architectural drawings; • provide limited support to the CEO when selecting the building contractor(s), help to draw up the selection criteria, and be present at the presentation of contractors; • check all implementation and production drawings under the (final) responsibility of the architect; • initiate, supervise, and approve samples under the responsibility of the architect; • check relevant installation drawings that interrelate with the

construction; • act as a member of the Design Team; • if necessary, participate in the meetings with the building construction representatives as the representative of the architect; • provide presentations to the Steering Committee (in collaboration with the architect) in a form that will be determined in further consultation with the CEO; • produce the architectural "as-built" drawings after realization.

Note: The above summary of the activities should be seen as a possible guideline for the organization of the work of this member of the Design Team and has no bearing in any contracts or agreements.

It is the privilege of the architect to determine the scope of the work of the Facility Engineering Consultant.

2.7.5 The Structural Engineer The Structural Engineer is contracted by the Architect and is part of the Design Team.

2.7.5.1 The Structural Engineer’s tasks The Structural Engineer: • screens and improves the technical P.o.R.; • delivers all building structure drawings, including the preliminary design drawings, as scale drawings following standard Kenyan standards and concepts on a CAD system to be determined; • consults with experts in the field of soil mechanics and civil engineering regarding the location and the surrounding terrain, and tests and matches the design with the data received; • draws up building structures construction cost overviews at the following increments: (1) the initial assignment, (foundation costs overview, cost plan 0), (2) the Preliminary Design (cost plan I); (3) the Final Design (cost plan II); the structural contract documents (cost plan III); • proposes amendments in the design phases from the P.o.R., and advances these amendments to the CEO; • proposes amendments in the realization phases from the

structural contract documents, and advances these amendments to the CEO; • makes a preliminary design of the building structure, including a preliminary (weight) calculation of the total building and determines the percentage of reinforcement steel required following the structural contract documents; • makes a final building structure construction design, including all necessary calculations; • consults with officials, aimed at obtaining the necessary approval in good time, including the approvals for the building structure construction drawings made by third parties; • produces the building structure construction drawings and calculations for the structural contract documents; • draws up the structural contract documents in collaboration with the other Design Team members; • produces the building structure construction drawings used by the builders. The calculations and the drawings of the building structure of the foundation and the ascending work must be ready before the realization starts; • makes all calculations and drawings necessary for the realization of the building structure construction design; • is responsible for the pricing and procedures concerning the socalled structural auxiliary structures; • initiates and organizes any consultancy needed to achieve the desired result; • prepares written reports of these consultations and meetings; • participates in the Design Team meetings and the building structure engineering meeting during the structural work phase; • takes the lead in the necessary material tests; • advises about the realization phase; • is an ad hoc participant in the building construction meetings (to be determined); • Manages the sub-aspect ‘structural engineering’ during the realization phase, and instructs the building management daily; • produces the "as-built" drawings and calculations, except those made by third parties.

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2.7.6 Mechanical Engineer/ Electrical Engineer The Mechanical Engineer and the Electrical Engineer are contracted by the Architect and are part of the Design Team. Preferably, these functions can be combined in one contracted party.

2.7.6.1 Mechanical/Electrical Engineer tasks The Mechanical/Electrical Engineer: • screens and, if necessary, supplements the technical P.o.R.; • delivers all drawings, including the preliminary design drawings, as scale drawings following standard Kenyan standards and concepts on a CAD system to be determined; • makes the installation systems preliminary design based on the P.o.R. and the preliminary architectural design; • reports deviations from the P.o.R. as and motivates these changes to the CEO before incorporating them into the design; • calculates dimensions; • makes temperature exceedance calculations; • makes the installation systems final design; • draws up the specifications of the installations for the structural contract documents in collaboration with the other Design Team members; • draws up installation systems cost overviews at the following moments: • at the start of the project, in the foundation costs overview (cost plan 0), (2) in the Preliminary Design (cost plan I), (3) in the Final Design (cost plan II), (4) in the structural contract documents (cost plan III).

• conducts the necessary consultation with utility companies, fire brigade, and other services, and obtains all necessary approvals and permits on time; • indicates to the Architect and the Facility Engineering Consultant what construction measures are needed to facilitate the installation systems; • initiates and organizes any consultancy needed to achieve the desired technical installation result; • prepares written reports of these consultations and meetings; • participates in the Design Team meetings;

• identifies cost-saving alternatives; • screens tender budgets and quotations; • assists the Project Manager in tender procedures; • participates in building construction meetings (realization phase, to be determined); • manages the sub-aspect, installation systems design during the realization phase, and instructs the building management daily; • administrates, checks and submits reports about contract extras/ omissions requested by the Client, estimated items and settlement items in the systems installations; • inspects the assembly of systems during the realization and aftercare phase. The monitoring of the progress is done by the Project Manager; • implements all aspects of the energy performance standard in the design plans and the structural contract documents.

• checks and tests the built installation systems; • signs off on the completion of (partial) installation systems; • produces the "as-built" drawings and calculations, diagrams, project documentation, maintenance contracts, etc., except those made by third parties.

2.7.7 Environmental Engineer The Environmental Engineer is contracted by the Architect and is (ad hoc) part of the Design Team.

2.7.7.1 The Environmental Engineer’s tasks The Environmental Engineer: • further elaborates the details in this P.o.R. stated principles/ design guidelines, concerning: • the building envelope, concerning insulation, daylight entrance, sun protection, windows that can be opened freely, etc.

• the acoustics, concerning sound levels, sound insulation values, room acoustics, etc.

• analyses and reports on the optimal coordination of the architectural- and building systems installation designs; • when needed, helps to develop alternatives for both architectural and building systems installation designs;

• contributes to the transformation of the Final Designs into structural contract documents; • is an ad hoc participant in Design Team meetings; • is an ad hoc participant in building construction meetings (Realization Phase, to be determined); • gives professional advice on an ad hoc basis during the entire Realization Phase; • prepares a report on the acoustics of the proposed building when the Final Design is finished; • prepares a report on safety measures of the proposed building when the Final Design is finished; • implements all aspects of safety in the design plans and the structural contract documents.

2.7.8 The Planetarium Installations Adviser The Planetarium Installations Adviser is contracted by the Architect and is an ad hoc member of the Design Team. He/she will advise the architect on which projection and audio-system should be chosen for the NMH Dome. He/she should be part considered a full member of the team, which means that the team should understand and discuss the fact that the choice of a certain system and vendor impacts the whole design of the theater and the museum. The system chosen may influence the architecture of the theater, the visitor’s flow, and the visitors' experience. The consultant should, therefore, be independent of any vendor and should be able not only to choose the best configuration for NMH but also to oversee the consequences of his choice for the other systems used in NMH, the staffing, and the total cost of ownership for the NMH organization.

2.7.8.1 The Planetarium Installations Adviser’s tasks The Planetarium System Adviser’s tasks are to: • screen and, if necessary, supplement the P.o.R. of the planetarium setup; • draw up the specifications of the planetarium for the structural contract documents in collaboration with the other Design Team members;

• analyze the market and advise the CEO which planetarium systems companies to invite for the tender process; • report to the Steering Committee which planetarium systems are suitable for NHM; • advise and help the Project Manager prepare for the tendering procedures with planetarium system suppliers; • take part in the interviews with the companies that participate in the tender process; • prepare a report for the PMO analyzing the different quotations in the context of the terms of the tender; • advise and assist the Project Manager in preparation of a contract with the chosen supplier; • supervise the installation of the planetarium systems (realization phase); • sign off on the completion of the (partial) installation of planetarium systems.

2.7.9 The Interior-design Architect The Interior-design Architect is an ad hoc member of the Design Team contracted by the Architect. The Interior-design Architect is not responsible for the interior-design of the galleries and planetarium.

2.7.9.1 The Interior-design Architect’s tasks The Architect is responsible for the ‘look and feel’ and the interior design of the NHM (except the galleries and planetarium). For this, an Interior-design Architect is added to the team. The Interiordesign Architect’s tasks are to: • make a sketch design of the interior design for the Steering Committee and calculates the budget necessary; • help the Project Manager to acquire samples of materials; • make a Preliminary design for the Steering Committee; • make a Final Design for the Steering Committee; • help the Project Manager in tender procedures; • help the Project Manager in preparing contracts with suppliers; • supervise the realization of the interior (realization phase); • sign off on the completion of the (partial) installation of the interior.

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2.8 Working Group(s) 2.8.1 Assignment / objective Working Groups are set up by the Project Manager. Working Groups provide data, insights, and ideas concerning, among other things, the specific design of offices, galleries, technical- and storage facilities, visitor logistics, security, catering facilities, security, etc.

The project group’s findings and recommendations are submitted to the CEO before they are brought to the attention of the Design Team.

If desired by the client, Working Groups conduct feasibility studies about the nature and scope of third-party activities to be implemented in the designs.

The Working Groups must also describe the desired main routes in the future building, concerning, among other things: • partitioning of public/ private spaces and routes; • security levels; • main connections between functional units; • transport routes.

Also, coordination takes place of specific design aspects, such as: • office set up and design; • building security systems; • IT networks; • communication networks; • layout and basic facilities for permanent exhibition spaces; • layout and basic facilities for temporary exhibition spaces; • storage and archive space; • audiovisual facilities; • restaurant, café, and kitchen; • shop; • digital workflow; • museum design; • logistics; • visitor flow and signage.

The reports of the Working Groups are first submitted to the CEO for assessment and approval, after which they are submitted to the Design Team for further processing in the plan.

2.8.2 Working Group members • Project Manager (chair); • Other participants: to be determined by the chair; 2.8.3 Frequency, location, and decision making • Meeting frequency: to be determined by the chair • Location: CEO offices • The Working Group strives for consensus. If consensus cannot be reached, the chair will be the deciding vote.

2.9 Project Phases 2.9.1 Project phasing in general The project is divided into six phases. In each phase, the activities that are recognizable in the total process, are grouped and coordinated. As a result, the elaboration of the plan in all aspects remain at a comparable level of detail, so that mutual coordination, testing, and adjustment can take place in an orderly fashion.

Each phase ends with a presentation to the PMO and the client.

Only after approval by the client can the next phase start.

1. Initiation phase – ‘the idea’ (completed); 2. Definition phase – the ‘what’ (partially completed); 3. Design phase – the ‘how’, consisting of a Preliminary Design and a Final Design; 4. Construction preparation phase, consisting of the specification phase and a tendering phase; 5. Realization phase; 6. Aftercare phase – commissioning, warranties, and maintenance.

Prognosis lead times: • design phase from June 2021 – June 2022

• construction preparation phase from June 2022 – January 2023 • realization phase from January 2023 – December 2024 An overall planning will be made when the exact starting day has been chosen. It will mark the procedural aspects, decision moments, and decision-making procedures. At the end of each Design subphase and the Construction Preparation phase, the plan is tested in its entirety against the P.o.R. with an emphasis on the projected construction costs. Any major (construction) problems that are foreseen or possible budget overruns must first be resolved before presenting the plan to the Client. The Clients approval is needed before the project can enter the next (sub) phase.

2.10 Project phasing 2.10.1 Initiation phase The Initiation phase has been completed with the writing of the Master Plan.

2.10.2 Definition phase The first part of the definition phase has been completed by drafting this P.o.R. and starting the selection process for the Lead Architect.

The second part of the definition phase consists of: • granting a (partial) assignment to Architect; • elaborating the plan in schematic sketch designs; • selecting and contracting the members of the Design Team; o the (Project) Architect(s); o the Quantity Surveyor; o the Structural Engineer; o the Mechanical Engineer; o the Electrical Engineer; o the Environmental Engineer (ad hoc); o the adviser for the planetarium installations (ad hoc); • drawing up the investment costs budget (cost plan 0); • testing the plan is in its entirety against the final P.o.R;

2.10.3 Design phase The design phase is divided into two sub-phases: • Preliminary Design; • Final Design.

In the design phase, the P.o.R. is further elaborated into a project file in which all alterations are administered. The available budget and the stated spatial requirement set by the Client must be expressly considered by the Architect in the Design Phase. It is extremely important for an efficient workflow and a high-quality result that is within budget, that all advisers and the PMO office invest in transparent workflows and excellent coordination. The P.o.R. broadly indicates which documents and information are required as a minimum for this phase. It is the responsibility of the Architect that all members of the Design Team do all the work and prepare all the documents needed for a full-grown integral design.

The progress of the construction preparation phase is monitored by the Project Manager.

Preliminary Design The Preliminary Design (PD) gives the first global representation of the organization of the buildings and the location as well as the architectural appearance of the buildings and the site. It shows the main layout and structure of the buildings and the building structures engineering, the main layout of the installation systems engineering, the environmental engineering, the set-up of the planetarium installations, and the projected investment costs budget.

The result of the PD is presented to the Steering Committee by the Architect. All bottlenecks, budget overruns, procedural or organizational issues, and other foreseen problems are discussed.

Only after these issues have been resolved, the Steering Committee sends the PD for approval to the Client. Only after the approval of the Client, the Final Design phase can start.

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Final design The Final Design (FD) shows in detail the organization of the buildings and the location as well as the architectural appearance of the buildings and the site. It shows in detail the layout and the structure of the buildings and the building structures engineering, the layout of the installation systems engineering, the environmental engineering, the set-up of the planetarium installations, and the projected investment costs budget.

The final construction design per project element is completed by the Architect. The Quantity Surveyor and the other technical advisers complete the corresponding technical designs and instructions. In collaboration with the project management, the Design Team makes a cost estimate for the project.

The result of the FD is presented to the Steering Committee by the Architect. All bottlenecks, budget overruns, procedural or organizational issues, and other foreseen problems are discussed.

Only after these issues have been resolved, the Steering Committee sends the FD for approval to the Client. Only after the approval of the Client, the Final Design phase can start.

Permits The procedures necessary for obtaining the required permits are started as early as possible and are based on the PD or FD. The Client is the applicant. The Architect and the PMO will represent and supervise these procedures on behalf of the Client. The Project Manager has the task of ensuring that all procedures are started on time, closely monitored, and adjusted where necessary, so that the necessary permits can be obtained on time. During the design process, the Architect, the Quantity Surveyor, and the other technical advisers must consult on their own initiative with the authorities regarding the implementation of requirements and regulations for the project.

Utilities The technical adviser(s) must consult with the utility companies based on their energy consumption calculations about the necessary

utility connections and the necessary structural facilities.

Task description and distribution A further elaboration of the job descriptions of the project participants in the design phase is given in 2.5 and 2.7.

2.10.4 Construction Preparation phase The Construction Preparation phase is divided into two sub-phases: • specification phase; • tendering phase.

The progress of the construction preparation phase is monitored by the Project Manager.

Specification phase In the specification phase, the Final Design is described in detail in the structural contract documents. The plan presented in the structural contract documents must fit within the available budget.

In this phase, the architect and technical advisers elaborate the final documents of the design phase according to the P.o.R. project file into complete specifications and specification drawings. The investment costs budget estimate, drawn up by the architect and technical advisers is translated into an open calculation during the construction preparation phase. This is based on the specifications, specifications documents, etc. to be produced in this phase.

Tender phase In this phase, the builders and other parties needed for the realization of the project will be selected in a tender process. This selection will take place according using a restricted procedure, without prior notice. After the pre-selection, a minimum of five construction companies and five building installations companies will be invited to make an offer based on the specifications. The PMO, assisted by the Architect, technical advisers, and Project Manager, preselects the preferred construction company building installations company based on the criterium “most economical offer”. The PMO presents his preselection with a written

motivation to the Client. The Client’s approval is needed before any commitments can be made towards the to be contracted parties.

For the realization of the project, separate contracts are entered into between Ngaren Inc. and the various contractors. The coordination of the construction will be contractually vested in the building construction contractor.

Permits In the construction preparation phase, the building permit needs to be granted by the authorities. The architect is responsible for the coordination and implementation of the elements and items needed to acquire this building permit for the project. If additional permits are required for the project, this is part of the responsibilities of the architect and/ or consultant whose professional discipline is best suited to this.

Task description and distribution A further elaboration of the job descriptions of the project participants in the design phase is given in 2.5 and 2.7.

2.10.5 Realization phase In the Realization phase, the building is realized and delivered to the Client ready for use by the contractors. All parts of the project are carried out following the objectives and obligations in terms of size, quality, quantity, time, and costs as agreed in the building contract.

The construction contractor is responsible for the production of the coordination documents required for the realization and is responsible for monitoring and safeguarding the principles of the project as described in the contract documents.

In the realization phase, the parties involved in the construction conduct the necessary work and make the production drawings.

The Architect and technical advisers check these broadly against the structural contract documents. The use of the correct dimensions and the coordination of all building components is the responsibility of the contractors. The Project Manager supervises and coordinates the building management but is not responsible for the coordination of the construction elements.

Construction process In the Construction Preparation phase, the Health and Safety Plan (H&S) is drawn up by the contractors and detailed into an H&S implementation plan. The Steering Committee decides whether the H&S plan needs to be tested by an external expert. Possible adjustments resulting from this consultation from this must be implemented by the contractors.

The construction contractor is appointed by or on behalf of the Client as the H&S coordinator and will have to implement and check all prescribed facilities and guidelines.

Supervision and management The precise set-up of the building management and day-to-day supervision during the realization phase has yet to be determined.

The Architect and the other members of the Design Team are responsible for the technical and aesthetic supervision. The day to day supervision is done by the building management that is selected by and reports to the Project Manager.

Pre-delivery After completion, project elements are visually inspected for quality and quantity by the Architect, building management, and technical advisers. The technical adviser(s) is (are) present during the commissioning and tuning of the installations.

Delivery An integral list of residual items is drawn up from the inspections and discussed between the construction firm’s Project Leader and the Project Manager representing the PMO. The contractors deliver the completed project elements to the PMO, who accepts the delivered work together with an established list of remaining items that need to be fixed. Based on a Delivery Protocol, the project elements are delivered to the client.

Task description and distribution A further elaboration of the job descriptions of the project participants in the design phase is given in 2.5 and 2.7.

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2.10.6 Aftercare (commissioning) phase After delivery, the aftercare phase follows. During the preceding phase (s), it is important that data are collected, including drawings and reports, necessary for the management and functional use of the building or buildings.

In general, the following activities are performed in the aftercare phase: • coordination and management of the maintenance period; • supervision and remedying malfunctions/ defects; • handling outstanding warranties and claims.

2.11 Overall planning The phasing referred to in chapter 2.9 is the basis for the overall planning. The different activities are worked out in a detailed schedule. In the various coordination meetings, the progress will be discussed based on this planning. The overall planning is specified in such a way that it matches the work/ activities that must be performed.

The building contractor, in consultation with the installation’s contractor, makes a concept for the coordinated overall planning for the entire construction period. This planning is based on the tender documents submitted and approved (contract documents.) The Concept Coordinated Planning is introduced and discussed during the initial construction meetings between the Project Manager, Building Management, and Design Team members. The Project Manager approves the overall planning schedule, after which it becomes an important contract document that is the basis for the planning by the building contractors.

Based on this planning, a detailed schedule (6-weekly) is drawn up.

This schedule is discussed as a fixed agenda item in the construction meetings. For each construction meeting, the building management records the actual current state of the work. Deviations from the planning are explained by the building constructor’s or the

installations constructor’s project leader. If there are delays, resolutions will be discussed at meetings, and who will bear the costs for delays will be agreed upon and resolved. The contractors indicate whether the delivery date is still feasible and if this is not the case, the construction time overrun (in time and money) will be determined.

3 GENERAL DESIGN PRINCIPLES 3.1. Purpose of the project The Master Plan describes the aims and goals of the project. The P.o.R. is an integral part of the Masterplan. For a full understanding of the project, the other parts of the Master Plan offer more insight.

It is therefore recommended to read this P.o.R. in the context of the other parts of the Master Plan.

per hour. But the flow of visitors will not be evenly distributed during the year. On popular days, around 6.000 people could be in the building at the same time.

To accommodate these projections, we expect NMH will need a net floor area of around 21,700 m2 for the planetarium and exhibitions, general facilities such as shops, toilets, cloakrooms, restaurants, conference rooms, classrooms, changing rooms, and facility rooms.

There should also be adequate open space as well, where visitors can freely move and gather.

3.2 Organizational design principles Logistically, the NMH organization can be divided into three main groups, namely: • the areas accessible to the public (including the museum and the planetarium); • the public areas that also need to be accessible to the public, but, for special occasions, also should be separately accessible when the museum and the offices are closed, such as the shop and restaurant and also the planetarium; • the areas that are not accessible to the public, like workspaces for the NMH organization, storage, archives, and facility rooms.

3.2.1 Basic principles for publicly accessible and separately accessible areas.

3.2.1.1 Visitor numbers NMH is an ambitious museum project and aims to welcome up to 1 million visitors a year. For this, a spacious and comfortable building is needed, in which a variety of guests with different needs and behaviors, can be accommodated. There will be spaces for large groups, for example, 150 school children, or a conference for 300 guests. But the building will also need to have smaller spaces for more intimate meetings, as well as spaces where people can work quietly when they need to concentrate.

If the museum is open 360 days a year from 9:00 to 17:00, it is expected that there will be an average of 2800 visitors a day, or 350

NMH focuses on four target groups: 1) families from the fast-growing middle-class of Kenya, 2) school groups, 3) business visitors to Kenya who are looking for recreation in the time around a conference or meeting, and 4) tourists from outside Kenya who will especially come to NMH or who are looking for must-sees during their stay in Nairobi or on their way to other tourist venues.

3.2.1.2 Opening hours The building will open for staff at 7.00 AM. The museum, planetarium, and restaurant open at 9.00 AM and close at 5.00 PM. The building closes at 6.00 PM for the staff. The opening hours can be extended for special occasions, like openings, company dinners or parties, planetarium sessions, etc., etc.

3.3 Principles and frameworks for the functional and spatial program 3.3.1 Cultural value NMH is a cultural institution. The new building must therefore radiate architectural quality and durability. Aspects of that value are: • the building is an icon for Nairobi and Kenya, both in an architectural as in a functional sense; • the building must feel ‘solid’ and pure and the finish and detailing must be of high quality; • the materials used should be predominantly natural products and must “age elegantly";

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• cooperation with Kenyan artists is encouraged.

NMH will enhance the recreational, cultural and educational infrastructure in Nairobi, Kenya, Africa, and the world. NMH will specifically focus on the creation of content, exhibits, educational materials, and opportunities for young people and students, both in loco and online.

A secondary goal for NMH is to strengthen the Kenyan economy.

NMH will be an important asset for the (international) tourist industry, national recreation, and education. To further strengthen the economy, NMH will encourage the use of Kenyan businesses and artists for construction and interior design.

After the completion of the construction of the NMH building, NMH will open to the general public and will operate in compliance with all governing laws of Kenya and the district of Loodariak, and the duly adopted rules and procedures applicable in its geographical area.

Ngaren Inc. has indicated that additional museum entities may also be granted use of land from the Project Area in the future.

Furthermore, it is understood that all such museums and entities located on the land will be independent institutions, unrelated to NMH. In the positioning and layout of NMH on the plot, the Architect should plan for these future additions.

3.3.2 Identity / recognizability NMH will be located on a 200 plus acre plot of land in Loodariak, southwest of Nairobi Kajiado County in the Great Rift Valley in Greater Metropolitan Nairobi on a parcel of land donated by the Leakey family (the “Project Area”). The Project Area is now vacant.

Ngaren Inc. will decide upon a specific site within the Project Area for the NMH (the “NMH Site”) after conducting appropriate architectural and engineering surveys and studies.

The name of the museum will be: “Ngaren, The Museum of Humankind”. The name will appear on the exterior of the museum building in a manner acceptable to the Client.

NMH will showcase the essence of the mission of Ngaren Inc.

through science-based exhibitions with original artifacts and replica objects, supported by the innovations of the digital age while optimizing the visitor’s experience, embracing diversity, and with a commitment to excel. Public outreach and educational programming are also central to the mission and the public service goals of NMH. NMH will be located at one of the most beautiful locations in Kenya.

The Great Rift Valley is mostly still an area of unspoiled nature. It is also a key landmark for the journey of humankind. Its nature is beautiful and its sights are breathtaking. It is a natural environment, the result of natural processes, that took place throughout tens of millions of years. Here you can connect with the environment and with the past.

There should be a strong connection between the visitor, the museum, and the environment. NMH must strive to be a living dialogue between the inside and the outside, between the past and the present. The landscape will change depending on the time of the day, weather, and season. On bright days visitors will be able to see the white top of Kilimanjaro, further to the south. If a visitor looks carefully, they will be able to identify colored layers – different shades of brown, red, and yellow. These layers tell a story of volcanoes, wind, water, rain, sunshine, heat, plants, animals, and microorganisms. It is a story of geology, climate, and evolution, the natural process that causes life to change over time. This view and landscape need to be incorporated into the architectural plans so that they become a part of the Ngaren experience.

3.3.3 Key issues There are six key issues in designing NMH: • Ambitions: how do we ensure that the new site and building enable NHM to realize its ambitions?

• Logistics and security: how do we ensure efficient logistics and optimum protection of the galleries and objects, the visitors, and the staff?

• Public: how do we ensure that the public is attracted to NMH, feels

welcome, and has a safe and pleasant stay?

• Scale and flexibility: how do we ensure that we retain flexibility for the future?

• Added value: how do we ensure that housing contributes optimally to internal and external organizational objectives?

• Sustainability: how do we ensure that we live up to our promise regarding the sustainability of both the construction and use as the exploitation of NMH? 3.3.4 Ambitions for the building The client has set the following ambitions: • the building should be an enrichment for Kenya and become a national landmark; • the building should be recognizable by its appearance and shape as a large museum and institute with a focus on nature and sustainability; • despite the large volume, the building should retain human dimensions; • the building should be inviting, accessible, hospitable, and transparent; • the building should stimulate people to meet and offer an inspiring place to learn; • the building should be an example for others in sustainable development; • the building should use space as efficiently as possible and therefore a multifunctional use of space should be the norm.

3.3.5 Performance In addition to these ambitions, the client wants highlight these three starting points for the design: 1. To build today is to build for the future: sustainability and flexibility are key concepts: the building should allow for changes and anticipate future developments in the area of sustainability and eco-architecture/building.

2. Climate control: a pleasant stay is of great importance for both the public and employees, so the climate in the building must be accommodating both for the visitors as for the employees.

At the same time, we have to be very careful not to use too much energy. Therefore, all the chosen architectural design elements must minimize the need to climatize the building, as much as possible.

3. NMH is the Museum of Humankind, and this premise should be reflected in the design of the buildings and the interior design.

The shapes and materials of the building, should emphasize the mission of Ngaren and communicate this identity and the themes of NMH. 3.3.6 Atmosphere The new NMH building is a museum with a planetarium, exhibition spaces, an information center, and office spaces. All these functions need to be accommodated in the building. The building should be hospitable, customer-oriented, and logically structured so that it appropriately accommodates proper traffic of staff, visitors and combines architectural beauty with functionality.

The building needs to reflect the culture of the NMH organization (scientific, cultural, emphatic, playful) and in this way makes the organization recognizable to the outside world (in other words, the building needs to be immediately recognizable as part of the NMH brand).

NMH is an outward-looking, progressive, professional institution and visitors should feel welcome and excited by the presentations, as well as impressed by the cleanliness, professionalism, and organization of the space. The NMH building will also function as a meeting place.

The building needs to be for the public, but there will also be spaces for staff. Therefore, it is not necessary to give the building the same appearance/ atmosphere in all places.

In addition to giving visitors a feeling of openness, the public areas should also be exciting and radiate fun and learning. The outside of the building should set the stage for the interior atmosphere

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and begin to build up the excitement, and evoke expectations of the visit to the museum, before a visitor even enters the space. The building should be spectacular and awe inspiring. From the outside, you should possibly be able to see some of the visitors inside, and perhaps even some glimpses of the exhibitions. The facades could possibly be used for announcements visible from outside. Visual barriers should be avoided, as much as possible. In this context, additional thoughts to consider: • architecture that may be grand, but is not intimidating; • a clear, well-placed entrance hall that anticipates what to expect inside; • spatial clarity, breathing space and openness, and fluidity of traffic/logistics.

The atmosphere of the offices should be businesslike, simple but pleasant, aesthetic/ warm, and user-oriented. Here too, we look for transparency - visibility of people working. The offices should be spaces that invite others to enter. Open areas, the use of glass, and few closed cells in areas where transparency is not preferable due to specific use of the room/need for quiet and concentration or security for certain functions.

The meeting rooms should also be semi-closed, but have excellent acoustics. The meeting rooms are meant for meetings in the organization as well as meetings with external guests. The interior should have good aesthetic quality but finishes should be simple, durable, and pleasant. There should be unity in the establishment but not uniformity.

3.3.7 Spatial design The spatial design of the building should be derived from the required functions, relationships, and logistics processes in the building and must contribute to a clear layout for users and visitors and an optimal business process.

3.3.8 Personal experience/ view From their workplace, NMH employees/visitors and guests should be able to see the natural surroundings as much as possible.

3.4 Location and access 3.4.1 Entry and exit routes Consultation is needed with the local authorities about the infrastructure for the new building (s).

3.4.2 Access to utilities The required utilities are: • low and high voltage; • drinking and process water; • climate control; • gas is not legally required but we propose to generate bio gas from solid waste.

• recycling of foul water sewer into grey water for landscaping and bio gas for use in the restaurant data and telecommunications.

3.4.3 Entrances • The NMH building should have a well-defined main entrance that leads into a main hall. This entrance is for museum visitors but can also be used for special meetings/events outside the regular museum hours; • the planetarium entrance is off the main hall. The planetarium does not, therefore, need a separate entrance; • the museum entrance is through the planetarium or though the main hall; • the restaurant entrance is in the main hall. The restaurant has a separate entrance so it can be used without opening the main building; • The cloakroom and lockers and the toilets have their doors in the main hall; • the offices are either accessible through the main hall or through a separate entrance; • the entry to the offices should be secured by doors that can only be opened by the employees and security officers and are serviced by a reception desk; • the shop entrance is in the main hall; • there is a separate entrance for goods delivery, provided with a canopy if possible.

3.5 Office concept It is important to consider flexibility when designing NMH. The museum and the offices will change over the years and the building set up and structure should allow for adaptation without major investments, as much as possible.The spaces with more specific structural functions must be situated in such a way that they don’t limit the general flexibility in the organization of the building.

In the first years, NMH organization will grow to its full size and capacity. Over the years, the organization of the workforce will also change and grow, both in quantity and in the tasks needed to be accomplished. Therefore, flexibility is an important design principle.

What the NMH will look like in the long-term is difficult to determine at this stage of development. Therefore, it is critical that the NMH organization be housed in flexible spaces that can accommodate different numbers of employees, and adapt easily to changing functionality. There will be offices for the general managers and the department officers, the other employees will be working in open areas, organized in a way that the members of department units can sit together in ‘islands’ that can easily be enlarged or made smaller.

Not every employee will get his or her own office. Many staff members will not need a permanent workspace, as their work is predominantly ambulant, for example, the visitor support staff and the technical team. The workplaces will be organized in clusters in openplan offices. Only for the managers and for the employees who need privacy will offices be built.

The open-plan office approach gives the organization more flexibility. Employees are not present 100% of the time in their offices.

Therefore, by taking an activity-oriented office concept as a (design) starting point, the spaces can be optimally used, and the organization can organically grow (NMH will review this office concept in a Working Group). However, for a significant portion of the NMH employees who have functions that require fixed workplaces (administrative support, finance etc.), fixed workplaces will be created.

Therefore: • based on the main structure and design of the building, the choice of components, materials, and details must be such that it is possi ble to change the layout of spaces at low cost by relocating, removing, and adding non-load-bearing interior wall structures; • to allow possible future rearrangements of workplaces, not only the interior walls but also the ceiling materialization and structure, and the (placing of the) technical systems should accommodate changes in the office layout; • in the office environment, a soft floor finish should be chosen as much as possible that has anti-static properties, good acoustic properties with minimal cleaning and maintenance costs.

3.5.1 Flexible office walls Practice shows that corridor walls are never or only very rarely moved. It is, therefore, preferable to realize a (fixed) corridor wall system of stone-like structure with stucco, with columns included therein if necessary. Office partition walls are not moved often either, and the relatively high investment in removable system walls does not pay off. It is, therefore, advisable to construct the partition walls in a Metalstud-like system, with special attention to the required acoustic levels.

3.5.2 Offices interior design The Architect is responsible for the design of the offices, including the routing, the safety routing, the offices, and the interior design of the offices, and the office quarters. Pantry facilities must be provided on each office floor.

3.6 Public spaces The public spaces of the museum are designed by the Architect.

These spaces are very important, and need to reflect the character of NMH and immediately communicate the themes, values and messages of NMH to the visitors and guests. The most important space is the Central Hall, as this is the first space that visitors will

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enter. This space should be iconic, but also accessible, both physically and emotionally. The Central Hall should communicate to visitors that they are welcome, that staff is happy to see them, and that they are about to embark on a wonderful, memorable journey. The space should be open, transparent, and not intimidating. It should also be the location where a visitor can find maps of the museum indicating all the important exhibits and services available during their visit: the reception, the restaurant(s), the cloakroom, the toilets, the museum entry, where tickets can be bought. It should be clear in the Central Hall which parts of the museum can be visited without a ticket and which parts need a ticket.

The other public spaces, the restaurant, restrooms, cloakrooms, corridors, etc. should emit the same messages. They should be welcoming, open and transparent. The museum routing should be clear and intuitively understandable, and clearly indicate accommodation for disabled visitors.

3.6.1 Museum design The museum exposition halls (galleries) will need to be large spaces.

It will be the responsibility of the Architect to design these spaces to specification. Preferably, these galleries will have few or no columns, so that there are minimum obstacles for museum designers to work around. The Architect will design, and the building contractors will build the galleries in the shell-state. Where stated in the museum design, certain rooms will need to be 100% closed off from daylight, in other parts, rooms will need daylight or even a window overlooking the surrounding nature. The museum designers and contractors will build the exhibitions, as well as the necessary semipermanent walls, and routes into these large spaces.

The exhibitions will also need to be lit. Therefore, a plan for accommodation of daylight and artificial light, that considers the attractive illumination of objects, and the energy consumption in the context of the sustainability requirements, is required.

Exhibition floors will be raised floors. These need sufficient load-

bearing capacity and sufficient stability. All floors must have sufficient load-bearing capacity, including any plug-in floors. (Robust) hanging provisions must be included in walls and ceilings so that things can be hung anywhere without damaging the building infrastructure.

The visitors will follow a prescribed route, but it should also always be possible to take a fast route back to the entrance hall.

A storage room is required for the (temporary) storage of exhibition items. This should be located near the museum galleries and should be reachable without obstacles or narrow doors to allow for the movement of potentially large objects or exhibitions. The climatic requirement for the storage area is the same as those set for the museum.

In addition to the shell-state, the Architect will also incorporate in his/her plans: • the wall finish; depending on the design this could be plastering, paint, or another finish; • a raised computer floor with (locally) sufficient bearing capacity for heavy objects; • all inlets and exhausts of the climate control system; • working lights (mandatory); • a grid hanging from the ceiling where the museum lights can be placed; • electrical connectors (high and or low voltage as specified) in each gallery. The electricity will be routed throughout the gallery by the museum contractors; • ‘specialties’, strengthened walls or (partial) floors for specified items or use, like heavy objects; 3.6.2 Education areas Near the main hall, a large space for educational activities is needed for school groups and other external parties, gatherings and meetings.

By using a flexible wall, this room can be divided into smaller spaces.

Close to the exhibits, there will be two demonstration rooms and close to the library a reading room.

In addition to the shell-state, the Architect will also incorporate in

his/her plans: • the wall finish; depending on the design this could be plastering, paint, or another finish; • a raised computer floor with (locally) sufficient bearing capacity for heavy objects; • all inlets and exhausts of the climate system; • working lights (mandatory); 3.6.3 Visitors with disabilities Safety and security are important throughout the museum. The visitors to NMH will include children, grown-ups, and elderly people, and tourists and locals. The museum will need to accommodate people who speak many languages, and others who may have disabilities that make it difficult for them to move quickly or without the help of others, or require a wheelchair. We want all visitors to the NMH to be able to experience the museum fully. This means that the walkways and doors need to allow easy entry for wheelchairs and crutches with as little obstacles as possible. There must be plenty of elevators for those that have difficulty walking, as well as toilets for the disabled and changing areas for babies. For people with impaired hearing or sight, T-coil loops will be installed (as part of the same system in the galleries), or an Assistive Listening Device (ALD) will be handed out to people who indicate hearing difficulties.

3.7 Building installations The building systems installations must be designed in such a way that any possible layout alterations and future changes to use and functionality can be realized without drastic changes to the structure and capacity of the installations.

• NMH values the fact that individual employees can regulate (within limits) the climate in their offices, by regulating the temperature and, if desired, by opening a window and using the sun blinds. Heating and cooling settings must therefore be decentralized, but within limits, to avoid big differences in climate.

• The excessive build-up of heat must structurally be prevented by

designing a building that keeps the heat out and buffers the heat in its outer walls. This is important for the well-being of the visitors and the employees, but also to limit the use of energy.

• In the offices and the restaurant natural (day) light should be used as much as possible. The office and restaurant lighting should only be used when the minimum required light is not naturally available and to meet general (safety) requirements.

• The employee must be able to switch his/her workplace lighting on and off, but lights in the office should automatically turn off when the office is (temporary) vacated.

• The general workplace lighting must be switched on/off centrally from the reception/ control room/porter's/ night watch lodge.

3.7.1 Internal environment The internal climate must be pleasant, for both visitors and staff, but should also be responsive to temperature levels outside of the building. When it is hot outside, the NMH should be cooler, but only a couple of degrees with a maximum in-house temperature of 28 degrees C. When it is cold out, the NMH is warmer, but only a few degrees, with a minimum in-house temperature of 16 degrees C. The NMH regulates to the outside temperature and accommodates the climate so it is pleasant, and acceptable for visitors and staff.

3.8 Logistics for visitors and staff 3.8.1 Accessibility for the disabled Wheelchair users must be able to visit the entire building via the same routes as other staff or visitors. Disabled visitors must be able to use all public facilities (including cloakroom, toilets, restaurants, exhibitions, interactives, shops, customer information desk, etc.) that the able-bodied visitor uses.

Structural and installation-technical facilities for disabled people on the route to and at the NMH-location need to be following the Kenyan Standards and European Standards where equivalent Kenyan Standards do not exist.

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3.8.2 Findability of functions The grounds and housing must be provided with signage that meets at least functional requirements following Kenyan Standards and European Standards where equivalent Kenyan Standards do not exist. Entrances, roads, and (disabled) parking spaces must be illuminated at night following requirements arising from the function and for security reasons.

The signage inside and outside the building must be designed according to the look and feel of NMH. 3.8.3 Accessibility of building installations The operation and maintenance of the building installations must be possible in an economical, user-friendly, and ergonomically sound manner. The design and implementation of the mechanical installations must be low-maintenance with a cost assessment of over 15 years.

When designing and realizing the installations, it must be considered that any necessary maintenance required to keep installations in working order be limited and needs to be carried out away from public areas.

3.9 Logistics of goods The floor construction must be designed for internal freight transport following legal regulations. About the forwarding space, it is noted that local loads of at least 5 tons must in any case be expected.

3.9.1 Supply and removal of goods • The location, the museum site, and accommodation must be accessible without logistical restrictions for flows of goods, supplied by freight traffic: class 30: axle weight 3 x 100 kN; • the access roads (especially to the expedition entrance) must be suitable for goods transport with a maximum length of 15.5 m, high 4.10 m, and a width of 3.50 m (so the driver can alight the truck); • a minimum turning circle of 30 m; • all goods (except deliveries to the restaurants) must be delivered

to the same dispatch point, after which internal transport takes the goods through the building.

• internal transport of goods must be possible without entering the public spaces. Only the transport of exhibition objects can take place through public areas and galleries.

3.9.2 Waste NMH collects and handles the different kinds of waste products separately. The following waste flows can be distinguished: glass, paper, metal, plastic, small chemical waste, household waste, organic waste. These are collected separately and must have separate storage facilities. This leads to the following requirements concerning the required space: • paper: 2 containers of 1,000 liters each; • metal: 1 collection bin (3m3); • household waste: 1 compactor (400V power supply); • small chemical waste: 1 special plastic barrel; • organic waste: 1 small press container (400V power supply); • glass: 1 container of 1000 liters; • plastic: 1 container of 1000 liters The location of this covered waste collection area must be accessible in such a way that large trucks can drive in front of the waste containers to pick them up. The access roads and the floors of the waste area, therefore, need a sufficient bearing capacity. There must be room to maneuver and the waste area needs to be high enough to accommodate the vehicles. The indoor space must be ventilated separately. Animals must be blocked from gaining access.

The location must be out of sight of visitors and must be arranged in such a way that cleaning, starting trucks, vermin, and odors do not cause any nuisance.

3.9.3 Free passages for transports • Site entrances and passageways must have a net clearance of at least 3 m wide and 4.2 m high.

• The spatial design of the corridors must follow the previous requirement. If a stairwell forms part of the main transport road,

the foregoing also applies.

• All passages and entrances at all levels in the new NMH building must have a minimum width of 1.8 m, necessary for access to pallets and the like. Sufficient space must also be realized for turning/ maneuvering with large exhibition objects and/ or large boxes. Doors that provide access to functions such as shipping, warehouse, loading zone, stock management, museum storage, workshops, and the museum galleries will have to be extra wide.

• A pallet truck, a hydraulic stacker, will be used to access all areas.

The lifting capacity is 1000 kilos. That means that the lifting capacity of the goods elevator needs to be at least the weight of the hydraulic stacker together with its maximum load (3500 kilos).

• The museum galleries need to be accessible for transports with a net clearance of at least 3 m wide and 3 m high.

3.9.4 Internal transport of goods Structural goods transport should not go through publicly accessible areas, or in or directly outside the NMH. Occasional transport for setting up temporary exhibitions in and along these areas, can be allowed (with a suggested frequency of no more than four times a year). Moving (larger) museum pieces through locations such as the atrium and/or museum, should only be permitted in exceptional cases. To allow the transport of goods, passageways in offices and corridors must be barrier-free.

3.10 Compartmentalization and Safety The private/ professional and the public part of the building must be separated from each other for the following functions: • logistics: there can only be one (controlled) passage/ access; • security: there must be a security barrier between the private/ professional and the public part, without affecting the public character too much; 3.10.1 Safety in the event of an emergency The legal obligations/requirements with regard to the number and

layout of escape routes, firefighting, and rescue equipment must comply with the Kenyan Building Code and Bye Laws.

The constructional fire safety requirements are under Kenyan Building Code and Bye Laws The fire-fighting installations must at least comply with the and the requirements set by the Kenyan Building Code and Bye Laws 3.10.2 Escape route lighting / emergency lighting All legal requirements can be found in: Kenyan Building Code and Bye Laws.

It is extremely important, that in the case of an emergency, everyone be able to evacuate the NMH building safely. Not only are escape options and emergency exits necessary for this, but escape route signage and emergency lighting are also required. The escape routes to the exits of the office building via stairs, ramps, corridors, portals, and the like must be provided with escape route indications following Kenyan Building Code and Bye Laws.

The escape routes must be illuminated with an illuminance at floorheight of at least 10 lux. The lighting of the escape routes must be connected to an emergency power supply that can provide an illuminance of 1 lux for at least 60 minutes within 15 seconds after the power failure. Automatic switch-on in case of power failure.

A decentralized emergency lighting installation or orientation lighting must be installed following the legal requirements and the requirements of the fire department/government or municipality.

3.10.3 Notification Each room in the NMH building must be equipped with a standard optical smoke detector, supplemented if necessary, with thermal detectors in rooms with a high thermal load such as kitchens, etc.

These devices are part of the fire alarm system, which is connected to the central (24/7 operated) control room of the NMH-security offices and the central control room of the local fire brigade.

The fire protection systems must comply with the Kenyan Building Code and Bye Laws and the requirements set by the municipal fire department. It must be possible to give an evacuation signal throughout the whole building through a slow-whoop installation.

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3.10.4 Protection against lightning The NMH building must be equipped with a lightning protection installation following Kenyan Building Code and Bye Laws 3.10.5 Rescue installations and fire extinguishers The legal obligations/ requirements for life-saving appliances and firefighting are included in the Work Conditions Decree. We foresee the use of sprinklers in both the museum galleries and in all other spaces. NMH will take a final decision on this after being fully informed about the advantages and disadvantages by a report by the Architect. In this context, it should be noted that it is not so much the exhibition that is damaged by the sprinkler’s water, but the electronic equipment and cabling. In some museums (especially in Europe) Micro Mist is used.

Also, appropriate and environmentally friendly fire extinguishing agents must be used.

3.10.6 Safety in use The buildings must, in all aspects, be designed following the Kenyan Building Code and Bye Laws

3.10.6.1 Room to work and move • all employees should have sufficient room in their workplace; • walking- and escape routes must be spacious and without obstacles; • windows that can be opened must not pose any danger to employees when opened; • it must be possible to clean all windows without endangering the window cleaner and/or the employees.

3.10.6.2 Emergency signposts It is essential that all (legal) requirements for the findability of emergency exits, fire extinguishers, escape routes and first aid posts are met.

3.10.6.3 Glass walls All used glass walls must comply with Kenyan Building Code and Bye

Laws. Transparent or light-transmitting walls, in particular all-glass walls, in rooms or in the vicinity of workplaces and roads must be marked and made of safety materials or separated from those workplaces in such a way that employees cannot come into contact with these walls nor be injured if they break. The NMH prefers the use of laminated glass.

3.10.6.4 Earthing Kenyan Building Code and Bye Laws, and specific earthing provisions for steel structures are required.

3.11

Access control

For the Preliminary Design, a security concept (including an emergency plan) needs to be developed. The building needs enhanced security for everyone entering the building and security for critical installations to prevent (terrorist) attacks.

It will be detailed and further developed in the Working Groups and the Design Team. In the security concept, a balance must be kept between openness and transparency versus security for visitors and employees.

The general public will be kept within the public areas.

In case of an emergency, emergency routes may not go through private areas. Preferably, employees should exit the building in case of an emergency without going through the public areas. Guests visiting the offices of NMH should not be able to enter the offices without being checked by reception/security and without being accompanied by NMH staff.

Internal and external access to the building and department must be provided with an access control (with authorization)/ time registration system.

• The building must be secured against unauthorized entry; • the building must be secured against the inclusion of employees, visitors, and unauthorized persons; • visitors must only be able to enter the building through the main

entrance and during opening hours; • the building must be compartmentalized in such a way that an "intruder" can never enter a (next) compartment without being noticed; • Infrared detection must be used in traffic areas.

3.11.1 Compartmentalization Ngaren will employ approximately 150 employees and volunteers on a daily basis and will welcome up to 1 million visitors annually. Groups will be devided into different parts of the building depending on who they are: • Within the building, there will be compartmentalization between the museum, office spaces, and the facility rooms, such as storage, expedition, technical systems, ICT -systems, etc.; • Some parts of the building will only be accessible to a very limited group of employees, such as the central computer room and the technical rooms (this also refers to the technical installations of the building itself, i.e., the emergency power unit, the cable rooms, etc.); • The storage rooms and expedition should only be accessible for employees of the facilities department (unless otherwise authorized); • A point of attention is the loading zone, expedition space, and general storage rooms. Unwanted visitors must be prevented from gaining access to the building when delivering or picking up goods; • All visitors will enter through the central hall, with an easily visible and staffed reception area; • At the reception, visitors are met by the reception staff; • Visitors that come on official business also report to the reception and will be picked up by their host and taken to the office section; • The walkways on the NMH site clearly marked so that visitors can find their way to the entrance of NMH without assistance; • Visitors should not be able to walk freely around the site unattended in areas that are not open to the public; • It is not yet known whether the restaurant(s) will also be open in the evening. The basic principle will be that visitors cannot roam

around the building at that time, however; • The signs to the parking area will be clearly marked so that visitors will know where to park. In the car park, measures must be taken to prevent unauthorized persons to use the parking or gain entrance to the museum site. In theory, this access will be controlled at the security gate to the entrance of the Ngaren campus.

3.12 Systems Safety 3.12. Management of technical installations The control installation for the air-conditioning installation and the electrical installation must be provided with a central, selective acoustic and optical fault signaling, as well as a central selective fault registration.

3.12.2 Emergency lighting Emergency lighting in accordance with Kenyan Building Code and Bye Laws must switch on automatically in rooms where this is necessary for reasons of safety and reliability in the event of failure of the standard lighting as a result of a power failure.

3.12.3 Overvoltage protection The power supply of the following installation devices must be provided with overvoltage protection: • power supply for the main distribution system; • power supply for the central computer room distribution system; • power supply to central equipment safety and security facilities; • all cabling entering the building; • power supplies for distributors of data systems at the location of these distributors.

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3.13 Burglary protection Given the size of the building and the number of visitors and employees, achieving optimal security is a complex task. The size of the museum, however, makes NMH security systems more susceptible to tampering. This needs to be taken into consideration in the development of the security and safety systems for the museum.

The building must be secured both externally and internally via a central security system. Alarm response at night will likely be outsourced.

Biometric locks will be provided on all doors.

The offices are secured per floor, there will be locks on the individual office doors. File cabinets with confidential documents will be closed and locked.

In the design strategy, solutions should be found in this hierarchy: • architectural solutions: hinges and locks, roller shutters, limited facade openings, limitation of the number of external doors, quality of facade glass, etc.; • electronic solutions: lock detectors, spatial security, camera security, glass, and window security, access security, shop article security, etc.; • management procedures and supervision of personnel; 3.13.1 Structural facilities (including hinges and locks) All doors, except cupboard doors, must be provided with an electronic lock, which is linked to a central installation that shows which doors are open or closed, which key was used last for which lock, and who opened the relevant lock. The dates and times of the last thousand events or all events in the last month need to be stored in the system’s memory. The system must be able to detect night and day positions of locks (i.e., the difference between closed and locked).

The installed locks and hinges must be burglar-proof. The chosen materials are subject to the approval of the client.

Only the windows in the office area may be openable, but should all be closed when the office is not in use. Windows on the ground floor

or windows that are easily reached should not be openable.

The quality of the facade glass to be used must at least correspond to Kenyan Building Code and Bye Laws in burglary-prone situations and must be provided with U.V. and I.R.-resistant foil for the exhibition space.

The quality of the external and internal walls, gates, fences, etc. must be of such a good quality that attempts at a break-in can be detected and prevented in good time.

Furthermore, the lighting in and around the building must be such that security officers can properly observe any movements at night.

Surveillance night lighting must also be included in the building and on the campus.

3.13.2 Electronic detection All areas must be equipped with passive infrared detection. All facade surfaces that have openings must be monitored with outdoor cameras. Facade glass and frames must be equipped with vibration and/or (acoustic) fracture detection. The opening of windows in burglary-prone situations must also be detected. The shop exit must be equipped with a security system.

All electronic systems, except the article security system, must be centrally monitored from the reception/security lodge. The system of electronic security should function as “safety circles". From the outside in, we see the following security layers; camera surveillance, facade glass and frame detection, P.I.R. detection (room signaling), and lock detection. The total must have an adequate emergency power supply that can operate all security systems for at least 4 hours in the event of a mains power failure. This may need to be extended due to the likelihood of power outages.

3.13.3 Personnel and procedures NMH realizes that adequate surveillance and supervision of the museum cannot function without some form of (permanent) staff supervision. However, surveillance and security systems must be set up in such a way that they can adequately function without the

input of the museum staff. It is the task of the staff to act on an alert, double-check the situation, and to deal with emergencies.

The number of entrances/passages that breach the compartmentalization between the public (museum) part and the private areas should be kept to a minimum, in order to minimize the need for additional security and staff. From this perspective, NMH opts for only one central entrance for all its visitors and staff and one entrance for the delivery and export of goods.

The museum shop and restaurant(s) must be accessible from both the public as the private part of the building. The resulting access problems must be solved electronically with card-reading turnstiles/ doors, etc.), in such a way that there is no additional staff needed for supervision.

The evacuation system must be connected to the fire alarm control panel, whereby special attention must be given to the acoustic quality of the spoken word in relation to the acoustics of the (exhibition space), in particular when selecting the loudspeakers.

3.14.1 Electrical protection devices The building must have an optimal earthing and lightning protection installation, which meets all legal standards at the time of the building permit application. Also, the overvoltage of the grid as a result of direct lightning strikes must be prevented.

3.15 Quality standards We regard the Laws of Kenya, Kenyan Building Code and Bye Laws as a minimum quality standard. The Architects and Quantity Surveyors Act, CAP 525 of the Laws of Kenya is used in this project.

3.14 Fire and evacuation systems The fire alarm installation/control panel must comply with the applicable laws and regulations and the requirements of the local Fire Department.

Kenyan Building Code and Bye Laws concerning functionality and installation method.

Emergency and transparent lighting must meet the same requirements. Transparencies must use approved pictograms.

Compartment doors should be fitted with adhesive magnets connected to the fire panel, so that they close automatically in the event of a fire, but are open to visitors during normal operation.

Emergency exits must always be closed; they must therefore be provided with an electrical release that is switched to the fire panel and that is automatically released in the event of a fire.

Elevators (insofar as they can be accessed by persons), fire roller shutters, and air-conditioning systems must also be connected to the fire panel and automatically switch to the desired fire procedure.

3.16 Regulations A new-build project, certainly of this size, is governed by the laws and regulations of Kenya and municipality in which it resides (Nairobi/Kajiado). Without providing an exhaustive list it is understood that all regulations in force must always be followed and considered. NMH would like to draw attention to some more specific regulations relating to the project. The design must comply with the Laws of Kenya, Kenyan Building Code and Bye Laws.

3.17 Health and Safety In accordance with current legislation, a 'health and safety plan' (the so-called H&S plan) must be submitted in the design phase and the construction preparation phase, by (designing) parties.

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3.18 Operating costs

Table 1. Building materials minimum lifespan

NMH explicitly asks the Architect and his consultants to specifically take the future operating costs into account when designing the NMH building. The client attaches great importance to this aspect of the entire design and realization process. This places high demands on the durability and maintenance-friendliness of materials, maintenance and energy-friendliness of equipment and installations, clear setup of spaces, and traffic area’s in terms of monitoring intensity, efficiency, and effectiveness of cleaning, robustness, and resistance to vandalism, etc. All proposals in the design and realization process will be assessed on these aspects using Value Engineering (VE). VE is a systematic evaluation procedure directed at analyzing the function of materials, systems, processes, and building equipment to achieve required functions at the lowest total cost of ownership.

Looking out for future operating costs may never affect the laws and regulations, or municipal guidelines, which relate to different aspects of the new NMH building. They must be followed in full.

Material / Lifespan (in years)

3.18.1 Calculation of maintenance costs The calculation of the maintenance costs must be based on real interest rates at the time of calculation. At the end of the consideration period, the technical performance of construction work and installations must be the same as at delivery. The maintenance during the warranty period and the contractual maintenance period must guarantee a continuous operating process following the instructions of the manufacturer/supplier.

3.18.2 Maintenance level The performance for all materials used must be guaranteed for at least 40 years unless the client sets other performance requirements.

The table below gives the minimum lifespan for the building materials to be used in years:

Sealant joint 10 Wall-/roof connections 40 Wall railings 40 Jointing/masonry 30 Counter and foot lead 40 Sunblind slats 10 Water hammer 30 Eaves / ridge 25 Pantries 10 Facade cladding 30 Roof tiles 40 Central heating pipes 40 Sun protection 15 Roof tiles 25 Central heating pump 10 Awning fabric 05 Drain tiles 25 Radiators 30 Draining pipes PVC/zinc 25 Masonry roof 40 Electric boiler 15 Hwa steel 40 Vent hood 15 Rubbers/profiles 20 Flue gas outlet 15 Toilets 20 Fences 20 System walls / inner wall 35 Taps 15 Exterior doors 30 Stucco within 35 Sewage outside 50 Window frames 40 Fire cover 35

Sewage inside 50 Paint 10 Acoustic cover 35 Fluorescent luminaires 15 Facade filling

40 Wall tiling 30 Hinges and locks 20 Floor tiling 30 Luminaires 10 Inside glazing 40 Carpets 10 Double glazing 30 Walk-in mats 05 Wiring 20 Gutters 20 Entrance mats rubber 10 Sound system/ intercom 20 Wind springs 20 Parquet floors

25 Fire hose reels 30 Skylights / domes 20 False ceiling 30 Fire hose 15 Roof beads/profiles 20 Inside frames 40 Extinguishers C02 / foam 05 Roof trim 20 Interior doors 40 Lightning protection 20 Roofing app/sbs 20 Inside hinges & locks.

20 Clinker paving 40 Inside fencing 20 Tile paving 40

4 DURABILITY 3.18.3 Additional maintenance requirements • Materials and finishes used must be easy to maintain and appropriate for the environment.

• Parts of construction work to be maintained (for instance the facades, atria, and the like), as well as the technical installations, should be accessible using regular machines and appliances. This requires thoughtful consideration during the design and detailing of the building and building parts.

• The proposed facade maintenance installations must be adapted to facade surfaces and dimensions in accordance with the requirements of the labor inspection. Any facade lifts must comply with publication P-120 of the labor inspection.

• The building must be provided with the facilities necessary for maintenance, such as special water taps, hose reels, and the like.

• The choice of materials for site design, planting, fencing, and facades must be such that vandalism can be prevented as much as possible and damage can be repaired quickly at low costs.

• The exterior facade needs to be easily cleanable of dirt and deposits up to 3m above ground level, without affecting aesthetic properties.

• Fasteners used in the cavity of the facade and/or elements that are directly exposed to the outside air must be fully resistant to corrosion.

• It must be possible to do the maintenance work safely following the Working Conditions Act. • The finish of the interior must be low maintenance and easy to clean.

• Sanitary appliances must be designed with special attention to cleaning and maintenance.

• Sanitary areas must have a maintenance-friendly finish from the floor to the ceiling.

4.1 Rationale The challenge for NMH is to look at all aspects of the design and construction of museum as an opportunity to positively impact the environment, and the cultural fabric of the local, national and global community. NMH should reflect the most progressive and eco-friendly design and construction available at build-time, as well as look forward to a more symbiotic relationship between people, our community, and nature. In as much as possible, the client desires that NMH be a progressive icon of sustainable construction and operations for global institutions.

Example NMH will aspire to be the “greenest” building and business model possible. It should serve as a role model in the region for redefining the future of the built environment.

As an iconic institution, NMH should be strategically placed to be a frontrunner, and thought leader for green buildings in Kenya. As part of the message of the museum, visitors will be made aware that we as humans have an impact on the planet. The NMH building, cafes, stores, restaurants, and operations will all be designed, as much as possible, with nature-based and natural, locally available solutions, The museum will explore the use of and maximize use of renewable energy, recycled (rain) water and re-usable resources.

It may not be possible to be a net-zero, zero-waste institution, but NMH will strive to be as close as possible to reaching that goal. The goal will be to position NMH as a world-class museum, and a role model for a “green” institution. NMH should be built beyond the LEED and other standards.

Awareness Beyond telling the story of our common ancestry and our future obligation to the planet, NMH should strive to be an example of a sustainability. This includes the building as well as the landscape, and surroundings. Visitors should feel a part of nature as well as part of Africa – and the origins of humankind.

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Media communication about the building will help raise awareness and give the public a practical, tangible living example of how science, design, innovation, and construction can be sustainable.

4.1.1 Building with tradition African traditional architecture is essentially sustainable. Usually, earth, timber, straw, stone/rock, and thatch are used to build livable dwellings. Traditional buildings were designed and oriented to use natural heating and cooling, placed in an environment that produced shade and shelter. These values can be incorporated as much as possible into the design for NMH, and management would be interested in exploring the use of traditional, renewable techniques in the design of NMH. 4.1.2 Building with nature We are all part of nature. The rules of evolution apply to us as much as to animals and other living species and how we interact with the environment is important to our future on this planet. Therefore, it is the client’s desire that NMH exists in harmony with the surrounding landscape and environment. This is important to the overall message of the institution.

4.2 Key Elements There are many challenges to building sustainably, but there are also enormous opportunities to incorporate green building practices: 4.2.1 Materials As much as possible, the client would like to reduce the use of virgin material and encourage the use of materials from sustainable sources. Across the built environment, green-certified building materials are an opportunity for manufacturers to create a local green economy. Using recycled products as much as possible or insisting on a certain percentage of recycled material in all item is desirable. In Kenya the LEED criteria for materials and resources are not always easy to meet as indicated, therefore a contractor will may

have to source specific materials from abroad to meet LEED specifications. The cost benefit analysis of importing supplies versus job creation and stimulation of the economy will need to be decided by the Steering Committee. The challenge is how to use contextually relevant materials for the bulk items like walling, flooring, and other high-volume materials that will have the highest impact.

4.2.2 Energy In order to reach the goal of “green” construction, it will be important to limit the use of energy during building and energy use of the building once operational. The aim will be to reduce the building’s energy consumption as much as possible, increase efficiency, and encourage the use of power from alternative sources (solar, wind). The design of NMH should maximize the use of daylight and the sustainable energy. Climate should be regulated as much as possible without using electricity. The building design should incorporate passive technology and structures – i.e., use natural ventilation and lighting as much as possible without degrading the indoor environment. The building should be “smart” in that it should actively monitor and reduce energy use and use high-efficiency fittings and equipment. Innovative HVAC systems should be included in the design where possible with reusable filtration systems. BIPVs (Building Integrated Photovoltaics) can be incorporated to harness the sunlight in Kenya for solar power.

Using solar water heating and heat exchange systems for all hot water requirements would be optimal.

4.2.3 Water The aim is to target reduced use of potable water by encouraging the specification of low flow items and the recycling of grey and black water.

4.2.4 Management (waste, maintenance, etc.)

The NMH design should incorporate optimal waste management, and encourage users to segregate waste streams to allow for easier recycling and reusing.

4.2.5 Indoor Environmental Quality The wellbeing and comfort of occupants should be regularly assessed including comfort (temperature), pollutants, natural daylight, and ventilation requirements. These should be audited regularly. Indoor air quality monitoring should be done to ensure comfortable and healthy indoor environments.

4.2.6 Land use & ecology The goal of NMH is to increase and protect natural biodiversity in the area. The built environment will be need to be constructed in a responsible manner so that no biodiversity loss occurs due to construction and operations.

4.2.7 Emissions Design and construction should address the environmental impacts of emissions or substances emitted from the site. Materials should be carefully selected to ensure low TVOC’s and formaldehyde contents for healthy spaces.

4.2.8 Innovation NMH designers should consult Green Building rating tools such as LEED v4. The goal of NMH is to exceed green building goals.

4.2.9 Zero waste principles Waste is not always a consideration on construction projects, however, NMH would like to reduce the amount of waste that is generated during the buildout of the project, as well as during the ongoing operations. This can also potentially reduce material costs and costs associated with onsite waste management and processing.

This can be achieved in the following stages.

• Using Building Information Modeling (BIM) and Parametric/ Generative design during the design and construction stages to optimize the design; • Using BIM during construction documentation and on-site to reduce wastage; • During the operational stage, employing sensible FM layouts and practices and ensuring an emphasis on recycling through

education and provision of facilities.

• Employing “adaptive reuse” – where possible.

4.3 What we expect In designing and building NMH, we expect that the design & build will be done according to LEED BD+C, ID+C, (I+OM, and ND), LEED Zero. Some of the key elements in the LEED BD+C have been highlighted in annex 1. Standards are there to use as a basic guideline.

The goal is to exceed these standards. For example, the use of bicycle tracks to visit viewpoints and other museums, restaurants, and the planetarium on the NMH campus, and incorporation of other eco-friendly functions on the museum site and in the building.

NMH aspires to go beyond LEED standards so that NMH is a leader in green building and operations.

NMH understands that the design of the building may lead to new insights as to how we can best reach the goals of sustainability and we also understand that new sustainable technologies are becoming available almost daily. The vision is that design of the building and grounds should embrace all new ideas or techniques. The architect should design with an ambitious goal for sustainability. For this report, we have tried to look at this specific site to see what choices match our ambition and what uses and measures specifically are a logical choice. We have listed them here, from 4.4 through to 4.8.

4.4 Energy The goal of Ngaren is to be a net-zero energy building. Therefore, incorporating passive design strategies to significantly reduce the energy requirements of the building will be of paramount importance.

4.4.1 Building Orientation The building should be developed along the east-west axis and its

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main façades (where the major openings are located) should face either north or south to minimize direct exposure to solar radiation.

Given this may not always be possible, for example, for the orientation room where exposure to the rift valley is a key design element, the heat gains will need to be managed carefully through external shading devices and high-performance glazing.

• place the buffer spaces (such as- toilets, corridors, staircases, lifts and service areas, etc.) as much as possible along western and eastern facades; • provide maximum openings on North and South; 4.4.2 Sun Shading and Natural Light For shading devices to be effective, designers should be aware of the path of the sun at the site, its elevations on different days, and azimuth angles throughout each day of the year. This study of the sun is critical at the beginning of the design process so that optimal shading and effective natural daylight can be provided where it is needed. Again, sun path and building simulation modeling of the concept designs will be critical in optimizing the effectiveness of these designs.

Figure 3 is a site sun path diagram for the Ngaren site. It’s worth noting that the views into the rift valley ridge face directly into the west and therefore design consideration must be given to protect from heat gain and ensure thermal comfort.

• shade the building surfaces getting maximum solar exposure (such as– wall, roof, courtyard) with the use of external shading devices; e.g., space frame, pergola, trees, green wall, terrace garden, etc.; • design appropriate shading for all the fenestrations getting direct solar radiation by using sun path analysis or shading norms etc.; • limit the window to wall ratio to a maximum of 60% of gross wall area and the skylight to roof ratio to a maximum of 5% of gross roof area; 4.4.3 Ventilation A detailed study of the natural prevailing winds should be carried out to assist in designing for optimal natural ventilation in areas that

do not need to be climate controlled. Optimizing natural ventilation will remove any need for mechanical ventilation and therefore save energy and costs. Ventilation modeling needs to be carried out to assist the design team to optimize this strategy. Depending on the geometrical design of the building, stack effect or cross ventilation should be designed for.

Based on preliminary studies the NMH site generally has light winds that will provide sufficient internal air movement for thermal comfort and as well as for night time cooling of the building’s thermal mass (see Figure 5 and 6 ).

Night flush strategies (allowing cool air to flush the building at the coldest part of the night to cool the thermal mass) will keep the building’s daytime temperatures low, removing any need for artificial cooling in the building.

Strategies such as rock bed heat exchanger (as used at The Catholic University of East Africa in Nairobi) should be explored.

4.4.4 Solar PV power Upon significantly reducing the building energy consumption (through passive design and the use of energy-efficient lighting and control measures), additional electricity should be supplemented by on-site renewable energy power.

The area has high solar irradiance levels allowing for substantial on-site solar electricity production. All available building roof space and parking space should be used (also acts as an effective shade to reduce the heat gain on the building and reduce the urban heat island effect). The solar PV system can be sized upon a more complete understanding of the building energy requirements and space allowances.

4.4.5 Isolation For any of the climate-controlled rooms, the building envelope must be very well insulated and the windows should be airtight and, if possible, provided with double glazed windows to prevent heat gains and losses of cool air and thus reduce energy consumption. For slightly better performance, UV films/better solar control glass can be helpful.

4.5 Water

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4.5 Water The goal for Ngaren is to be a net-zero water project. This means prioritizing the efficient use of water and recycling all water for secondary purposes.

4.5.1 Water supply There is no municipal water supply in the area. Therefore, borehole water will be required. The impact on the groundwater table will be minimized by treating and recycling water on-site creating as much of a closed-loop cycle as possible, besides, replenishing the groundwater aquifer through recharge.

4.5.2 n Rainwater Harvesting Rainwater harvesting may not be practical given the highly concentrated rainfall within the two main rainfall seasons (see figure 7).

However, rainwater and storm water design must be encouraged to filtrate the ground and result in net-zero storm water runoff from the site from pre-construction to post-construction. Rain water harvesting should be considered. Both harvested rainwater and borehole water could be stored in an underground water tank(s) and then filtered and treated before use. This will result in some saving on the use of the borehole pumps during the rainy seasons.

4.5.3 Water Treatment & Recycling All wastewater must be collected, treated, and recycled on-site for secondary use (flushing toilets and irrigation, including groundwater recharge). The technology is readily available and has proven successful in the local market on numerous projects. There is no municipal sewage system in the area.

• Flush/flow fixture efficiencies: Highly efficient flush/flow fixtures must be specified which alone can save up to 40-50% water use.

• Composting toilets can be considered outside of the building facility. The technology that exists (with proven local implementation) has no issues with hygiene or smell. This will have a significant positive impact on water demand. Consider

generation of bio gas which will be used in the restaurant kitchens.

• Irrigation: The landscape should be design for zero irrigation needs, using native and adaptive vegetation. If any irrigation must be designed, Irrigation will use recycled treated grey water.

• Provide necessary treatment of wastewater for achieving the desired composition for various applications.

• Implement rainwater harvesting and storage systems depending on the site-specific conditions.

• Reuse the treated wastewater and rainwater for meeting the building water and irrigation demand.

• Recharge the surplus water (after reuse) into the aquifer.

4.5.4 Efficient water use during construction To minimize the use of potable water during construction activity: • use materials such as pre-mixed concrete for preventing water loss during mixing; • use recycled treated water; • control the wasting of curing water. The contractor will be expected to have their sources of water tested and approved on a regular basis to prevent contamination of concrete by minerals present in borehole water.

4.5.5 Storm-water and rainwater management Storm-water runoff as a result of building on previously undeveloped green spaces causes greater amounts of runoff which leads to erosion and washes away important wildlife habitats. It also picks up and carries many different pollutants that are found on paved surfaces such as sediment, nitrogen, phosphorus, bacteria, oil and grease, trash, pesticides, and metals.

The hardscape build-up of the NMH project will inevitably displace water and therefore design consideration needs to be given to reduce, detain and/or remove pollutants from the water.

Strategies to be considered are: • Permeable pavements • Collection of rainwater/storm-water for secondary use purposes • Soak pits for ground filtration • Increased planting of vegetation and trees on non-hardscaped areas

If a borehole is sunk for water requirements, any excess site water should be used for artificial groundwater recharge. The borehole table in the site area has a depth of approximately 150-180 meters.

Increased urbanization in the area, however, will likely reduce the water levels, as seen by the significant drops in the Nairobi groundwater table over the past years. Storm-water run off can be stored in an open dam located within the site. The dam could also be used to excess grey water and could then be used to treat the water further through read bed filtration systems creating a water feature that would be attractive to the local wildlife.

4.5.6 Renewable, energy-based hot water system Ensure that a minimum of 70% of the annual energy requirement for heating water (for applications such as hot water for all needs, like for canteen, washing, and bathrooms/toilets, except for space heating) is supplied from renewable energy sources. Consider the use of heat exchange systems in the kitchen to heat water in addition to solar water heating.

4.5.7 Ensure water quality To provide the occupants of the building with good potable quality water for drinking/washing purposes as prescribed by the standards and to ensure that the treated wastewater is meeting the desired standards for reuse/disposal, ensure water from all sources (such as groundwater and greywater) meets the water quality norms. The engineers to specify water treatment plants available in the local market that will treat borehole and harvested water into potable water.

4.6 Building materials For Ngaren the use of local and low embodied energy materials must be prioritized to reduce the carbon footprint and support the local economy. Some guidance for proven local technologies is provided below.

• Walls: local stone from the various quarries near the site and greater Nairobi for walling can be used, as it is locally produced

and has effective thermal conductivity properties for the area.

The use of rammed earth of stabilized soil block walls should also be considered. This will require a specialized study of the site soil together with the design team professionals to determine viability.

Black cotton clay soil at the site may not be suitable for use in rammed earth construction. But good soil is also available near the site.

• Foundations: the foundations may likely need concrete and if so, concrete with fly ash should be considered. Stone or burnt bricks may also be considered depending on the building geometry an structural loadings.

• Floor slabs: preference needs to be given to lower embodied energy materials such as, for example, hollow pot slabs, in-situ waffle concrete, or concrete with fly ash.

• Roof Slabs: to achieve the lowest practical embodied energy cost consideration should be concrete roofing tiles or ventilated roof made of clay tiles. Should this not be possible strategies such as indicated for floor slabs will need to be considered.

• Finishes: the lowest impact option is to have no finish and keep a light-colored raw material or light-colored paint. Vertical landscaping can be considered to reduce building heat gains.

4.6.1 Use of fly-ash in the building structure Use low embodied energy industrial waste fly ash as a construction material in combination with cement: • make use of fly-ash by using PPC (Portland pozzolana cement) containing fly-ash reinforced concrete (including ready-mix concrete). A minimum of 15% replacement of cement with fly-ash in PPC (by weight of the cement used) in the overall RC for meeting the equivalent strength requirements.

• Use fly-ash in building blocks for the walls.

• Use fly-ash in Plaster/masonry mortar by employing PPC. Use plaster and/or masonry mortar, which utilizes a minimum of 30% of fly ash in PPC, in 100% wall/ceiling finishes and wall construction, meeting the required structural properties.

• Use of fly-ash for RCC (reinforced cement concrete) structures with in-fill walls and load-bearing structures, mortar, and binders.

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• Use a minimum 15% replacement of Portland cements with fly-ash (by weight of cement used) in structural concrete.

4.6.2 Reduce volume, weight, and construction time Replace a part of energy-intensive materials with less energy-intensive materials and/or utilize regionally available materials, which use low-energy/energy-efficient technologies.

Structural application • Use of low-energy technologies/materials (not based on the utilization of fly-ash), such as roofing/flooring, columns, and load-bearing walls, for structural applications. Use such technologies to demonstrate a minimum 5% reduction in the overall embodied energy, when compared to equivalent products for the same application, for a 100% structural system used in a building, thus meeting the equivalent strength requirements.

Examples of low-energy products and technologies used in structural applications technologies: • pre-stressed slab, extruded structural clay joist and filler slab, hollow floor/roof slabs, burned clay filler pots with RCC structure, micro-concrete roofing, precast hollow plank roofing, funicular shells, zip bloc system, composite columns, reinforced grouted brick masonry, stone masonry, precast stone blocks, pre-cast concrete blocks, pre-cast finished concrete blocks, light-weight concrete blocks over dense concrete blocks, and rat trap masonry.

Non-structural application: masonry/infill wall system • Use of low-energy technologies/materials (not based on the utilization of fly ash) for non-structural applications. Use such technologies to demonstrate a minimum 5% reduction in the embodied energy, when compared to equivalent products for the same application, for 100% infill wall system used in a building, meeting the equivalent strength requirements.

• Examples of low-energy product and technologies in non-structural applications: • infill wall system using traditional mud walling system, stabilized

adobe walling, compressed earth blocks, hollow, perforated/ modular bricks, interlocking bricks, traditional stone masonry, pre-cast non-load-bearing concrete blocks, finished concrete blocks, lightweight concrete blocks over dense concrete blocks, pre-cast brick panels, composite ferrocement walling, interlocking concrete blocks, rat trap masonry, and so on.

• Replace a part of the energy-intensive materials with less energy-intensive materials and/or utilize regionally available materials, which use low-energy/energy-efficient technologies.

4.6.3 Use low-energy material in interiors A minimum of 70% of the total quantity of all interior finishes and products used in each of the categories mentioned above should be low-energy finishes/materials/products, which minimize wood as a natural resource or utilize industrial waste by using products in any category.

Minimum 70% in each of the three categories of interiors (internal partitions, paneling/false ceiling/interior wood finishes/in-built furniture door/window frames, flooring) from low-energy materials/ finishes to minimize the usage of wood.

4.7 Health and well-being Building construction and its operation affect the health and well-being of people in many ways.

Green building practices and measures should be integrated into the design process to ensure the health and well-being of the occupants.

4.7.1 Use low-VOC paints/adhesives/sealants To select and use paints, adhesives, and sealants with low quantities of chemical substances and VOCs (especially formaldehyde, urea-formaldehyde, and urethanes): • use only zero/low VOC paints. All paints used in the interior of the building (defined as inside of the weatherproofing systems and applied onsite) must be certified to contain zero VOC;

• prefer water-based acrylics over solvent-based oil paints; • ensure all the sealants and adhesives used are water-based rather than solvent-based or have a low solvent content. Most construction adhesives offer adequate bond strengths in water-based varieties.

Acrylics, silicones, and siliconized acrylics are the safest sealants for use in the interiors and have the lowest solvent content; • adhesive usually have a high-VOC emission potential. Hence, use adhesives with low-VOC or no – VOC emissions such as acrylics or phenolic resins; • ensure all composite wood products/agri–fiber products do not contain any added urea-formaldehyde resin.

4.7.2 Minimize ozone-depleting substances • Eliminate or control the release of ozone-depleting substances into the atmosphere. The ozone depleting materials commonly used in buildings are CFCs or HCFCs in refrigeration and air conditioning systems, halons in fire suppression systems and extinguishers, and insulation.

• Use insulation with zero-ODP (ozone depletion potential) such as HCFC-free rigid foam insulation, mineral fiber cellulose insulation, glass fiber, wood fiberboard, cork wool, expanded (bead) polystyrene, recycled newspaper, and jute and cotton. Avoid materials that do not inherently have a zero-ODP, such as polyurethane foams and polyisocyanurates.

• Install CFC-free equipment for refrigeration and air conditioning.

• Install halon-free fire suppression systems and fire extinguishers in the building.

4.7.3 Low VOC emitting materials The health and wellbeing of users (and construction workers) are of paramount importance. Therefore, low VOC (Volatile Organic Compounds) emitting materials must be specified for all items such as paints, coatings, adhesives, sealants, flooring, walling, furniture, and wood.

4.7.4 Acceptable outdoor and indoor noise levels To use appropriate noise controls for providing acceptable levels of

outdoor and indoor noise levels to enhance comfort.

• Ensure that the outdoor noise level conforms to the Environmental Standards.

• Ensure that the indoor noise levels conform to the levels described in chapter 6.

4.7.5 Tobacco smoke control NMH will comply to Kenyan laws and will ban smoking in public buildings. This means there will be no smoking anywhere in the museum, restaurant, offices, meeting rooms or other parts of the building. Outside the building, there will designated smoking areas.

This will ensure zero exposure of the nonsmoking visitors and employees to passive smoking.

• prohibit smoking on the building premises supported with the company policy.

• Allow for designated smoking areas outside.

4.7.6 Provide at least the minimum level of accessibility for persons with disabilities To ensure accessibility and usability of the building and its facilities by employees, visitors, and clients with disabilities.

• Ensure access to facilities and services by adopting appropriate site planning to eliminate barriers as per the recommended standards, layout and designing of interior and exterior facilities as per principles of universal design, building management policies and procedures, provision of auxiliary aids and appliances, and staff training in disability awareness, and • Comply with planning and design guidelines to ensure accessibility and usability of the building and its facilities by employees, visitors, and clients with disabilities.

4.8 Waste management Waste management is of key priority for NMH. To minimize waste generation; streamline waste segregation, storage, and disposal; and promote resource recovery from waste.

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5 FUNCTIONAL AND SPACIAL PROGRAM 4.8.1 Operational Waste All organic waste should be separated on-site and used for composting for landscape use or biogas if viable. A study on anticipated food waste will need to be carried out.

All other operational waste must be recycled. Locally recycling companies offer these services.

4.8.2 Construction Waste Construction site waste must be separated for recycling purposes.

A goal of 90% diversion from landfills should be a minimum.

To ensure maximum resource recovery and safe disposal of wastes generated during construction, and to reduce the burden on the landfill: • Employ measures to segregate the waste on-site into inert, chemical, or hazardous wastes.

• Reuse/Recycle segregated waste and unused chemicals/ hazardous wastes such as oil, paint, and batteries.

• Inert waste to be disposed of by municipal corporation/local bodies at landfill sites.

4.8.3 Efficient waste segregation To maximize the recovery of resources from recyclable and biodegradable waste and to reduce the burden on landfills: • Use different bins for the collection of different categories of waste from the building; • Use different bins for collecting different categories of waste from the site.

• Employ resource recovery systems for biodegradable waste.

• Arrangement for recycling of waste through local dealers.

4.8.4 Storage and disposal of wastes To prevent the mixing up of segregated waste before processing or disposal • Allocate a separate space for the collected waste before transferring it to the recycling/disposal stations.

5.1 Introduction The P.o.R. describes the basic principles and frameworks for functional and spatial programming. The corresponding dimensions of the required spaces are included in the dimensions list, a list of m2 requirements for all spaces in the buildings, and on the building site.

The functional relationships between spaces are shown in a relationship chart. We will look at the meeting and office functions, the archive and storage functions, the support functions, the educational functions, the exhibition functions, and the facilities in general.

5.2 Relationship schedule The functional connections between the spaces are shown in the connectivity scheme that is added as annex 3.

5.3 Standards and principles 5.3.1 Standard measurements for requires spaces The area concepts used are based on Kenyan Building Code and Bye Laws.

5.3.2 Stratification loss Stratification loss is the area that becomes extra available in the design because an area or space in the design is not exactly as big as the functional useful surface defined in this P.o.R. The stratification loss should be limited to 2 to 3%.

5.3.3 Traffic area Traffic area refers to the floor area that is needed for the traffic flow in the building. The traffic area can be divided into: • vertical traffic area: the space that is needed for the traffic flow between the floors of a building, such as stairwells, escalators, ramps, and lift shafts;

• horizontal traffic area: the space that is needed for the horizontal traffic flow between the programmed spaces; • the traffic areas may not exceed approximately 15% of the gross floor space (horizontal + vertical traffic area).

5.3.4 Installation surface The installation surface is the floor area that is required for housing and operating the technical installations. Approximately 7 to 8% of the gross floor area must be maintained for the installation surface of the building installations, however, no exact requirements are imposed on the surface space of technical rooms. The required surface area is a consequence of the requirements for the (room) conditions and the required electrotechnical facilities at the workplace, as well as from the chosen design and installation concept.

5.4 Facility design program summary The Facility Design Program for NMH is both a quantitative and qualitative analysis of the physical spaces necessary to carry out the programs of the institute. The program itemizes every space that is included in the complex and provides a functional description for each space and its critical design criteria. Net square meterage is shown for individual spaces.

The Facility Design Program Summary, below, provides a listing of the major building facilities with required square meterage.

1. Reception & visitor services 2. Restaurant and catering

3. Exhibition & education areas 4. Offices

5. Support Facilities

6. Planetarium Total Net Area (100%) 6. Stratification loss (2,5%)

2,650 m2 1,555 m2 9,490 m2 1,280 m2 815 m2 800 m2 16,590 m2 415 m2

7. Horizontal traffic area (6,5%)

8. Vertical traffic area (5%)

9. Non-static building components (2,5%) 10. Technical installations (6,5%)

11. Static building components (6%)

12. Surplus spaces (1%)

13. Glass-line correction

1,078 m2 830 m2 415 m2 1,078 m2 995 m2 166 m2 166 m2

Total Gross Area (131%)

21,733 m2

5.4.1 Heights The minimum net office room height is 3 meters. For the other representative areas (shop, restaurants, and the archive/depot areas, a minimum net story height of 3.5 m must be maintained. In the workshops, a clear height of 3.5 meters must be maintained. The minimal height of these galleries is 6 meters. Two Research Rooms should be 12 meters high to house dinosaurs and large projections.

The height of the Planetarium depends on the design made by the Architect and his advisors.

5.5 Reception & visitor services (2650 m2) "Meeting" is a core value for NMH – this means NMH values connecting and being connected, bringing knowledge and expertise together, and inviting the outside world to come in and learn and connect with others. The interaction between different groups, visitors, guests, and employees must be strengthened by the space.

The Welcome Hall (Main Hall) is the place where you enter, both as a visitor and an employee. This is where the reception area is and where a visitor can buy tickets. The Main Hall is the beating heart of NMH. The following areas are directly accessible in or from this hall: • reception of school groups; • store; • cloakroom and locker/changing area; • sanitary functions;

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• • • • • •

(rentable) meeting rooms; offices; control room; auditorium; restaurant(s); museum galleries and Planetarium.

5.5.1 Multifunctional Welcome Hall (the Main Hall) (1000 m2) This space has a multifunctional character and must be able to facilitate the following activities: • welcome for groups and individual visitors; • informal meetings; • ad hoc presentations; • meetings, like a debate, a lecture, or a (music) performance.

The Main Hall is the most important traffic space in the building.

All visitors and workers enter and leave the building through this hall.

Therefore, the hall should have as little columns or other obstacles as possible that stand in the way or can block the vision. The acoustics need to be excellent.

From the Main Hall, the distribution of visitors, employees, and guests take place to the other functions of NHM. From the Main Hall, they enter other parts of the building or enter the stairs or elevators to go to the higher levels. It helps to improve the transparency of the building if the visitor or the staff often can look back or down on the Main Hall from different parts or levels of the building.

It will be important to have good flow for the visiting school children and students since these groups often arrive in large groups, and at the same time. The reception area should be able to absorb groups of up to 200 children without blocking or hindering other visitors and guests.

When the Main Hall is used for social gatherings, there must be enough room for 600 people (standing). This space should also ideally be directly connected with the restaurant.

Public seating should be provided at strategic locations.

From the Main Hall, the visitors should have a view of the outside area and the surrounding nature of the Rift Valley.

5.5.2 Reception (50 m2) In the Main Hall, visitors should see the reception area the moment they come through the door. If they did not buy tickets online, or use a ticketing machine (also in the Main Hall), they can go to the reception to buy a ticket or to ask for directions. Front door ticket counters must be readily accessible. The ticket counter should not be too close to the main entrance and should provide a sufficient queuing area for people waiting to get tickets. These areas should also provide adequate information about the exhibits, admission prices, and related data.

The reception counter has space for 5 employees. There should also be a ‘fast lane’ for visitors who already have a ticket but need more information, two cash registers to buy tickets, a reception function for guests that have appointments in the office building, and a place for a security officer. From that position behind the reception counter, the security officer should have a good view of the main entrance, the other entrances to the offices and the restaurant, the shop, the planetarium and museum galleries, and, through surveillance cameras, of the traffic areas, the loading area, and the parking.

The building management system should be operated from here.

All installations (per compartment) can be controlled from here. The monitors for camera surveillance are also located here. This space needs to be able to be closed. The exact details will be determined in the design process.

5.5.3 Cloakroom/locker room (250 m2) Visitors must have cloakroom/locker room for their coats (1500 coats) and 250 one-person lockers for their belongings. This cloakroom can easily be converted into a guarded cloakroom during events.

Pigeon hole or other storage cabinets for children's school books, coats, and boots should also be considered as well as rental strollers for small children

5.5.4 Sanitary facilities for visitors (120 m2) For visitors, there should be plenty (40 toilets) sanitary facilities.

The facilities for men and women should be separated and can be entered and left without mingling. There are more toilets for women (60%) than for men (40%). In both the toilets for men as for women, there are also facilities to change babies. Also, special sanitary facilities are available for disabled visitors.

5.5.5 Storage (150 m2) Due to the multifunctional character of the Main Hall, storage space for furniture and or furnishing elements is required. This storage space must be easily accessible from the Main Hall without obstacles.

5.5.6 School Group Coat-Storage (120 m2) Near the entrance, there should be an area or room to welcome and address school groups, where a short welcome presentation can be held and where coats and backpacks can be stored.

5.5.7 Shop with an office (400 m2) In the store, visitors, guests, and staff can buy gifts and souvenirs.

The store should be located in or adjacent to the Main Hall and have a spacious and open entrance that opens into the Main Hall. Visitors should be able to visit the shop without having to buy a ticket. The store should have an office (16 m2) with two workstations where online sales and the shop’s administration are handled. The store should be well lit and create an inviting atmosphere through the design and display of merchandise. Public access should be controlled by a single entry into the store.

An open store layout, stretching out into the Main Hall, should be considered to provide maximum flexibility.

5.5.8 Inventory Storage (30 m2) The store stock requires a storage facility adjacent to the store that can be locked. Preferably, goods to be stored in this storage should be transported from the expedition to the storage without going through public areas.

5.5.9 Security Control Room (30 m2) Security is extremely important. There can be many nooks and crannies to monitor, and this should be kept in mind during facility design. Problems can range from simple vandalism to removal and theft of parts of exhibits to more serious malicious activity and the possibility of physical injury. This may lead to a variety of methods to deter theft and other undesirable activity. These vary from the employment of security staff and volunteer "watchers," to videobased security systems, to locked rooms, cases and physical barriers, and signs.

A camera security system will be used as well as assigning personnel to watch certain exhibits.

Function: Secured area to house central security, fire detection/ suppression, and HVAC systems and controls. The security control room is situated in the main hall and close to the staff entrance. It has partial glass walls to permit visual supervision of the Main Hall and staff entrance.

5.5.10 Auditorium (500 m2) The auditorium has a level floor and a capacity for 300 seated guests.

It is fitted for presentations and conferences. Preferably, the auditorium is a daylight facility, but it must be possible to darken the room.

The auditorium can also be used for education or other meeting activities and can be divided into two parts without the overspill of noise. The auditorium has a separate AV booth (12 m2) from which the audiovisual equipment can be managed.

This indoor space in the auditorium has an entrance to the auditorium itself as well as to the outside of the auditorium. This space provides a good view of the part of the auditorium where the speaker (s) are standing or where the presentations are shown.

Because of its function, good acoustics are essential.

5.6 Restaurants and catering functions (1,555 m2) When visiting the museum, or even without a museum visit, visitors, guests, and staff should have the opportunity to enjoy a coffee,

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lunch, or a drink in the restaurant. They can sit indoors, but there is also a terrace outside.

At events and conferences, the restaurant can be used to serve a snack or a drink; the Main Hall can also be used for this function.

The four separate restaurant facilities will most probably be run by an outside caterer.

The location of both the visitor- and staff restaurant in the new building will have to be determined at an early stage in the design process, because the restaurant, kitchen, and restaurant storage have many and various logistics relationships with almost all functions of NMH. Also, many technical installations are needed here, which has consequences for architecture and construction.

5.6.1 Visitor Restaurant (600 m2) For visitors there will be a full-service restaurant with a seating capacity of 300, preferably opening to the Main Hall. It should include a banqueting kitchen for catering receptions for exhibition openings and other special events.

5.6.2 Staff Restaurant (300 m2) For the staff, a smaller facility will be available with a seating capacity of 70. The restaurant for the staff is physically separated from the Visitor Restaurant, but it should be possible to use both spaces simultaneously when needed for larger groups or during weekends. The preparation of food and drinks for both the visitors and the staff takes place in one (open) kitchen.

5.6.3 Office, changing room and storage (185 m2) A separate workplace near the kitchen is needed for the kitchen administration (approx. 20 m2).

Changing rooms (approx. 25 m2) nearby are needed for the kitchenand catering staff to change and refresh themselves.

In the vicinity of the kitchen, a well-closed off caterer storage room (approx. 100 m2) with air conditioning must be available for dry product storage. A separate, well-closed off, and refrigerated room (approx. 40 m2), must be available for non-dry products.

5.6.4 Cafeteria and coffee bar (80 m2) A third and fourth facility, a cafeteria (60 m2), and a coffee bar (20 m2) can be found at strategic places somewhere between the exhibition galleries. Visitors who are in the museum galleries can sit down for a quick coffee or a small bite before continuing their visit to the museum.

5.7 Offices and meetings rooms (1,276 m2) The offices and meeting rooms are located in the office building.

The staff and visitors enter the office building through the Main Hall. The offices and needed by the NMH organization, but not all employees of NMH have an office. Especially the visitor support staff and the educational support staff do not need dedicated office space. Their supervisors share office space in the office building.

This is the organizational chart of NMH: 5.7.1 Offices (885 m2) The specific layout of the offices is determined in the design process.

The workplaces and the space in which work is performed must meet the following requirements: for a regular workplace, 8 m² is net available plus another 1 m² for extra office facilities and decoration.

That means that for a workplace in the open-plan office we calculate 9 m2.

For the offices, we use a standard grid of 1,8 meters. For instance, an office measuring 3,6 meters by 5,4 meters has a surface area of 19,44 m2.

In determining the space required for the different office spaces, the following general standards have been used:

Overview of m2 offices

F.T.E. in

office

m2

• office CEO:

• office division director:

• office department head:

• office senior official:

• office for 2-persons:

• group office (per person):

• technical workspace/ assembly rooms: for every workplace

38,88 m² 9,16 m² 29,16 m² 19,44 m² 19,44 m² 9,00 m² 25,00 m²

in

m2

office open-plan open-plan

Fig. 8. Organizational chart

CEO

1,0 1 38,9 Executive Secretary 1,0 1 19,4 Secretariat

2,4 0 0 Financial Administration 6,0 1 19,4 Personnel & Organisation 6,0 1 19,4 Communication & Events 7,0 1 19,4 subtotal

23,4 5 116,6

Division Director

1,0 1 29,2 ICT Project Office

2,0 0 0 ICT Infra & Support 7,0 0 0 Building Management 7,0 1 19,4 Facilities

8,0 1 29,2 Security

6,0 1 19,4 subtotal

31,0 4,0 97,2

Division Director

1,0 1 29,2 Business Development 13,0 1 19,4 Education

8,0 1 19,4 Exhibitions

10,0 2 38,8 Educational Support 10,0 1 19,4 Visitor Support

45,0 1 19,4 subtotal

87,0 7 145,8 Total

141,4 16,0 359,6 Total surface area offices

office

office

0 0 2,4 5 5 6 18,4

0 0 22 45 45 54 166

0 2 7 6 4 0 19,0

0 18 63 54 36 0 171

0 4 7 8 2 0 21 58,4

0 36 63 72 18 0 189 526 885

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5.7.2 General Facilities for the office staff Necessary general facilities for the office staff are: • facilities for copying and printing at the offices; • sanitary areas for employees (including toilets for the disabled); • work cabinets; • lockers for employees without a personal workplace; • cloakroom spaces for employees.

The space needed for these decentralized facilities is part of the calculated office space and need not be added extra to the space overview.

5.7.3 ICT test room (25 m2) Given the ever-increasing use of ICT resources, an ICT test-room is needed within the office environment where equipment and software can be tested. This is a space where the heat load will be higher than in normal office spaces.

5.7.4 Meeting rooms and Pantries (370 m2) Different sizes of meeting rooms are required: • Large conference room (100 m2) One meeting room for 50 people that is fitted for digital presentations and has an audio system. A folding wall must divide the room into two spaces for 25 people. This room is also used as a small lecture hall.

• Medium-sized meeting rooms (120 m2) • 4 meeting rooms for 15 people each that are fitted for digital presentations.

• Small meeting rooms (100 m2) 10 meeting rooms for five people that are fitted for digital presentations.

The large and medium-sized meeting rooms should be positioned near the office entrance or the elevator, as often guests will attend these meetings. The smaller meeting rooms are spread around on the office floors.

For the staff working in the offices 5 pantries (10 m2 each) with a

small kitchen facility where a coffee maker and dishwasher can be placed. The pantry has a sink and tap, cupboards, and a table where the staff can gather informally to have a coffee together or eat their lunch. The pantries are spread evenly over the office building.

5.8 Exhibition & education areas (9490 m2) 5.8.1 Exhibition Areas (8,400 m2) The organization of the museum is described in the Master Plan.

Four large parts are connected: The Orientation Hall (600 m2) that can be entered through the planetarium but also directly from the entrance hall. After the Orientation Hall, the visitor enters the Research Rooms (6000 m2), then the Evolution Game Room (600 m2), followed by the Treasure Rooms (1200 m2). The minimal height of these galleries is 6 meters.

Two Research Rooms should be 12 meters high to house dinosaurs and large projections.

The exhibition halls must be interconnected in such a way that it is easy and natural for the visitors to move from one to the other.

5.8.2 Museum storage (150 m2) This storage is required for the (temporary) storage of exhibition items. It should be located near the museum and should be reachable without obstacles or narrow doors.

5.8.3 Exhibition Change Room (400 m2) For the construction and dismantling of exhibitions, buffer space is needed. This is an exhibit staging and clean assembly area for final assembly and testing of exhibits before they are displayed for public use. It is an area for evaluation and selection of objects, colors, and graphics to be used in temporary exhibitions and for clean assembly work before moving finished exhibition components into the Exhibition Areas. The room should have a good connection to exhibition areas with double-door access with a clear opening of 3,5 by 3,5 meters.

5.8.4 Education areas (540 m2) A multipurpose classroom is needed for large groups (240 m2) for daytime and evening classes and demonstrations related to NMH programs, for training sessions, and for use by outside groups with interests related to the NMH programs. It should be possible to divide this space into two rooms of 120 m2 with a flexible wall for smaller presentations, lectures, and discussions as well as audiovisual presentations.

For (interactive) educational programs three additional rooms are required of 100 m2 each. One is a reading room, and two are to be used for demonstrations and educational programs. They are located directly next to the exhibition halls.

5.9 Support Facilities (815 m2) The support functions serve the internal processes at NMH. A distinction is made between: • storage (warehouse, archive, and storage rooms); • support areas (sanitary-, technical-, workshop areas, expedition, etc.).

The journey into the universe to shape the mindset: we are all part of Nature, we are all connected.

You start your journey with an all-digital movie that takes youu into the universe, the Milky Way, our solar system. Then the movie zooms in to our little blue planet: Earth. Youu will be surrounded by images of different ecosystems, for all continents and oceans, with beautiful landscapes and iconic animals. You will see faces of people from all over the world and you will recognize youself on the scren: the picture that was taken when you purchased your ticket is being used in the movie (but only during your view of the movie).

The voice-over recites: "This is your birthplace. HNgaren is where the story of humankind unfolds.

Here you will experience your human journey with all your senses, mind and heart - how you came to be the walking upright, intelligent, social inventive and compassionate human being that you are.

Starting from a tiny particle in the water billions of years ago, you are going to experience that coincidence was a big part of your yourney: being a mammal when an asteroidput an end to ythe dinosaurs' rule; effectively adapting to unceasing changes in the environment that caused extinction throughout; being the only hominin alive today, among many others that you will encounter during your visit. Wellcome to Ngaren, where the human journey begins".

Masterplan, june 2020

5.9.1 Storage rooms (300 m2) For storage NMH needs: • A warehouse for central general storage (150m2); • Decentralized storage for housekeeping etc.) a storage rooms of in total 100 m2; • An archive room (50 m2) for the (dynamic) company archive; 5.9.2 Support areas (395 m2) • first aid room: this room (20 m2) is located near the exhibition galleries and the Main Hall; • breastfeeding room and prayer space (20 m2); • changing room for museum attendants (25 m2); • meeting room for museum attendants (30 m2): administrative work can be done here, the staff can sit here for a coffee and relax, and the room is also needed for the transfer of attendants

between shifts. There is room for an administrative workplace, a pantry, and a table where people can sit around with a minimum of 15 people. It is ideal if there is a direct view from this room into the exhibition areas, and also when windows are looking out; • mailroom: this mailroom is also used for simple repro work (25 m2); • server space and technical workspace (75 m2); • expedition (200 m2)

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5.9.3 SER rooms and MER Every exhibition hall must be provided with a separate Satellite Equipment Room (SER) for the decentral ICT equipment, that is placed in wiring racks. These rooms must accommodate two server racks of 19-inch and leave enough room to do the wiring. The square meters required for this are part of the exhibition halls. The Main Equipment Room (MER), for ICT-, data-, and telephone systems, should preferably be located on the top floor because of the risk of water damage and is part of the technical installation floor space; 5.9.4 Technical workshop (120 m2) Repair is a constant necessity and can be intense. Electronics technicians need a workshop to maintain the exhibits. This workshop is needed for mounting objects, building and repair of displays, audiovisual and electronics repair and maintenance, parts storage, and audiovisual and electronics equipment storage. To avoid disturbance by noise or smell the workshop should not be positioned close to the public areas or the offices.

5.10 The Planetarium (The Dome) (800 m ) 2

5.10.1 Visitors journey When visitors arrive at Ngaren and have parked the car, they enter the main hall. Here they can relax, look around and enjoy the architecture, look out over the Rift Valley, and get a sense of the place they have come to visit. In the main hall, they can buy a ticket, find a toilet, or go to the restaurant. When they are ready to start their visit, they are directed to the Dome, the theater where his journey through the Museum of Humankind starts.

Their tickets are validated by the staff and they are let into the waiting area of the Dome where their visit will begin. This space can house up to 250 people waiting for the next show. The light is lower than in the hall, so their eyes can start adjusting to the lower light level they will encounter in the theater. Here people can faintly hear sounds coming from the Dome, adding to the excitement. On the

walls, a clock ticking down till the next show commences. Two minutes before the start of the show, staff members welcome visitors to the theater. There will be five minutes for people to take their seats and look around.

In the Main Hall, the show in the theater was not audible, but here, in this waiting area, you can faintly hear the sounds and music, adding to the excitement. On the wall, a clock ticking down till the next show commences. It is at 7 minutes when our visitors enter, so there is ample time to look around and to talk about what they expect they will see in the theater. On the walls are digital signboards with the safety instructions. Two minutes before the next show starts, a staff member enters the waiting area. She welcomes the visitor and explains what they are going to experience. She repeats the safety instructions and gives the last instructions: “when the doors open please enter calmly, do not run, there is space enough for everyone.

Please seat yourself, the show will start in 5 minutes.” She then opens the doors, and the visitors move out of the room into the theater.

5.10.2 The Dome Theater The Ngaren Dome Theater is designed as a 200+-seat theater for 180-degrees digital full-dome video projection. It is a flat-floor or slightly tilted theater with rows of chairs. There are broad walkways along the sides of the rows and one cutting through, dividing the rows into two parts. The doors of the waiting area are positioned at right angles to the rows of chairs and are positioned in the middle so the visitors entering the theater can evenly spread out left and right and enter one of the rows. The light in the theater is on, so everyone can see clearly where he or she is going. But the light level is a little bit lower than in the waiting area, adjusting the visitor’s eyes again for an optimal experience later. There is a soundscape; it is a bit mysterious but also exciting.

The chairs are comfortable with cushions made from natural fibers. The cushions help the acoustics in the theater, as well as the carpets that cover the floor and walkways. The chairs are standard movie theater-wide. They have a headrest and have adjustable tilt

seatbacks. People towards the front lean back more than the folks toward the back of the theater in a unidirectional seating arrangement. The architect will work closely with the seating manufacturer so that he can accurately place the seats in the theater such that the seatbacks are close enough to the riser behind them such that feet and small children don’t fall into a gap.

It is optional to install a transducer in the seat for low-frequency sound effects. There is open space for guests in a wheelchair.

When everyone is seated the show starts. First, the seats recline positioning the visitor optimally for the video presentation. Then the lights are turned lower. But you can still see the aisle lights and exit signs over the emergency doors. Then the screen lights up.

Suddenly you are drifting in the universe, and become part of the story of mankind.

After 15 minutes, the show ends. The lights come back up and the chairs shift back in their original position. A staff member comes up and asks everyone to exit the theater on the other side than they have entered. She/he points to their right where the doors have already opened. There are three sets of doors, two more than on the side where visitors entered. The doors on the entry side remain closed. When the theater half empties, these doors open up to let the next group of visitors in.

5.10.3 The setup of the Dome and the operation The architecture of the dome theater The dome theater is an integral part of Ngaren, the Museum of Humankind. It connects on one side with the Main Hall (through a waiting area) and on the other side with the museum halls. The transition into the theater should be free of obstructions and provide enough space to quickly seat the audience. Between the waiting room and the theater, there is a light lock. Light locks are usually just a pair of light-tight doors that allow entry or exit while the program is in progress without flooding the theater with outside light. The light lock doors will be fully open during seating and egress, but provide safety during the program to avoid interruptions. Entry and

exit doors should have silent locks. The lighting needs to be tied into an automated show control system with a manual backup.

The outer shell of the dome, sometimes called the envelope, need not necessarily be dome-shaped. Between the envelope and the inner dome, there is room for technicians and maintenance crews to work on catwalks or ladders. Light reflections and light leaks are always something to watch for when addressing behind-the-scenes areas. Before a projection dome is installed, every visible surface – from HVAC ducts, sprinkler pipes, beams, and other structures – should be painted flat black.

The inner dome has a curved surface (hemisphere) that is used for projection. The materials used will prevent disturbing audio- and light reflections. The theater’s ground floor can be level or slightly tilted, depending on the choices made in the projection setup. The dome configuration will dictate installation options. Suspended domes feature a clear and unobstructed cove but require appropriate support structures above. Domes supported from the ground up should be designed such that support columns do not interfere with major projection systems.

If a projection gallery is needed, the best would be to accommodate it as a cutout in the rear of the dome. An enclosed projection gallery is the best way to reduce unwanted noise pollution and stray light.

In that case, special care is needed for adequate ventilation to keep projectors and other devices within their operating temperatures.

The same goes for projectors that are enclosed in cabinets around a cove. StarFire or equivalent glass should be used for the projection gallery and other enclosures, so the colors of a projected image do not shift This glass is also ultra-transparent so as not to reduce brightness.

The theater consists of rows of individual seats for the visitors, a control room for technicians with the show controls, technical systems, and a projection booth. The need for support areas and projector housing depends strongly on the projection system that is chosen.

In the case of dome-projection, there is a projection booth and/or separate housing coves for additional projectors. We prefer not to

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have a projection pit in the center of the theater.

ding on which system of projection is chosen.

Storage space is needed in the direct vicinity. Offices, workshops, and storage space for the larger vehicles and parts can be combined with others in the museum.

We aim for a relatively low tilt or even no tilt. The relatively low tilt makes entry and exit of the theater easier, quicker, and safer. The low tilt can be compensated by the reclining of the seats so an optimum experience is reached.

A dome of this size can seat 300 max, but we recommend that the setup is spacious; we do not aim for the maximum numbers: • the reclining seats will take some extra space; • the walkways should be wide, for safety but also to make it possible to enter and exit fast. The whole theater should calmly empty itself in 5 minutes; • Easy access to the control room, the projector booth, etc.

The walls of the theater need to prevent audio from spilling into the museum or from reflecting inside the theater. The doors need to keep the audio in and the light out. The theater has climate control, electrical power systems, crowd control, and fire-control systems similar to and integrated with the rest of the museum. Emergency exits open towards the main hall and/or directly to the outside of the building.

Organizational and physical consequences The theater will be built for a 0,5 – 1,0 million audience members per year. That means that it will be more or less be fully booked for the entire day, every day. We are looking for a 200+-visitors dome theater where our visitors will have a 15-minute show. We allow 5 minutes for entry and exit before a new show starts, so the show runs every 20 minutes.

The shows are fully automated, they require no other staff than the people that take care of the visitors' entry and exits and safetyregulations. No on-site technicians are needed, the show is part of the museum show-control and will start up automatically when the museum opens.

The theater’s primary use will be for the automated shows of the experience, but on occasion, it can be used for live presentations or special events. This means the ability to have a few wireless microphones plugged into the theatre’s sound system, and to have a switchable video interface.

Projection screen and positioning of viewers We aim for a 180 degrees field of view, with an interior screen diameter of 20 meters. As this is the interior measurement, the outside diameter would be a few meters bigger than this, ultimately depen-

Projection and audio system We suppose that the best approach would be to put a call for bids to the various vendors. The trade-offs to be made have to do with space, maintenance, quality, and durability. And, of course, with the cost. We must factor in the possibility of adding a few microphones for a live, interactive presentation on occasion.

Projection quality With the choices we have made for a one-purpose theater, we aim for the best projection quality for this specific setting. There are many full dome systems on the market. These questions should be addressed in the proposed configuration: • Will we use 4K or even 8K picture quality?

• Do we use one full-dome projector of a group of interconnected projectors?

• How do we guarantee the projection screen is seamless?

• How can we avoid light spill-over?

• What is the preferred reflectivity of the dome surface?

• How high will the spring-line of the dome be above the theater floor?

• How is the projection space and or the control cove place, is easy access guaranteed?

• Will we choose projection, or LED wall-mounted screens, like the

DomeX-technology?

• Will the audio speakers be integrated into the screens or in the wall below the spring-line? Or in the chairs, the walls, and the floor?

• Do we want relatively small projectors and save space for seating?

• Etc. Audio quality and acoustics Acoustics are a dynamic part of the visitor experience and must be considered early in the design process. Proper sound dampening and active sound management greatly improve the theater environment by reducing the base noise level in a theater and enhancing the performance of sound reproduction equipment.

An acoustical consultant should be considered as part of the design team and present throughout construction to work alongside the architect to implement acoustic features in the design of the theater.

These features may include: • Specific construction materials • Surface treatments behind the projection dome and on interior walls and floors • Doors and hallways that serve as sound locks as well as light locks • Placement and materials for seating • Equipment installation methods to avoid vibration and unwanted noise • Recommendations for loudspeaker locations Acoustic consultants should be familiar with local building codes and the various industry standards common in this field like SMPTE, that has outlined several different standards for theaters, including room noise characteristics and equalization, and the THX standard.

THX is not a specific sound format. Rather, it outlines how a theater responds to and complements sound reproduction equipment.

Lucasfilm has engaged in some research on a THX specification for domed theaters.

One of the key issues for sound that needs to be considered in domed theaters is ensuring that every seat is a good seat. Audio engineers have known for years that sound makes or breaks a visual

presentation.

Power isolation and grounding issues In the design stage, the isolation and grounding issues must be tackled. Sound systems are susceptible to hum/feedback from inadequate or improper grounding and some projection systems are notoriously plagued by ground loops that cause wavering images on the dome. Every major projection system (and audio system) should have its own isolated ground and power. This should be installed during construction. It also may be necessary to use power conditioners. By their very nature, AC lines over long distances suffer from problems of voltage fluctuations. Power conditioners help to maintain a consistent level, filtering out noise and other variations.

Cost of ownership We are looking for a solution that is a high-quality impact experience for guests. Therefore, when deciding which configuration is best suited for Ngaren, not only the cost of the investment should be considered, but the total cost of ownership. How often is maintenance required? Do light sources need to be replaced? How much energy is used? What is the heat production by the projection and control systems? How do they influence the climate in the theater?

Can maintenance be done by the own staff? Can spare parts and replacements be easily ordered locally?

Systems The theater is being designed to be an integral part of the museum and the Ngaren experience, and its systems will also be an integral part of the museum systems. The Planetarium/Dome show controls must be integrated into the museum show-controls and ICTinfrastructure, using the same specs and standards (see the chapter about the ICT-infrastructure for the museum galleries and offices).

The theater also needs to have a manual override that can be used by a staff member in the case of an emergency.

The HVAC-systems, electrical systems, the museum-broadcast system, fire safety systems, entry-clearance systems, etc. are also an

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integral part of the museum’s systems. The lighting of the theater is connected to the show control with a setting for cleaning & maintenance-light just like in the galleries. The aisle lighting is also connected to the show control and will light up in the case of an emergency. 'Exit' signs must be visible without its light spoiling the shows.

Safety and security provisions Safety and security are important for the entire museum, but even more so in the theater, as it is a more closed off space without natural light, and there is greater possibility for congestion and egress issues in the aisles. The visitors will be children, grown-ups, and elderly people. They will be tourists and locals, speaking many languages, some with disabilities that make it difficult for them to move fast or move without the help of others. We want all visitors to the museum to be able to experience the show in the theater. This means that the walkways and doors need to allow easy entry with wheelchairs and crutches with as little obstacles as possible. For people with impaired hearing or sight, T-coil loops will be installed (as part of the same system in the galleries), or an Assistive Listening Device (ALD) will be handed out to people who indicate hearing difficulties. These are individual units that allow the user to control the level of the audio portion of the show via infrared or radio frequencies.

For fire safety, sprinklers are also needed. There are three levels where they can be placed: in the envelope, in the dome ceiling and the walls. Sprinklers administering water in the envelope or through the projection paneling are not very effective and will cause a lot of damage to the projection screens. Sprinklers from the walls are often the best option, but thorough discussions with the fire-chief are essential before a final decision is made.

Special care must be given to backup systems that would be needed to get the audience safely out of the (dark) theater. Emergency lighting, emergency audio messages, and clear walkways and exits are of utmost importance. Aisle lights and the signs over the

emergency exits should light up in the case of an evacuation. In the case of fire, sprinklers should automatically go off and hand extinguishers should be available.

The staff needs to be able to stop the show at any time they deem necessary for emergency. Once the show is halted, the lights in the theater should automatically go on, the doors open, and visitors should have a clear path out of the dome.

Durability Durability is an important aspect being considered in the development of Ngaren, and therefore also in the plans for the theater. Some aspects that should be considered are: • The choice of materials used for the envelope, the dome, and all aspects of the design of the theater; • The energy use of the chosen projection- and audio systems; • The heat spill from the used equipment; • The cooling needs for the used equipment; • The need for spare parts and replacement items; • The local availability of materials, systems, and parts.

6 PHYSICAL REQUIREMENTS 6.1 Introduction In the following chapters, an indicative structure has been made that is intended as a guideline for building physics and installation consultants.

The design of the building must comply with the latest edition of the “National Building Regulations of the Building Authority of Kenya”

6.2 Urban development (environment) 6.2.1 Wind nuisance The building must not cause any wind nuisance for its surroundings or its users. This problem is particularly relevant with (relative) high-rise buildings. No wind nuisance is expected for a structure that meets the following conditions: • the building height is less than 15 meters and • the structure has no underpass or is lower than 10 meters and • the structure is less than 50% higher than its surroundings or the building height is less than 10 meters and • the structure is located at a distance greater than 500 meters from a waterfront less than 1000 meters wide.

If not all of the above conditions are met, a wind nuisance investigation is required. For the local wind speed at the walking or residential level, the probability of exceedance, as a percentage of the number of hours per year, must be determined at wind speeds occurring in excess of 5 m/s.

Comfort criteria: • Entrance area: probability of exceedance > 5 m/s: 5% maximum • Walk-through areas: a probability of exceedance > 5 m/s: 10% maximum Hazard criterion: • General: probability of exceedance > 15 m/s: 0.3% maximum Annoying light reflections • The building must not cause annoying sun reflections to its

surroundings or other parts of the building; • The glazing of the building must have a light reflection factor (LRBu) on the outside of no more than 0.15; • The building must be situated and designed in such a way that no annoying sun reflections will occur from, for example, water surfaces, curved or sloping façade surfaces; • If there are reasons to suspect annoying sun reflections, an insolation investigation/light nuisance investigation must be carried out.

6.2.2 Noise emission to the environment The building and the associated installations must not cause a nuisance to neighbor facilities. National regulations must be complied with Kenyan Building Code and Bye Laws.

6.3 Building envelope 6.3.1 Air and water tightness Air and water tightness must comply with national regulations.

Given the local climate, the focus here is on waterproofing.

Facades must be constructed in such a way that water cannot penetrate the construction Kenyan Building Code and Bye Laws.

• Facades and roofs must be connected in such a way that rainwater is drained from the facades (Kenyan Building Code and Bye Laws) • Rainwater must not accumulate on roofs. Preferably the roof is designed with a slope. For flat roofs, the surface must be impervious to water and have a minimum gradient of 1:50 (Kenyan Building Code and Bye Laws).

No requirements are set with regard to airtightness. However, it is recommended to keep openings and cracks as small as possible, in any case, less than 0.01 meters, in order to limit as much as possible unwanted entry into the building by vermin and dust.

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6.3.2 Insulation The insulation of the shell must always comply with local regulations.

In addition, the insulation must be optimized in such a way that as little energy as possible is consumed.

6.3.3 Vapor and moisture resistance The damp build-up in walls and ingress of moisture from the ground into the interior of the building must be prevented by applying vapor barrier provisions for walls, cross bracing, and columns that comply with national regulations (Kenyan Building Code and Bye Laws). The vapor barrier must continue at least 150 mm above the surface of the ground adjacent to the wall.

The cavity in cavity walls must continue at least up to 150 mm below the top of the vapor barrier in the wall. When the cavity is breached, vapor-resistant provisions or provisions for drainage must be made in such a way that moisture is removed from the inner leaf.

6.3.4 Glazing properties For the glass openings in the facade, the following must be considered: • Office rooms: sun entry factor g < 0.30 light entry factor LTA > 0.60 color rendering Ra > 0.70 • Exhibition sun entry actor g: no areas: requirement light entry factor LTA: no requirement color rendering Ra > 0.85 In general, for exhibition areas, the irradiation of UV light and discoloration through glass (openings) must be kept to a minimum.

The final choice of glass type, quality, color, thickness, etc. will have to be made in further consultation within the consultation team.

6.3.5 Cold bridges Due to the local climate, it is not expected that cold bridges or fungal growth on cold bridges will occur. Additional requirements with regard to the detailing are not required.

6.4 Visual comfort 6.4.1 Daylight and views The entry of daylight is particularly desirable in workplaces to support the natural rhythm. In addition, a view of the outside is often appreciated.

• Daylighting must comply with national regulations.

Office spaces must have at least 1 window for daylight entry (Kenyan Building Code and Bye Laws).

In all living areas, the glass surface must be at least 1/10 of the floor surface with a lower limit of 0.2 m2. If there is an overhang (veranda, balcony), the required glass surface must be increased by 5% for every 300 mm overhang (Kenyan Building Code and Bye Laws). These windows must be able to let in sufficient daylight through a choice of dimensions in relation to the obstructions. Kenyan Building Code and Bye Laws include requirements that must be met.

If possible and if the use of the space permits, lighting will have to take place naturally with daylight as much as possible.

The recommended daylight factors (DF) are stated in Kenyan Building Code and Bye Laws. In the table below these values, are included for some rooms.

Table 2. Requirements for daylight entry for different areas

Type of space

measured surface

Offices desktop Main Hall, auditorium work area Traffic areas, meeting floor, step function

DF average 5% 1% 2%

DF minimum 2% 0,6% 0,6%

Where daylight is insufficient, not desired, or required outside the daylight period, artificial lighting must be included. Please refer to the technical installation requirements for this.

6.4.2 Light protection At workplaces, especially at computer workplaces, blinds are desirable to prevent light nuisance from direct- or reflected sunlight.

Users must be able to operate these blinds themselves. Preferably, the operation of the blinds is available per grid (open office area) or separate room.

Effective light protection preferably complies with glare control class 3 or higher in accordance with Kenyan Building Code and Bye Laws

6.5 Air quality 6.5.1 Ventilation Any common room, bathroom, toilet, or parking garage must be ventilated in such a way that no damage to health or nuisance is caused. For the requirements with regard to airflow rates, filtering, and the like, please refer to the installation technical requirements.

These must comply with Kenyan Building Code and Bye Laws.

6.5.2 Flush ventilation Natural ventilation is desirable from a sustainability point of view.

See also the requirements under sustainability.

6.5.3 Emissions and air quality Emissions of harmful substances must be limited as much as possible (Kenyan Building Code and Bye Laws).

• Use of chemicals must be strictly controlled; • The choices for the construction materials to be used must be based on the chemical composition and the influence of the material on the environment and the indoor air quality; • When selecting floor coverings, furniture, and the like, a selection must be made for low emissions of VOCs (volatile organic

components); • Paints, varnishes, and glues must be water-based or, if this is not possible, have a low solvent content.

Plants can make a positive contribution to air quality through the absorption of CO2 and the production of oxygen. The use of plants in the building should be considered.

6.6 Thermal comfort 6.6.1 General temperature guidelines During operating times, the following minimum conditions must be ensured in the spaces below: • workspaces with office function: 18 ° C • workplace: 18 ° C • exhibition/publicly accessible areas: 18 ° C • restaurant (s), shop: 19 ° C • kitchen: 18 ° C • archive / depot space: 18 ° C • spaces with a short residence time (circulation areas, toilets, copy areas): 16 ° C During operating times, the following maximum conditions must be ensured in the areas below: • technical installations rooms: 26 ° C Some rooms have very specific room requirements: • Exhibition/publicly accessible spaces: The air-conditioning per room will have to be further examined and regulated. The PoR museum design will have to clarify this. For museum collections, a stable relative humidity is generally the guiding principle concerning room temperatures • General computer rooms and terminal distribution rooms (patch) with combined data/telephone facilities: - Room temperature: 23 ° C +/- 5 ° C - Temperature fluctuation: max. 5 ° C per hour - Relative humidity (RH): 55% +/- 15%

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- RH fluctuation: max. 10% per hour • Corridors and other secondary areas adjacent to humidified areas: room temperature in these rooms must be > room temperature in humidified rooms - 2K. This prevents condensation on glass and any special requirements for thermal bridges in these rooms can be avoided.

6.6.2 Comfort criteria and comfort in living areas The indoor climate must be such that as few users as possible regard the climate as uncomfortable. An adaptive model, which considers activity level, choice of clothing, and climate conditions, should be used for the assessment.

ISO 7730 is based, among other things, on ASHRAE 55. These methods use the PMV (Predicted Mean Vote) for the assessment of the indoor climate, where a PMV of -2 stands for very cold, a PMV of 2 for very hot, and a PMV. from 0 for a pleasant, neutral experience.

The aim should be to have an assessment of the indoor climate in occupied areas between a PMV of -0.5 and +0.5. On an annual basis, these limits may be under or exceeded 5% of the usage time.

Compliance with this guideline can be tested in the design phase by performing building simulations for an entire local climate year, in which the internal heat production (through use), external heat production (solar radiation, entry of warm outside air) must be included.

More practical, this guideline can be interpreted by: • Sustainable design: limiting internal and external heat loads, presence of thermal mass and passive cooling, optimizing design for orientation • Aiming for a room temperature of approx. 25 ° C +/- 1.0 ° C, determined on the basis of the average monthly day temperature of the outside air (Tout) and the empirical model of ASHRAE 55 for naturally air-conditioned rooms: Optimal comfort temperature in ° C = 0.31 * Tout + 17.8

6.6.3 Temperature differences between spaces • A temperature difference of more than 3K must be avoided between living space and another living space or a traffic area accessible through a door.

• During working hours, the difference in Predicted Mean Vote (PMV) may be a maximum of 1 and the difference in room temperature a maximum of 4K between different workspaces in the building as a result of the: - facade orientation of the workspace - external heat load of the room - internal heat load of the room - height of the building layer of the room 6.6.4 Local discomfort In addition to room temperatures, thermal comfort is also determined by the factors below. The requirements for residential areas with light, sedentary activities are specified for these factors: • Vertical temperature gradient: The temperature gradient over the height, from 0.1 m above the floor (ankle height) must be less than 3K/m; • Floor surface temperature: the surface temperature of the floor should under normal circumstances be between 19 ° C and 26 ° C • Radiation asymmetry: - the horizontal radiation asymmetry through cold vertical surfaces such as a wall or window must be less than 10K; - the horizontal radiation asymmetry due to warm vertical surfaces must be less than 23K; - the vertical radiation asymmetry through a (heated) ceiling must be less than 5K; - the vertical radiation asymmetry through a cool or cooled ceiling must be less than 14K. • Airspeed: - operative temperature < 24 ° C: avg. airspeed < 0.15 m / s; - operative temperature < 26 ° C: avg. airspeed < 0.25 m / s; - these requirements do not apply to open blowdown facilities or natural ventilation for heat removal (passive cooling).

A residential zone is understood to be the space of 0.1m to 1.5m above the floor surface, 0.3m from the inner walls, and 0.5m from the inside of the facade.

6.6.5 Humidity The aim must be a relative humidity of at least 35% and no more than 75% in workplaces. Due to the local climatic conditions, with an RH of the outside air between approx. 50% in the afternoon and more than 90% in the early morning, the relative humidity inside will quickly be around the maximum value. However, there are no legal requirements concerning the relative humidity.

High humidity entails the following points for attention: • A higher risk of condensation: surface and internal condensation mat in the housing does not occur anywhere in or on parts of it in such a way that nuisance, damage or an adverse effect on health and the equipment/materials present can occur.

• At higher humidity, the thermal indoor climate can be experienced as warmer. A higher airspeed can provide cooling in these situations.

6.7 Acoustic comfort 6.7.1 Permissible sound levels The sound insulation of the facade, structures between spaces, and to neighboring facilities and installations must be such that noise nuisance is limited. The permissible noise level depends on the use of a room and is expressed in a noise level (in dB (A)) and a Noise Rating Number (NR). The latter depends on the frequency spectrum.

Requirements are included in national regulations (Kenyan Building Code and Bye Laws the table below lists the recommended values for various areas.

6.7.2 Air and contact insulation In addition to the above requirements for the permissible sound levels, the following requirements are set for the partition structures

Table 3.

Requirements for ambient noise level for various rooms

Room type/use Ambient noise level for various rooms Preference (dB(A) Maximum (dB(A) NR Single rooms for study, research, concentration, etc. 30-35 40 30 Library (reading room) 35-40 45 35 Administrative work 40 45 40 Offices

30-35 40

30 Open area office 45

50

40 Meeting room 30 30 20 Restaurant 45 50 40 Exhibition area 30-35 35 25 Reception, corridors -

40

40 Restrooms - 40 40 Installations area - 70 -

in the building itself: 6.7.3 Room acoustics • The average reverberation time to be pursued over the octave bands with center frequencies from 125 to 2000 Hz must meet the target values below for the various rooms.

For the time being, an average reverberation time of 1.0 second should be pursued in anticipation of an acoustic study to be carried out by an external consultant on behalf of NMH. The deviation of the reverberation times in the octave bands of 125 and 2000 Hz may not exceed + 20% and –20% respectively for the 500 Hz octave band.

• Given the maintenance and durability requirements of NMH concerning the materials to be used, especially concerning floor and wall finishes, the acoustics in the exhibition areas and circulation areas must receive special attention. For a pleasant experience of the exhibited objects and presentations, it is important not to be distracted or disturbed by unnecessary noise

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pollution from fellow visitors or equipment playing elsewhere.

• Annoying reflections must not occur, but favorable reflections must be exploited.

• In the exhibition space, the sound scattering caused by the various equipment/presentations at play must be kept to a minimum.

• The necessary acoustic damping must be provided by the ceiling finish and any partition walls to be installed, given the less favorable acoustic properties of most hard floor finishes.

Table 4. Requirements for sound insulation of airborne noise and impact noise

for various areas

Room type

Airborne noise (DnT;A in dB) Contact noise (LnT;A in dB) Mutually To traffic area Mutually To traffic area

offices 38 offices high privacy 42 meeting rooms 43

Table 5.

30 34 34

59 59 59

69 69 69

6.8 Durability 6.8.1 Sun protection To prevent unwanted heating due to incident solar heat, solar heat must be limited by structural measures. This can be done, for example, by optimally orienting the building to the sun and the environment and / or by applying overhangs, shutters or sun protection fabrics, sunroofs.

In the latter case, the sun protection could be included on the outside or inside (heat-reflecting) of the windows, as long as the g-value of glazing with sun protection together amounts to a maximum of 0.15. Optionally, the sun protection can be combined with light protection.

Optimal orientation towards the sun means that living areas (with windows that can be opened) are preferably located on the south façade (with overhang) and north façade. Areas, where there is a short stay or broader climate requirements, are preferably situated on the east and west façade.

Requirements for the average reverberation time for various rooms

Room Average reverberation time (125-200 Hz) in sec. office

open area office

corridors 0,

restaurants

meeting rooms

workshops

installation spaces

room for visual presentations Main Hall

0,6-0,8 0,5-0,7 6-1,0 0,5-0,7 0,8-1,0 < 0,6 <0,8 0,6-0,8 1,2-1,8

6.8.2 Accumulating capacity Proper use of the building's accumulating capacity contributes to the passive heating and cooling of the building. A building mass of at least 400 kg / m2 floor area must be thermally accessible for this.

Points of attention are: • A possible shielding of thermal mass by floor or ceiling finishing • Using "heavy" walls instead of, for example, metal stud walls.

6.8.3 Natural ventilation and night ventilation The local climate lends itself to natural ventilation and night ventilation through openings in the facade and roof to the outside or ventilation shaft. In this way the energy demand by fans is limited.

The openings, doors, or windows in a facade or roof must be at least 5% of the floor area of the room, with a lower limit of 0.2 m2.

Openings high in the facade or ceiling connected with a vertical

ventilation shaft must be at least 2% of the floor area of the room (Kenyan Building Code and Bye Laws).

Openings in facades must be included both high and low in the facade. It is recommended to include a minimum of 30% high (minimum 1.75 m above the floor) and also a minimum of 30% low in the facade surface (maximum 1.75 m above the floor). This must comply with Kenyan Building Code and Bye Laws.

For effective ventilation and cooling, in addition to openings in the facade, openings in interior walls are also required for free flow.

grey water will then be collected, stored and used for irrigation and external use. These requirements follow Kenyan Building Code and Bye Laws.

For the requirements for water use, please refer to the technical installation requirements.

6.8.6 Transport Vertical transport with elevators should be avoided as much as possible to minimize their energy consumption. To this end, stairs should be designed in an inviting way and elevators hidden in the design.

In principle, the building should be cooled passively. To do this, the building will have to be ventilated with cool outside air at night.

For the application of natural ventilation as night ventilation, the openings required for the night ventilation must be rainproof and burglar resistant.

6.8.4 Renewable energy sources For the production of hot tap water, renewable energy sources, such as solar collectors or PV cells, should be used. The goal is that at least 60% of the energy requirement for hot tap water should be generated from renewable energy sources.

If the location allows it, the production of renewable energy, such as with PV panels, should be considered.

These requirements follow Kenyan Building Code and Bye Laws.

6.8.5 Reuse water Rainwater: as much as possible, rainwater should be collected for toilet flushing. Preferably rainwater is also used for drinking water, depending on the local rainfall or possibility of contamination risk, it may not be feasible to meet this goal.

Rainwater is harvested and stored together with borehole water.

The water will then be treated and reticulated as potable drinking water for use within the museum.

All the waste will be passed through a water treatment system where

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7 CONSTRUCTION REQUIREMENTS In this chapter, the performance requirements for material use and the various architectural requirements/preconditions are formulated for each building (main) component. The choice of materials has a major influence on the functionality, the aesthetic appearance of a building, and an influence on investment and operating costs.

7.1 General requirements The proposed materials and finish must be of such quality that they fulfill the intended function and are manageable from the viewpoint of investment, maintenance, and operating costs.

The (properties of the) materials and finishes to be used, for the exterior and interior, must: • be tailored to the specific functional needs; • follow the function of the space and the finishing quality level of the building component; • be of a common standard type; • available for 10 years guaranteed by the supplier; • be sustainable; • easy to replace and repair; • are minimally polluting and low maintenance; • maintenance-friendly and easy to clean with standard cleaning agents and methods; • be wear-resistant, scratch-resistant, dimensionally stable, and impact-resistant in their specific use; • have colors that do not fade; • be corrosion resistant; • comply with requirements concerning the emission of harmful substances; • not accumulate dust or dirt; • Kenyan Building Code and Bye Laws environmental classes, 20% (V/V) of the coarse aggregate must be replaced by concrete granulate; • For the appearance of (clean) concrete work, the application of concrete/or masonry granulate may not have any consequences if used correctly;

• not use materials containing asbestos; • not use CFC-containing (insulation) materials, no use of cooling machines that work with CFK-11 or CFK-12; • use refrigerants with an ozone depletion factor <0 according to the 1987 Montreal Protocol; • not use tropical hardwood without a replanting guarantee; • no application of lead-containing red lead.

The materials and finishes to be used, or information about them, must be offered to the client or his advisers upon request to assess the requested properties. If desired, the stated properties must be guaranteed or proven using a statement drawn up by an accredited independent laboratory.

Building materials that are used must have a quality declaration from an A-materials testing laboratory in Kenya registered with Kenya Bureau of Standards and the State Department of Public Works.

Architectural elements such as ceilings, floors, inner and outer walls must not be an obstacle to the installation of partitions. The facade must allow a flush connection for a partition wall on the inside. In order to prevent sound leaks, it must be possible at all times to install a wall on the grid dimension of the building without the interference of heating bodies and pipes, cable ducts, window sills and windows, and the like.

Rooms and spaces must be easy to clean. Explicit attention must be paid to this when selecting the materials and the finish. This requirement applies to floors, walls, ceilings, and other facilities.

The rooms and spaces should be designed and finished in such a way that there are no positions that are difficult or impossible to clean.

7.2 Roofs The roof (s), must be absolutely leak-proof. In addition, the roof must be well insulated, completely fireproof, and the entire roof construction must be insulated in such a way that not only maximum energy efficiency is obtained, but also no condensation will occur.

The roof must be accessible for maintenance and inspection of the building and installations without the risk of damage to the roof or personnel. Roofs must be safely accessible for maintenance and inspection by means of fixed facilities, such as roof hatches or doors in roof structures.

Roof fall protection is required for roofs higher than 2.5 m. The current health and safety regulations must be complied with (Kenyan Building Code and Bye Laws and where these do not exist, then reference should be made to the equivalent European Standards must be accessible for inspection and maintenance. Necessary overflow facilities must be integrated into the architectural design. Attention is required to the roof's resistance to vandalism and burglary.

Walkways across the roof must be made with a suitable materialization.

In general, aerial work platforms in the building should be avoided.

Depending on the design of the building, we can allow a window cleaning installation or aerial work platforms on the inside.

Roof covering on flat roofs must have a guaranteed lifespan of at least 10 years and must also be easy to replace. With flat roofs, a permanent, all-sided slope of at least 15 mm per linear meter must be realized. Roof curbs must be at least 120 mm high. The top of the curbs located within the roof surface must be at least 30 mm higher than the eaves along the facade.

The facade fillings must Kenyan Building Code and Bye Laws air permeability, water-tightness, stiffness, and strength and concerning the sound insulation of the facades, Kenyan Building Code and Bye Laws and the regulations regarding traffic noise prevention.

Concerning the facade infill, a low-maintenance and durable design should be used as the starting point.

From the perspective of sustainability, the application of solar panels on the roofs must be possible, as well as the application of green roofs.

The inside and outside of the facades must offer options for attaching (sun protection) installation components, curtain rails, etc. that will be specified in more detail.

7.3 Facades

7.3.1 Facade openings • Windows that can be opened must operable from the inside.

Rotating frame parts must be placed in such a way that they cannot pose any danger or nuisance to the user in normal use situations. By projecting openings intended for exhaust ventilation (flap window) higher than 1.8 m above the floor in the facade, annoying drafts should be prevented as much as possible.

• Fall protection devices are necessary for stairs, landings, and windows that are lower than 850 mm.

• Facade elements must comply Kenyan Building Code and Bye Laws burglar resistance.

• Glazing in facade openings must be easy to replace.

The facade has a major influence on the appearance of the building.

Material choice and method of detailing must be such that with limited maintenance investment, no pollution or degradation of quality will occur for 30 years.

• The outside of the facades must be detailed in such a way that the application of sealant joints is avoided where possible. Where sealant joints are unavoidable, contamination of the construction by sealant or by diffusing components should never occur.

• Masonry facades above glazing must be detailed in such a way that no deterioration of the glazing through the leaching of cement water can occur.

• (Fleece) facades must be dewatered to the outside per facade section. It must be prevented that water can flow from a facade section to an adjacent facade section.

The accessibility of the facade for window cleaning must be guaranteed. This also applies to skylights and glass roofs in atria and the washing of the inside of the glass. To this end, the “Safe Working at Height, RI&E for the Cleaning and Window Washing Industry”, Glass and Facade Cleaning module must be complied with.

The inner sides of the facade must provide the option of connecting internal partition constructions adequately at right angles to this.

Mounting options for curtains and/or other means of light and transparency must be present along the inside of the facade.

7.4 Daylight regulation In working spaces, it must be able to install facilities for regulating daylight. The inside of window frames, interior finishes, ceilings, and/ or interior walls must be suitable for this.

In the exhibition areas, the sun blinds, possibly in combination with the light blinds belonging to the design, must be able to controllably filter daylight to an illumination level of up to 150 lux on the objects.

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For example, by applying semi-transparent facilities, so that the view to the outside for orientation, etc. is preserved.

Direct and excessive sunlight in the workplace must be kept out.

• Under Kenyan Building Code and Bye Laws workplaces that have direct sun must have sunshades, preferably individually operated.

• The east, south, and west facade must be fitted with an automatically operated sun protection, such that no direct sunlight can enter.

Since employees working in the building may have specific wishes, it must be possible to adapt the position of the shades locally in every individual area from the inside. The operation of the sun blinds in the public area must not be accessible to visitors.

7.5

Floors

The floors and floor finishes of indoor and outdoor spaces must be following the function and use of the space concerned.

Floor finishes, especially in areas accessible to the public, must not retain dirt, must be able to be dust-free daily, must be impermeable, and have a low maintenance requirement. Furthermore, matt finishes should be aimed for because of unwanted reflections.

The spaces that must be provided with a raised floor construction (computer floor), are the exhibition galleries and the SER and MER rooms.

• The raised floor in the exhibition areas must have sufficient rigidity in all directions and the heavy objects must be able to be transported on a rolling surface.

• Floors and the lower 100 mm of walls of specific work areas such as toilets must be waterproof so that ample use of water can be used for cleaning.

• Given the flow of visitors, all floor finishes must be extremely wear-resistant. Not only the total number of visitors is important here, but especially the often more or less fixed walkways that are followed by the visitors.

• Also, the exhibition objects in the museum section will have their

requirements concerning floor- and point load.

• Doormats must be fire- and smoke-proof; • Floor finishes must not emit any harmful substances.

As a standard, no thresholds should be applied in the building, except for kitchens, wet- and technical areas where liquid leaks can occur. Concerning the storage and archives, it is expressly stated that the floors must connect to the adjacent (traffic) spaces without a difference in level (no slope or step).

A point of attention is the floor insulation and any space required for pipework for air-conditioning systems.

To avoid differences in the height of floors the design must take into account that for certain areas the work floor must be poured lower so that after the floor insulation has been applied, the finishing floor is level with the connecting floor of, for example, the corridor.

7.5.1 Carpeting The architect is free to propose every kind of carpeting for the building as long as it complies with the function and use of the space concerned.

Linoleum should: • with regard to wear resistance, comply with Kenyan Building Code and Bye Laws.

• with regard to the resistance of impressions, comply with Kenyan Building Code and Bye Laws DIN 51955; • be provided with a durable sealing seam seal between the individual parts and with the adjoining constructions; • not cause annoying light reflections; • be fireproof concerning fire propagation and smoke density following the Building Decree.

Carpet flooring must: • be suitable for project use; • be suitable for wheelchair use (low rolling resistance); • be permanently anti-static (electrical resistance maximum 1010 Ohm);

• be guaranteed for 10 years for average use; • be fireproof concerning fire propagation and smoke density following the Building Decree; • not cause allergic reactions to people with asthma or COPD.

requirements: • point load: D55, following Kenyan Building Code and Bye Laws; • evenness: following Kenyan Building Code and Bye Laws.

Ceramic tiles must: • comply with the Kenyan Building Code and Bye Laws; • not cause annoying light reflection.

7.6 Inner walls, doors, and facades

When underfloor heating is used, the insulation of the subfloor is an important issue. The heat transfer factor must be considered when selecting the finishing layer.

7.5.2 Floor load • The deadweight of non-load-bearing interior walls must, following legal guidelines, be included in the permanent evenly distributed floor load following Kenyan Building Code and Bye Laws.

• In normal office spaces, the standard prescribed calculation load of 400 kg/m2 will suffice. It must be determined in which residential areas with a possible office function, in deviation from Kenyan Building Code and Bye Laws the variable distributed and concentrated variable floor load must be calculated with: Prep = 5.0 kN / m², = 0.25 Frep = 7 kN (following exhibition/exhibition spaces with a general accessibility factor, in connection with flexible function division in the future).

• The floor load for exhibition galleries including the Planetarium is 500 kg/m2. In the galleries it is important to note that if the floor is also a ceiling of another space, it should be capable of carrying 100 kg/m2 for hanging objects; • It must be determined in which public areas with a possible office function, where heavy cupboards/objects can be placed at random places, in deviation from the above requirement for the variable distributed load 10 kN/m² must be observed.

• A variable distributed load 700 kg/m2 or of 16 kN/m² must be used for archive and storage space.

In addition to the above, all floors must meet the following minimum

The choice of materials and method of detailing must be in line with the expected use of the spaces. This can differ per room. The long-term maintenance aspect must be taken into consideration in the choice of wall finish.

Interior walls should: • up to a height of 100 mm above floor level, resistant to moisture, impacts, and influences from cleaning work; • be equipped with a facility for hanging objects, paintings, and the like in exhibition areas. When using materials, the S-Classification and fire safety must be considered; • doors that have a lock or a fire separation function should preferably be automatic.

Interior door frames and doors must meet the following requirements: • free passage and free height following the spatial and functional schedule of requirements; • be lockable following the security and locking plan; • use doors in a blunt version; • use doors with bevels all around.

7.7 Ceilings The quality and design of the ceilings or ceiling finishes must match the specific use of the space.

If the ceiling is to form part of the installation (cooling or heating ceilings), this must be considered in the construction. Maintenance and reliability are especially important criteria. Lowered removable installation components to be included in the ceiling must be geared to the grid size and ceiling system used.

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• If the space above the ceiling is used as a ventilation duct (plenum), it must be “structurally tight” to the adjacent spaces and the finish must be clean and smooth.

• The ceiling that is used as a discharge plenum will in that case have to be permeable to the bottom.

• In the exhibition areas, provisions must be made in or on the ceiling in a grid to be determined so that (heavy) objects can be hung flexibly.

7.7.1 Suspended ceilings The design and architecture should limit the use of suspended ceilings. If a suspended ceiling is needed, it must: • meet the acoustic requirements; • offer possibilities for integrated inclusion of facilities for lighting, ventilation, cooling, and the like; • offer options for installing blinds, curtains, or darkening to be determined; • offer options for placing partition walls (on grids) flexibly; • not affect the required functional properties of workplaces with a changed layout; • have a reflection factor for light of at least 0.7; • be provided with removable parts so that maintenance and adjustment of installations and pipes located above the ceiling are easily possible.

• When used in rooms with a constantly high relative humidity, a suspended ceiling must be used that, in addition to the above requirements, also meets the requirements concerning moisture resistance and resistance to frequent cleaning.

7.8 Stairs, ramps, and finishes If vertical transport is required, the stairs and ramps must be tailored to their specific use. These facilities must be implemented in such a way that the expected traffic flows can be processed within a reasonable time and without the occurrence of dangerous situations. Stairs and ramps in public areas meet the Kenyan Building Code and Bye Laws

The visibility of the staircase can be increased by applying indirect lighting integrated with the banister.

7.9 Hinges and locks Windows to be opened must: • if possible be provided with a turn/tilt mechanism; • be provided with a multi-point lock; • be provided with a provision for a gap position.

• be provided with a double stop (double seam and gap seal).

Hinges and locks must be placed in such a way that the risk of burglary is minimal and that interior spaces can be locked if necessary. The facade elements as a whole must comply with the highest class in Kenyan Building Code and Bye Laws. The Hinges and locks must be certified according to BRL 3104 (minimum SKG-2).

Parts of the facade on the ground floor or the first floor must be easily kept closed through a window handle that can be locked. This also applies to facade openings on higher floors that are susceptible to burglary.

The entrance doors to buildings and office areas must be provided with a uniform cut-out and perforation, which makes it possible to fit different designs of locks depending on the application.

7.10 Resistance to molestation The following requirements are set for materials and architectural facilities used in visitor areas or building parts: • walls, doors, and windows must be designed in such a way that they can withstand a sandbag pendulum test following the test method approved by Kenyan Building Code and Bye Laws. This also applies to partitions used where there is a height difference.

If there is reason to assume that this requirement is not met, a

8 INSTALLATION TERCHNICAL REQUIREMENTS sandbag pendulum test should be carried out; • if a suspended ceiling is used in a traffic area or public area, it needs to resist a reasonable level of molestation. If the ceiling can reasonably be touched by visitors, panels must be mounted in such a way that they cannot be removed or moved by visitors; • the assembly of structural facilities and materials must not be removable without specialized tools; • the installation of structural facilities and materials must be resistant to heavy-handed use; • the hinges and locks of doors and windows must be resistant to heavy-handed use; • pipework (electrical cables, water pipes, data cabling) must be included in walls, floors, and ceilings; • glass in facade openings, walls, and doors must comply with the highest class in Kenyan Building Code and Bye Laws. To this end, the glass must be able to withstand the bullet-drop test from drop height 1.5 m. Insofar as the glass is included in facade openings, the stated requirement only applies from the direction that the glass is accessible to visitors (from the inside to the outside and/or from the outside to the inside).

All installations must comply with the latest edition of the Kenyan Building Code and Bye Laws The design and implementation of the installations should focus on energy-efficiency, be able to guarantee daily operations, and must be low-maintenance.

The vision and all requirements as described in chapter 4 should be applied as a starting point in the development of the design of the installations.

8.1 Electrical installation In this chapter, an indicative structure has been made that can serve as a guideline/checklist for the installation consultant.

All installations must comply with the latest edition of the National Building Regulations of the Building Authority of Kenya.

8.1.1 Electrotechnical main structure A tourist attraction aiming for a million visitors a year will need a substantial electrical supply, and possibly gas for food preparation.

Therefore, a traditional 3 phase AC electrical system is needed. Also, an Uninterruptible Power Supply (UPS) system will ensure that a stable electrical supply is available for the digital planetarium’s laser projectors, and the other sensitive display technologies.

The electrical supply will therefore be based on photovoltaic (PV) generation in the form of a microgrid with extensive electrical batteries and even a bio-diesel genset as a backup. Further, a limited electrical supply from the grid will be used to supplement the venue’s energy needs and provide a level of resilience. Biogas can provide a portion of the gas need for food preparation. With enough PV panels, possibly placed over the bus parking areas, for example, the site can be a net-zero carbon and also have a high level of resilience.

8.1.1.1 Energy supply The energy facilities must consist of at least:

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• a connection to the energy supply company; • a central emergency power supply that automatically supplies full emergency power in the event of a failure in the supply by the energy supply company (mains failure); • a no-break facility that automatically and without interruption supplies emergency power for the security installation and the central computer equipment in the event of a failure in the supply by the energy-supplying company; • a facility to be able to switch off/on the exhibition technology centrally, while maintaining power at several points to be determined where this is unavoidable (in particular central computer equipment, etc.); • distribution of the electrical energy from the main distribution unit to sub-distribution units. The energy distribution is suitable for the trouble-free, efficient power supply, switching, and operation of all electrotechnical equipment present in the building, including that of the business installations and user equipment; • this specification can also be met by: - placing the sub-distribution units per building section directly above each other, with mutual shaft connection; - the direct accessibility of technical rooms and shafts from the main traffic area; - create separate groups for data communication, lighting, and cleaning power supplies; • include spare in the main distribution board with associated cabling: - power: 20% of the maximum simultaneously expected load; - minimum: 20% reserve groups with a minimum of two; - to determine the reserve for the facilities including user equipment.

- Include provisions in the main distribution board for measuring efficient energy management, if necessary, adapted to the requirements for building management.

• Include a spare in the sub-distribution boards with associated cabling: - power for lighting, sockets, and user equipment: 20% of the

maximum simultaneously expected load; - minimum 20% reserve groups per distribution box with a minimum of two units; - to determine the reserve for the facilities including user equipment.

• Providing the following equipment with a direct power supply from the main distribution board: - Control cabinets for mechanical installations, cooling machine, pressurized water system, wastewater discharge pumps, elevators.

The building and the building installations must be provided with a safety ground following legal regulations.

Include the 230 V sockets for each possible workplace, integrated with the connection points for data/telephone.

- the distance between the socket and the workplace may not exceed 3,500 mm.

- the sockets must be placed in such a way that the lines do not cause any practical or visual hindrance to users.

- Do not mount provisions for 230 V and data/telephone / other low-voltage supplies under one cover plate.

• Standard workplace facilities must be available in the following areas: - front desk; - security room; - office/assembly rooms; - workspaces.

• Standard workplace facilities include: - four double 230 V sockets; - a socket for a telephone connection; - a socket for data communication (network); - If four workplaces are grouped, one extra socket for data communication (network) must be provided.

Installing sufficient connection points or sockets 230 V and 230/400 V for all installations and user equipment that are not connected to the workplace (see also electrotechnical matrix) and the other facilities described in these specifications.

- for maintenance and cleaning work, one 230 V connection point per 25 m² in traffic areas must be expected.

- the connections for equipment or control cabinets of the mechanical engineering installations must be considered;

8.1.1.2 Channeling A ducting system is prescribed for all cabling for all electrical equipment in the building complex, including the business installations and user equipment.

General demands: • The system must be delivered in such a way that it can be expanded and changed in an economic, transparent manner.

Suitable for laying data and telephone cables. Upon delivery, including all cabling, the following reserve must be available: - 230/400 V cabling, filling level 75%; - data and telephone cabling, filling level 75%; - other cabling, filling level 75%.

Furthermore, all cables (in the shafts and at connection/junction boxes) must be provided with proper coding (with text and numbers) following the installation drawings (CAD drawings).

• Throughout the complex, cable trays must contain three separate compartments for: - high current (230 V); - low-voltage PTT (12 V); - universal cabling system for data communication and telephony.

Information-carrying cabling must be installed separately from the power and high-current cabling, in such a way that no interference can occur.

8.1.1.3 Switch-ability of artificial light Considering the flexibility requirements, artificial lighting control should be as follows: • The total lighting must be able to be switched from one central point (reception/porters/night watchman's lodge). Depending on the size and layout of the new exhibition spaces, the possibility must be realized that the lighting can be switched per cluster.

This must be realized with a touchscreen.

Table 6. Minimum illuminance per room/area

Area/use lux Offices

400 – 500 Staff restaurant, lunch cafe

250 Meeting rooms, conference room 1)

250 – 400 Library 400 Archive-/storage spaces 2) 150 Installation rooms 100 – 150 Traffic areas, toilets

150 Main Hall, reception 3)

250 Exhibition halls 4) 350

• To implement the lighting with Dali programmable circuit.

• In the office- and work areas the lighting can be switched on the corridor side (the use of series switches is in principle not permitted).

• Traffic areas: centrally switchable in logical groups.

• Selectively or individually switchable in logical groups in other rooms.

• Daylight control along the facade in all office spaces must be automatic with the aid of a measuring cell.

8.1.1.4 Electricity grid connections It should be investigated to what extent there is sufficient capacity in the immediate vicinity. The maximum power to be purchased must be determined by the installation consultant.

8.1.1.5 Data communication connection facilities A fiber optic cable connection must be realized for data communication, which must be connected to the central server room.

8.1.2 Artificial lighting - standard lighting, quality and quantity Lighting spaces need to meet the set standards.

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Requirements: The exhibition areas must be illuminated by LED lighting. In addition to this general area lighting, sufficient track must be available on the ceiling in the exhibition areas for separate exhibit/object lighting.

Implementation of rails in consultation with NMH. The table below shows the minimum illuminance levels per room/ area.

1. The lighting in the conference room must be dimmable so that different light levels can be achieved depending on the activity.

2. Project the luminaires in the archive/storage space at right angles to the racks, so that an optimal radiation/light output is achieved between the (mobile) racks.

3. At the workplace, a lighting level of 500 Lux must be achieved using additional workplace lighting.

4. The lighting in the exhibition halls consists of general lighting and exhibition/object lighting. The lighting fixtures for exhibit /object lighting and general lighting are mounted on a track. The light level (daylight and artificial lighting) in these rooms must be kept constant at approx. 350 Lux dimmable. To this end, the general lighting is controlled using a light cell. The daylight contribution is intended to provide light in the museum and must be kept as small as possible during the design stage. If necessary from the design, provisions must be included to enable continuous darkening through controllable blades or the like. The specific exhibit/object lighting falls outside this P.o.R., it must be installed by the user depending on the exhibition. It must be possible to achieve an illuminance of 150 Lux with general lighting alone, the same as in the traffic areas.

• The minimum light intensity stated in table 6 must be guaranteed at worksurface height, after one year of use and with a pollution factor of 0.85. Requirements following Kenyan Building Code and Bye Laws and Kenyan Building Code and Bye Laws • Drafting lighting requirements concerning room function, namely:

- shielding angle, - color rendering factor; - brightness; - luminance.

All areas must be provided with suitable artificial lighting for use, following Kenyan Building Code and Bye Laws.

Only luminaires that are screen-friendly may be used in office and work areas.

The standard illuminance for workplaces in office spaces following Kenyan Building Code and Bye Laws The following lighting must be provided with daylight control: • in the office spaces along the facade side; • the luminaires for general lighting in the exhibition area.

Review: • calculation in the preliminary design; • measurement after assembly; • measurement 1 year after completion.

8.1.3 Communication Telematics Design and implementation of communication telematics must comply with Kenyan Building Code and Bye Laws.

The following facilities are within the scope of this P.o.R. as part of the communication and telematics installations: • empty telephone system facilities; • the sound system for the staff restaurant, lunch café, and conference rooms; • the evacuation system; • empty data installation facilities; • empty facilities for central antenna system/CAI; • doorbell system;

8.1.3.1 Telephone system To be decided.

8.1.3.2 Sound installation (s) To be decided.

8.1.3.3 Evacuation systems The evacuation system must comply with: Kenyan Building Code and Bye Laws "Install a fire-safe building" and the regulations of the local fire brigade.

Provide evacuation facilities in all areas, excluding sanitary areas except in the disabled toilet.

The speech intelligibility of the installation must be good and at least meet: • frequency range 300-4000 Hz (-3 dB); • harmonic distortion less than 1.5% at 1,000 Hz; • signal/noise ratio better than 60 dB. In cases where there is high background noise, the volume must be able to be increased sufficiently.

Where a sound system is provided, a connection must be made so that the sound system is switched off in the event of an evacuation.

8.1.3.4 Data installation (empty facilities) For the data installation, empty facilities must be provided in the new construction, consisting of: • reserved space in cable and/or wall duct, empty pipeline insofar as no use can be made of cable and wall duct and empty flushmounted boxes with a cover plate.

Standard workplace facilities must be available in the following areas: • reception/counter, where the cable traces must be collected at the receptionist/operator desk; • one connection for data traffic must be installed in the depot and every publicly accessible space of 150 m² or less, combined with one (clean) 230V power supply connection for a computer. In rooms larger than 150 m², two such connections (data + clean 230V connection) must be realized on opposite walls. Installation of the connections in the plinth.

Standard workplace facilities (8 and 10 m²) include: • four double 230 V sockets; • one socket for a telephone connection; • one socket for data communication (network); If four workplaces are grouped, one extra socket for data communication (network) must be provided. Sufficient space must be reser-

ved in the office area for data communication installations.

8.1.3.5 Video In addition to all possible workplaces, video connections need be provided in the meeting and conference rooms, restaurant (s), and at the main entrance/reception desk.

8.1.3.6 Doorbell System Signaling needs to be provided in the reception and the security office 8.1.4 Security installation The security installations covered by this P.o.R. include: • Fire alarm system; • Lightning protection installation; • Emergency call contact for a disabled toilet; • Empty facilities security installations.

• Electric fence?

8.1.4.1 Fire alarm system Installing automatic fire detectors and manual fire detectors.

Full surveillance should be provided. The fire alarm panel, with the necessary groups, should be located near the reception desk. The installation must comply with: Kenyan Building Code and Bye Laws "Install a fireproof building" and the regulations of the local fire brigade.

8.1.4.2 Lightning protection installation A complete lightning protection installation following Kenyan Building Code and Bye Laws be provided. The installation consists of a roofing network and lower pipes. The roof network must be disconnectable from the downpipes and the earthed building structure using measuring couplings. Descending lines must be concealed in the facade construction.

8.1.4.3 Auxiliary call contact for disabled toilet Installation of a call facility consisting of a call pull contact,

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signaling above the toilet door, and optical and acoustic signaling in the reception desk following applicable regulations.

8.1.4.4 Empty facilities for security installations Empty facilities must be provided for the following other security installations: • burglary protection system; • installation of camera surveillance; • access control.

Empty facilities must be provided for these security installations, consisting of: reserved space in cable and/or wall duct, empty pipeline insofar as cable, and wall duct cannot be used and empty flush-mounted boxes fitted with a cover plate. For the central security equipment, constructional spaces must be provided for housing this equipment near the reception. The dimensions of these spaces must be coordinated with NMH. The preconditions for the protections are drawn up in the preliminary design stage, in connection with the structural requirements for this.

8.2

Transport installations

8.2.1 Elevators

8.2.1.1 General, quality/quantity The building must be equipped with an electrical energy-efficient elevator installation for passenger and goods transport.

The lift installation must comply with the provisions of Kenyan Building Code and Bye Laws, Accessibility Manual, and the conditions of the lift institute. The elevators (configurations) must be very efficient so that there are minimal waiting times.

Technical data: • lifting capacity per passenger lift at least 1,000 kg.; • lifting capacity of goods lift a minimum of 3000 kg.;

• a transport capacity of 15% within 5 minutes (1 person per 10 m² net floor area); • It should be recognized that as many people as possible use the stairs. To this end, the consultant must propose the transport capacity of the lifts; • average waiting time no more than 30 seconds; • number of stops/doors: on each floor; • lifting speed 1m / sec.; • operating panel: stainless steel in vandal-resistant version; • control: 2-button collective control in up and down direction; • fault signaling; • control by microprocessor control; • Apply full load and overload contact; • affix an electronic digital position indication above the shaft entrance (s); • lift equipped with an emergency signaling device consisting of: - alarm push button - signal horn in the shaft near the main stop - speaking/listening connection • stop accuracy on the floors of up to 10 mm.; • provisions for dismantling lift machines.

Depending on the requirements of the fire brigade, the lift installation must be equipped with a so-called fireman's circuit.

8.3 Mechanical Installation For the climatological (design) principles, we refer to the chapter on building physical requirements.

8.3.1 Climate concept A climate concept must be developed for the building that fulfills the sustainability requirements as described in chapter 4.

Innovative systems that reduce energy consumption should be explored such as • Tropical roof with solar panels;

• A natural ventilation system with wind-driven ventilation, solar chimney, and climate cascade; • Energy storage in the soil with heat pump technology; • Low resistant pipe, ducting, and cable systems; • Heat recovery in the air-handling system.

The second group of toilets must be realized in or near the exhibition space.

8.3.2 Water use There is no municipal water supply in the area. Therefore, borehole water will be required. The impact on the groundwater table will be minimized by treating and recycling water on-site creating as much of a closed-loop cycle as possible, replenishing the groundwater aquifer through recharge.

In the office environment, a toilet group must be realized per floor/ level, in the vicinity of the pantries (pantries to be provided on each office floor). The capacity must be in line with the average employees /visitors present at this level.

8.3.2.1 Water-saving sanitary facilities • Water-saving installations must be used for all cisterns and taps, insofar as they do not require a high flow rate for their function.

• Sanitary appliances must work optimally with minimal water consumption.

8.3.2.2 Rainwater use Through water collection, rainwater must be retained as much as possible to serve as secondary water for, for example, the care of plants, flushing the toilets, and process water. Rain water will be harvested and combined with borehole water before treatment and reticulation.

8.3.2.3 Sewerage connection facilities If possible, wastewater must be purified at the site. The way this is done and the location of which must be further investigated.

Wastewater from the kitchen must be filtered with a grease trap.

Foul water will be treated and the resultant grey water harvested for secondary use.

8.3.3 Sanitary facilities A toilet group must be realized near the main entrance hall, which offers sufficient capacity and which wheelchair users can also use (separate disabled toilet).

The third group of toilets must be located in or near the restaurant (s).

The capacity must be in line with the number of seats.

Both paper and automatic electric hand dryers must be fitted in the toilet groups to be realized. The public toilets near the museum area must be equipped with enough small children's urinals. The urinals must be flushed automatically using an electric eye. Toilet bowls should be kept clear from the floor to allow efficient and effective cleaning. In the number of toilets to be built, a favorable ratio for the lady’s toilets must also be achieved (60% women, 40% men).

8.3.4 Air quality • The fresh air must be brought into the room draft-free; • The air exchange must take place in such a way that a good flow through the room is guaranteed; • The following minimum amounts of fresh air must be ensured: - work areas: 5 m3 / h.m2; - workspaces> 100 m²: 10 m3 / h.m2; - meeting rooms, consultation rooms, and a dining room: 20 m3 / h.m2.

• At least 50 m3 / h per person in offices, meeting rooms, and work areas • Minimum 35 m3 / h per person in a restaurant • The air volume must be determined at the maximum of the calculation following the above-mentioned assumptions • In mechanically extracted rooms, the following amounts of exhaust air must be ensured at least during the period of use: - work areas: 5 m3 / h.m2; - toilets: 50 m³ / h;

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- showers, cupboards: 75 m³ / h; - rooms with copying equipment, printers, servers: 35 m3 / h.m2; • In the work areas, the indoor air quality of 800ppm CO2 or better is desired during the operating time.

• At least one window per grid must be able to be opened per (office) room.

• Night ventilation should be applied outside of the working hours.

• The preconditions for the climate conditions in the depot/archives must not only be realized in the relevant rooms but also in the filing cabinets/racks etc. set up in these rooms.

8.3.4.1 Kitchen facilities Hot meals are served in the kitchen, and also soups, snacks, sandwiches, etc. The restaurant facilities are clustered around this central kitchen.

• The exchange of air to and from the kitchen must be separated from the other ducts, to avoid smells getting out of the kitchen; • The kitchen has its 400V electric group.

8.3.5 Air pollutants • Air and odor pollutants that occur in areas such as a restaurant, kitchen, pantries, toilets, must not spread in the building; • recirculation of air is not allowed; • air pollution must be prevented when using heat recovery; • Limit and target values for concentrations of dust, formaldehyde, radon, ozone, etc. must be based on the MAC list.

8.4 Control installation 8.4.1 Building Management Features The management and operation of installations fall under the responsibility of Ngaren, the following requirements apply: The regulation must be realized using one central BMS (Building Management System), which must also include all subsequent adjustments per room.

• The control installation must be suitable for optimal operational

management for energy consumption.

• Faults must be selectively signaled and registered. Automatic fire and operational switching must be provided, using a central panel with manual control.

• Registration and management of the energy flows must be provided.

• The building management system must provide for the automated operation of the climate and sanitary technical installations.

• The building installations must meet the prevailing requirements, regulations, and guidelines for a good design and professional execution.

8.4.2 Individual operability • The heating, possibly natural ventilation, sun blinds (and possibly darkening) as well as artificial lighting must be operable for each occupied space.

• The operation must be user-friendly and ergonomic.

The temperature must be adjustable per occupied space in the heating season up to +2K or –2K compared to the nominal room temperature.

8.5 Technical accommodation 8.5.1 Technical rooms, shafts, etc.

• The operation, inspection, and maintenance must be based Kenyan Building Code and Bye Laws Technical rooms, shafts, and the like must be accessible for maintenance from a traffic area.

8.5.2 Technical infrastructure In summary, for the new housing to be realized, based on the above extensively described principles, the following installation elements are needed for the development of the design: • engineering installations; • indoor sewage system: - sanitary appliances must be connected to an indoor sewerage installation that discharges to the outside facilities;

• cold tap-water installation; • heating installation: - distribution installation; - heating and cooling of all rooms can be controlled in several groups in connection with evening use, etc.

• hot water installation: - decentralized electric; • cold and heat generation (central); • ventilation installation: - supply of ventilation air through supply grilles, exhaust through exhaust grilles of the meeting rooms and office areas with 100% direct intake of outside air with heat and cold recovery; • air treatment installation: - heat recovery; - decentralized cooling; - air filtration; • sanitary facilities; • climate control: - should be arranged per workplace/office space as much as possible; - ventilation: windows that can be opened (one per grid), apart from the central ventilation installation that forms the basis; • switches and distribution boxes: per floor; • earthing facilities and lightning protection; • power supply routes: vertically at central points, horizontally along the central facility zone, and along facades; • cables, pipes, and accessories; • transformers; • switches and connection materials: - the general lighting must be switchable per room (subdivided into a corridor zone and window zone) and per floor, - per grid of 1.20 m. a data and telecommunication connection must be available; • firefighting installation; • security installation; • communication installation; • (emergency) lighting;

• no-break installation; • lift installation: • window cleaning installation; • sun protection: - Depending on the glass surface and orientation, individually controllable external sun protection or sun protection glazing must be used (central control of sun protection must also be possible).

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9 THE SITE IDENTITY NMH will be located at one of the most beautiful locations in Kenya, The Great Rift Valley. The location is a key landmark for the human journey, and still undeveloped, pristine landscape.

The goal of Ngaren is to make sure that the location itself is an integral part of the museum experience. The desire is that visitors should feel a strong emotional connection with the environment, and that the building and surrounding facilities (parking lot etc.) should be integrated seamlessly with the environment. NMH should be a dialogue between the inside and the outside, between the past and the present.

NMH will be situated 40 kilometers outside Nairobi on a beautiful campus in the Rift Valley. The landscape on which the museum will be built will have footpaths and bike paths, with lots of areas for people to picnic and shaded trees that offer respite from the hot Kenyan sun. Most visitors will travel by car, although some will use public transportation the goal is that traveling to the Ngaren site, leaving the crowded city behind, visitors will experience a transition from urban to rural. The process of arrival to the Ngaren campus should be an unwinding, that allows visitors to decompress from the city and enter an oasis of nature and beauty and be able to connect to the environment on our past as a species on this planet.

9.1 Parking Ample parking is needed for visitors coming to NMH. Most visitors will come to the museum by car. Many employees and visitors will also come by public transport, bicycle or car. School classes will come by bus.

9.1.1 Motorists parking The car park for visitors will have at least 900 parking spaces.

The visitor parking is between the entrance gate and the museum.

The car park has a rational, easy to understand setup: • at least 20% will have access to electricity to fuel their electric cars; • there are at least 10 spaces for handicapped drivers, closest to the

museum entrance; • there are 10 motorcycle parking places; • the garage will be deliberately simple (in the sense of simple materials) but well-executed, with sufficient space and clear routing towards the museum; • the atmosphere of the car park is determined by robust "nononsense" materials consisting of various natural colors and materials, like concrete or stone pavers, bumpers, and curbstones; • the car park has a combined entrance and exit. This improves orientation; • the pavement of the car park is at least 50% open so that plants can grow and water can easily sink into the ground; • natural shading keeps the car park cool. Especially the footpath through the car park towards and from the museum should be well shaded so that the walk is pleasant; • the lighting of the car park is simple led lighting, aimed at guiding the visitors when the daylight gets low.

The car park for NMH employees will have at least 80 spaces. It is an option to combine it with the visitor car park.

9.1.2 Bicycle parking The bicycle parking for visitors will have at least 100 parking spaces.

It is situated close to the museum entrance. It has a rational, easy to understand setup: The bicycle parking for the employees will have at least 80 parking spaces. It is situated close to the museum.

If desired, the bicycle parking for visitors and employees can be combined.

9.1.3 Bus parking Also, 20 parking spaces for buses must be projected. The bus parking should preferably be combined with the visitor parking, with the busses parked most closely to the entrance of the site, the most far from the building. There is a loading/unloading site close to the entrance of the museum, but busses cannot park there, they need to go back to the parking to wait.

As drivers may have to wait in the parking for a considerable time, it should be considered to shade the bus parking by trees or pergola’s with climbing plants, so the wait is comfortable.

9.2

The garden

The NMH garden will be the museum's ‘natural calling card’ and a natural extension of the museum. In terms of theme, the garden should be closely linked to the museum (inside), but offer a different but complementary experience. The concept for the gardens for Ngaren is conceived in two layers, each with its own elements: the 'garden' with the plants and trees and geological phenomenon’s, enriched by experience elements (climbing and playgrounds, fossil excavations, and amphitheater) held together by the paths that meander through it, with seating elements, and lighting. The garden will be an intimate and rich place, full of variety, and yet simple and uncluttered. It is conceived as an exciting and surprising world in which the enchanting beauty of (living) nature can be shown. It should show the beauty of nature and the geology of the area. It should show the change in the seasons, and the unfolding and constant geological processes. The garden should be directly accessible from the terrace of the restaurant. There, close to the restaurant will be a small ‘amphitheater’, cut out in the garden. It should be designed to host outdoor events such as lectures, shows, and workshops or picnicking groups.

The design of the garden needs to consider the limitations of the climate and the substrate. The plants and trees in the garden should be indigenous, acclimated to the climate in this region, and able to thrive even when there are dry spells.

The garden should mainly consist of a world of plants and a world of geology. It should include a playground in several areas, in line with the theme (see: specials + special elements). The garden will be open to the public through opening hours. If the museum is opened in the evening, part of the garden will need to be illuminated, at least the

special places and the route to the car park.

Information about the plants in the garden, or the geological phenomenon, can easily be made available to the visitors, for example in the form of a garden directory with a plant list, or an app. It is expressly not the intention that signs should be placed in the garden, the garden must feel natural. for this reason, there will be no signage in the garden itself.

9.2.1 Footpaths Visitors will be guided through these “worlds” via paths of semipaved surfaces. The paving of the footpaths will be natural, using the ingredients found on the site, like rock fragments.

These paths will lead visitors through areas with different feelings and “atmospheres”. The vision is that paths through these gardens will vary in width and have a winding, natural course. The design should reflect the natural surroundings. Seating areas will be provided along the paths. It would be fitting if the seats in the garden were made out of rock or boulders providing natural seating for the visitors. The material should be similar in color and texture matched to the pavements and planting. The materials used should also support NMH's story about the richness of nature and human’s place in the ecosystem of the planet. The footpaths must be accessible for the disabled using a wheelchair.

9.2.2 Specials and special elements The garden could contain a work of art, sculptures, or other elements with special functions such as entrances, boundaries, surfaces, walls, seating, or play areas. We propose these ‘specials’ to make the garden and space outside the museum interesting and a true expansion of the museum. The “specials” and other important elements in the design are briefly discussed below: The Mammoth Swing, the fossil excavation, the artwork, the Amphitheater, and the toddler play area. These special play areas should appeal to the imagination of children - the translation of objects that cannot be touched indoors, but that can be touched, climbed, or excavated in the garden.

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Seating elements

special elements

footpaths

garden plants and trees

The Terrace The Terrace will be accessible both from the Main Hall and from the Orientation Hall. This location is where visitors will be able to find tables and chairs to relax while enjoying a stunning view over Africa’s Great Rift Valley. Hands-on exhibits will be scattered all over the terrace – digital kiosks, and telescopes that visitors can freely or collectively explore to learn about science, climate, landscapes and ecology.

A Work of Art We would like to consider giving a commission to an artist to design a work of art to be placed in the garden or directly in front of the museum. The work of art would be a symbol for NHM and what it stands for, and it would also be a landmark and an orientation point.

The Whale Skeleton The design for the garden includes a vision for a (replica) whale skeleton in the middle of a clearing in the garden. The Whale would be a life-size and life-like object. Like a preserved skeleton that has just been excavated, it would lie between ferns and the conifers. The object would be intended to stimulate exploration and play. It would be constructed out of a safe material and designed so that it would be a safe and fun play area/equipment for children to climb and hang on while at NMH. Children could run through the bones or enormous mouth of the whale.

The Mammoth Swing The mammoth swing is also a concept for a themed playground monument/equipment. The idea is to construct a large size mam-

moth, in the middle of the grassy part of the garden. The surrounding area would be landscaped to feel like a savanna in which the large grazers such as the mammoth lived 3 million years ago. A swing would be attached between two imitation man-sized mammoth tusks in which children could play and experience how big these animals were in life.

Fossil excavation and play area Further in the garden, there is a vision for a sand excavation site. For youth, a strip of soil could be provided near the terrace with a few scattered low seating rocks, where they could pretend excavate. By digging away sand, reliefs with replica fossils would be “discovered” in the play area.

Amphitheater The design suggestion also includes an outdoor ‘amphitheater’ in the garden adjacent to the terrace of the restaurant. It would offer space for groups for, for example, outdoor lectures, stargazing, workshops, etc. It could also serve as a picnic area for groups and a play area (due to the height difference). The color and finish of the amphitheater should be tailored to the pavement of the terrace and paths, all in a sandy brown color. This calm natural appearance offers the best foreground for planting.

9.3 Functional and expedition access In the design of the garden and the museum grounds, special attention needs to be given to all traffic that is expected at the museum - such as delivery trucks, waste trucks, media vehicles, etc. The roads that these vehicles use must be broad enough to safely maneuver and reach the museum expedition and other exits and entrances, but should also not cross any of the pedestrian or bicycle lanes used by the visitors of the museum or the garden.

The site layout/ outdoor space around the NMH building, as well as the parking, will have to be developed and elaborated by a landscape

architect in close consultation with the architect. In this context, the NMH organization specifically draws attention to the following elements: • a view of the natural surroundings from within the restaurant(s); • terrace/small playground on site of the restaurant; • loading and unloading place for buses and disabled transport at the main entrance; • supply and removal roads for suppliers of the restaurant(s) and others; • flagpoles; • information boards; • storage for waste containers/ press container (out of sight); • water/pond party (can also be used as a buffer for rainwater drainage or helophyte filter); The terrace should be adjacent to the restaurant, so that the visitor can sit inside or outside on the terrace and have his drinks or food there. One could imagine that there are mounted binoculars to enjoy looking into the Rift Valley.

Outdoor lighting must be designed in such a way that the garden and terrace also retain their appeal at night.

9.4 Sustainable site planning NMH wants to encourage biodiversity in and around the buildings, strengthen the local landscape and enhance ecological qualities.

The process of site selection for sustainable development will involve identifying and analyzing the site for sustainable building design criteria. The most sustainable and environment-sensitive development should be one that entails minimal site disturbance. Thus, resource conservation in a given site is of prime importance.

9.4.1 Landscape reservation and protection during construction To preserve the existing landscape and protect it from degradation during the process of Construction NHM will:

• Select proper timing for the construction activity to minimize site disturbance such as soil pollution due to spilling of the construction material and its mixing with rainwater; • Use staging and spill prevention and control plan to restrict the spilling of the contaminated material on site; • Protect the topsoil from erosion. Use collection storage and reapplication of the youth, a strip of soil could be provided near the terrace with a few scattered low seating rocks, where they could pretend excavate. By digging away sand, reliefs with replica fossils would be “discovered” in the play area.

• Preserve existing mature trees on-site during construction by preserving and transplanting them.

• Compensate for the loss of vegetation (trees) due to the construction activity by compensatory plantation. Replant the same number of mature or fully-grown trees as eliminated during the construction of the proposed landscape design. Replant the same, native and/or noninvasive species, which existed on the site before elimination in the proportion of 1:3.

9.4.2 Soil conservation (till post-construction) Conserve topsoil until after the completion of the construction activities.

• Ensure adequate fertility of the soil to support vegetative growth.

• Ensure adequate topsoil laying for vegetative growth.

• Ensure the stabilization of soil in the area where the topsoil is vulnerable to erosion.

9.4.3 Design to include existing site features The natural functions of a plot of land (hydrologic, geologic, and microclimatic) can be disrupted by the placement of a building on it.

The design of a green building will factor in ways in which the natural site features can be protected or even restored.

The layout of the site activities and building requirements will be completed after a detailed site analysis is done, so as to ensure sustainable site development in tune with its topographical, climatic, and ecological character. NMH will:

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• Carry out a comprehensive site analysis to identify site characteristics that can be used to harness natural resources (like solar energy, wind, and water) and the potential qualities of the landforms that could contribute to making different areas of the site visually and thermally more comfortable for users; • Locate various activities of the scheme after careful site analysis and assessment to protect ecologically sensitive areas and reduce damage to the natural ecosystem; • Minimize the disruption of the natural ecosystem and design to harness maximum benefits of the prevailing micro-climate.

9.4.4 Reduce hard paving on-site and/or provide shaded hard-paved surfaces To reduce the use of hard paving on-site (open areas surrounding building premises) and/or provide shade on hard-paved surfaces to minimize the heat island effect and imperviousness of the site, NMH will take these factors into consideration: • The net paved area of the site under parking, roads, paths, or any other use not to exceed 25% of the site area; • More than 70% of the total paved area to have pervious paving/ open grid pavement/grass pavers; • Minimize stormwater run-off by reducing hard paving on-site.

9.4.5 Enhance outdoor lighting system efficiency and use a renewable energy system NMH will enhance energy efficiency to meet outdoor lighting requirements and promote the use of renewable forms of energy: • the luminous efficacy of external light sources used for outdoor lighting shall equal or exceed as specified; • all outdoor lighting is to be fitted with an automatic on/off switch; • a minimum of 50% of the total number is to be powered by solar energy. The outdoor lighting system includes - security lighting; - street lighting; - landscape lighting; - facade lighting; - parking lighting.

9.4.6 Plan utilities efficiently and optimize on-site circulation efficiency To reduce site disruption, to minimize energy use by on-site utilities, and to reduce transportation corridors on-site NMH will: • design a site plan to minimize road length and building footprint; • shade all pedestrian roads by vegetated roofs/any other shading devices; • use aggregate utility corridors; • consolidate utility corridors along with the previously disturbed areas or along new roads, to minimize unnecessary cutting and trenching and to ensure easy maintenance. Local codes and requirements for water, sewer, and electrical/telecommunication lines should be considered; • consolidate services, pedestrian, and automobile paths. Minimize road and pedestrian walkway length by appropriate planning and provide aggregate corridors for utility lines.

9.5 Building planning and construction Conservation and efficient utilization of resources to maximize resource (water, energy, and materials) conservation and enhance the efficiency of the system and operations.

9.5.1 Reduce landscape water requirement In order to reduce the landscape water requirement to minimize the load on the water supply and depletion of groundwater resources, NMH will: • design the landscape to reduce water consumption by 50% or more; • use native species and reduce lawn areas while enhancing the irrigation efficiency and reducing the water requirement for landscaping purposes.

9.5.2 Site, land-use, and transport management Several considerations should be given to this section as outline below:

• The project build-up should not exceed 50% of the total plot area (ideally 30 or 40%). The remaining area should be permeable to ensure rainwater infiltration and avoid the urban heat island effect.

• All exposed hardscape should be made of lightly colored and permeable materials.

• All plants and trees specified must be adapted to the local climate to reduce (or ideally remove) any irrigation needs.

• During construction, erosion and sedimentation control measures must be implemented to protect topsoil, reduce erosion, and control dust pollution.

• The kitchen/food service should be allocated land on-site to grow their food. There are numerous local professionals on permaculture and urban food farming who can implement sustainable urban farming practices.

• Walking and cycling infrastructure must be provided for mobility access across the site.

• Electric vehicle charging stations should be designed for all site-related vehicle transport needs (bicycles, buses, on-site cars).

EV stations for external visitors should also be provided to encourage wider electric vehicle use.

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disturbed areas or along new roads, to minimize unnecessary cutting and trenching and to ensure easy maintenance. Local codes and requirements for water, sewer, and electrical/telecommunication lines should be considered; • consolidate services, pedestrian, and automobile paths. Minimize road and pedestrian walkway length by appropriate planning and provide aggregate corridors for utility lines.

9.5

Building planning and construction

Conservation and efficient utilization of resources to maximize resource (water, energy, and materials) conservation and enhance.

MH will: • design the landscape to reduce water consumption by 50% or more; • use native species and reduce lawn areas while enhancing the irrigation efficiency and reducing the water requirement for landscaping purposes.

9.5.2 Site, land-use, and transport management Several considerations should be given to this section as outline below: • The project build-up should not exceed 50% of the total plot area (ideally 30 or 40%). The remaining area should be permeable to ensure rainwater infiltration and avoid the urban heat island effect.

• All exposed hardscape should be made of lightly colored and permeable materials.

• All plants and trees specified must be adapted to the local climate to reduce (or ideally remove) any irrigation needs.

10 BUDGET 10.1 Total construction budget The construction budget for this project is calculated at 62.5 million American dollars. The table below shows how this budget is built up.

In the budget the investments needed for the interior decoration of all the spaces in the museum and the offices, inventory, the design and build of the galleries and the planetarium, and the insurance and legal fees are not included. Also, the fee for the project management team appointed by the client, including the clerk of works and staff and the preparation costs are not included in this budget.

10.1.2 Construction costs For the construction we calculate with a budget of 2,500 dollar per m2 gross area. That is a relative high budget. This is mainly due to the higher costs we expect in realizing the durability goals, that will result in relatively high costs for the mechanical (20%) and electrotechnical installations (25%).

10.1.3 Grounds This is the budget for all the work that needs to be done around the building described in chapter 9: car park, fences, the garden, playgrounds etc. including the consultancy. It is a generous budget aimed at making the Ngaren grounds an integral part of the Ngaren experience.

Budget January 2021 ($) (sub) totals ($)

10.1.4 Design Team and interior decorator Building site preparation 250,000 The fee for the Design Team is 9,5% percent of the construction

costs. These costs are divided over the different phases of the Construction costs 35,316,100 construction: Mechanical installations 10,866,500 • preliminary design phase (16%); Electrotechnical installations 8,149,900 • final design phase (22%); Construction costs

54,332,500 • construction preparation phase

- specification phase (32%) Grounds

2,500,000 - tender phase (3%)

• realization phase (12%) Design team and interior decorator 5,241.600 • supervision and management (12%) Additional advisors 250,000 • delivery and aftercare (3%) Project management costs

5,491,600 Total

62,574,100

10.1.1 Building site preparation This budget is reserved for all preparation of the site before construction starts, leveling the site, filling in certain parts, reinforcing it, protecting certain elements, etc.

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These percentages result in the fees per phase shown in the table below (in $):

Fee Design Team and interior architect

($)

Preliminary design phase Final design phase Construction preparation phase • Specification phase • Tender phase Realization phase

Supervision and management Delivery and aftercare Total Design Team

Interior architect

1,651,700 154,800 619,400 619,400 154,900 5,161,600 80,000

Full total

5,241,600

825,900 1,135,500

10.1.5 Additional advisors For additional advisors $ 250,000 is budgeted. Any use of this budget needs to be approved by the client.

11 ANNEXES

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ANNEX 1: LEED STANDARD KEY BASIC REQUIREMENTS STORAGE AND COLLECTION OF RECYCLABLES • NMH project must provide dedicated areas accessible to waste haulers and building occupants for the collection and storage of recyclable materials for the entire building. Collection and storage areas may be separate locations. This will help in the promotion of a circular economy in the region.

CONSTRUCTION AND DEMOLITION WASTE MANAGEMENT PLANNING• Develop and implement a construction and demolition waste management plan; • Establish waste diversion goals for the project by identifying at least five materials (both structural and non-structural) targeted for diversion; - Specify whether materials will be separated or commingled and describe the diversion strategies planned for the project.

Describe where the material will be taken and how the recycling facility will process the material including expected diversion rates for each material stream; - Provide a final report detailing all major waste streams generated, including disposal and diversion rates.

BUILDING LIFE-CYCLE IMPACT REDUCTION • Building and Material Reuse-Reuse or salvage building materials from off-site or on-site as a percentage of the surface area.

• Whole-Building Life-Cycle Assessment-For new construction (buildings or portions of buildings) conduct a lifecycle assessment of the project’s structure and enclosure.

BUILDING PRODUCT DISCLOSURE AND OPTIMIZATION— ENVIRONMENTAL PRODUCT DECLARATIONS • Select products from manufacturers who have verified improved environmental life-cycle impacts the project should use at least 20 different permanently installed products sourced from at least five different manufacturers that meet one of the LEED V4 disclosure criteria.

BUILDING PRODUCT DISCLOSURE & OPTIMIZATION –SOURCING OF RAW MATERIALS • Use products sourced from at least three different manufacturers that meet at least one of the responsible sourcing and extraction for at least 20%, by cost, of the total value of permanently installed building products in the project • Products purchased from a manufacturer (producer) that participates in an extended producer responsibility program or is directly responsible for extended producer responsibility.

• Bio-based raw materials other than wood must be tested using ASTM Test Method D6866 and be legally harvested, as defined by the exporting and receiving country.

• Wood products must be certified by the Forest Stewardship Council or USGBC approved equivalent.

• Reuse includes salvaged, refurbished, or reused products.

BUILDING PRODUCT DISCLOSURE & OPTIMIZATION –MATERIAL INGREDIENTS • project should use materials with Material Ingredient Reporting like Manufacturer Inventory, Health Product Declaration, Cradle to Cradle, USGBC approved program and/or Material Ingredient Optimization MINIMUM INDOOR AIR QUALITY PERFORMANCE • Mechanically Ventilated Spaces and Naturally Ventilated Spaces -For mechanically ventilated spaces (and for mixed-mode systems when the mechanical ventilation is activated), should meet the requirements for ASHRAE Standard 62.1 • For monitoring for natural ventilation systems, provide a direct exhaust airflow measurement device capable of measuring the exhaust airflow and monitor carbon dioxide (CO2) concentrations within each thermal zone.

Additional requirement: • USE ENHANCED INDOOR AIR QUALITY STRATEGIES • LOW-EMITTING MATERIALS-Use materials on the building interior (paints & coatings, adhesives & sealants, flooring, wall

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panels, ceilings, insulations, everything within the waterproofing membrane) that meet the low emitting criteria to reduce concentrations of chemical contaminants that can damage air quality, human health, productivity, and the environment.

• Construction Indoor Air Quality Management Plan (CIAQMP)Prepare a (CIAQMP) to promote the well-being of construction workers and building occupants by minimizing indoor air quality problems associated with construction and renovation.

Indoor air quality assessment • Before Occupancy-Install new filtration media and perform a building flush-out by supplying a total air volume of 14,000 cubic feet of outdoor air per square foot (4 267 140 liters of outdoor air per square meter) of gross floor area OR Air Testing-After construction ends and before occupancy, but under ventilation conditions typical for occupancy, conduct baseline IAQ testing in occupied spaces for Particulate matter and inorganic gases, Volatile organic compounds (for 1 point). Retail projects may conduct the testing within 14 days of occupancy.

Thermal comfort • The project should design heating, ventilating, and airconditioning (HVAC) systems and the building envelope to meet the requirements of ASHRAE Standard 55–2017, OR ISO 17772-2017, Energy Performance of Buildings- Indoor environmental quality.

• Interior lighting quality use LED light fixtures with a luminance of less than 2,500 cd/m • Daylight-Introduce daylight into the space.

• Quality views-To give building occupants a connection to the natural outdoor environment by providing quality views.

• Acoustic performance-To provide workspaces and rooms that promote occupants’ well-being, productivity, and communications through effective acoustic design.

TRANSPORT • Access to quality transit-Project should be located ¼ mile near public transport.

• Bicycle facilities-Design or locate the project such that a functional entry or bicycle storage is within a 200-yard (180-meter) walking distance or bicycling distance from a bicycle network that connects to diverse uses like banks, shopping centers and a bus stop, passenger rail station, or ferry terminal.

• Provide Bicycle Storage and Shower Rooms • Electric vehicles-provide charging infrastructure for electric vehicles for on-site parking

ANNEX 2: EXAMPLES OF NATURAL CLIMATE Thermal mass The ability of a material to absorb and store heat energy. Thermal mass proves to be useful, if combined with some insulation, in a tropical highlands’ climate, mainly because it allows storage of heat gained due to solar radiation during the day, avoiding overheating, and then releases it at night creating warmth. Examples of materials with high thermal mass include stone and clay. Ngaren can use passive design strategies to cool and warm the building. For example, they can use the unique rock bed cooling system. This cooling principle relies on the “coolth” / coldness stored on rock surfaces. With this technique, the air is drawn into the rock bed through the sinusoidal walls; it is then allowed to pass through the cool rock surfaces before being induced back into the hall beneath the seats. During the cold season, the rocks which are warmer heats up the cold air, therefore, maintaining comfort levels in the room.

High thermal mass 250mm thick hand-dressed Njiru stone can be been used on the external walls for insulation purposes. The Catholic University of Eastern Africa used this technology for her building and whose climatic conditions are similar to NMH’s location.

cooling processes, such as photosynthesis and evapotranspiration. With the strategic placement of green walls, plants can create enough turbulence to break vertical airflow, which slows and cools down the air (greenroofs.org).

Green skins Green roofs are fairly common in today’s building design industry, but we can also design buildings with skins that actually clean the ambient air and sequester carbon.

Capturing rainwater Designing constructed wetlands that capture and naturally store stormwater is a useful tool that replenishes the underground aquifer.

Wastewater treatment On-site water treatment may have a high initial principal cost, with a low monetary return on investment, but that same strategy is far more impactful in terms of water conservation and thereby results in long-term resource savings that arguably outweighs short-term financial projections.

Biomimicry: copying natural processes Harare’s Eastgate Centre – Zimbabwe’s largest office and shopping complex – cuts the energy required for cooling with a design that mimics the self-cooling mounds of indigenous termites. In Algiers, a PTT (post office) building uses a sand-dune design to scoop up cool mountain winds.

Optimizing local conditions: Something as simple as natural ventilation or shading, for instance, can be used to moderate the indoor climate and minimize energy consumption. Smart building control systems can automatically adjust windows and shades based on preprogrammed weather parameters and sensors (urban hub)

Energy consumption & production It’s important to not only design buildings that use less energy but to also design them to produce and store energy on-site so that there is less or no reliance on the utility grid. Energy stored on-site via microgrids can be used by the building during night hours.

Renewable technologies such as solar panels and wind turbines are becoming more commonplace in projects as energy generators.

Every day, new technologies are coming online such as biodigesters which convert solid waste into energy which can be used by the building.

Green/living roofs/walls Building elements designed to support living vegetation in order to improve a building's performance. The reintroduction of vegetation into urban environments promotes the occurrence of natural

Thermal efficient construction Thermal efficient construction encompasses the whole building envelope, creating a building that is more energy-efficient, which reduces the mechanical system load. Well placed glazing with

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adequate shading will allow for light but control heat gain. With more climate-controlled areas of the museum, more controlled conditions will be required which again can be innovatively designed to achieve this.

Materials and waste Appropriately-sourced materials supporting regional economies and limiting transportation impacts must be considered for this project.

For example, renewable technologies should come from no further than 15,000 km away while heavy or high-density materials should come from no further than 500 km away. Using higher quality sustainable materials also contributes to the durability of the building.

Human health and happiness An intrinsic part of living, restorative, and regenerative building design is a focus on occupant health and happiness, highlighting the interconnection between nature and occupant comfort and health.

A healthy work environment is a more productive environment.

Optimizing daylight and access to views are other factors in achieving occupant satisfaction with their work environment.

ANNEX 3: NAVIGATING THE MUSEUM Ngaren is a journey Ngaren: The Museum of Humankind is intended to be the museum of the “human journey”. Therefore, the visit to the museum is being designed so that visitors to Ngaren will travel through the rooms and galleries on a journey that mimics a real-life journey: • the Welcome Hall (Main Hall) is where visitors will prepare for their journey – here they will buy or check their tickets, take off their coats, and start planning their visit with the assistance of helpful and welcoming Ngaren staff; • in the Planetarium Dome visitors will then be given a preview or overall glimpse of what the Ngaren journey will entail. The dome show will also help visitors develop a mindset for their journey and further prepare for their voyage; • the Orientation hall is where visitors will be able to create a connection with the location, the Great Rift Valley, and their African ancestors. Here, visitors will also be told important information on safety, and logistics, and be able to choose the path through the museum that they prefer; • if desired, visitors can then go outside to the Exploration Stations, to explore the surrounding landscape (which will include scientific explanations and information) and get more information (and equipment for their journey). This will allow them to take the most advantage of the museum galleries. This option is available at any time during a visitor’s visit to the museum; • the five Research Rooms are the “proper” museum galleries – each is a container holding unique stories. The stories are all introduced by “protagonists” that welcome visitors into the galleries. The Research Rooms are connected to each other through an underlying storyline that will be brought alive through a wealth of exhibition assets; • the Evolutionary Game Room is a gallery full of individual and social/group interactive games for visitors of all ages. The activities in the Game Room will be designed to deepen a visitor’s understanding of the mechanisms of evolution and cooperation, in a playful, more approachable way. In this gallery visitors can discover new things about themselves. They will realize

that humans are inventive, smart, and cooperative, as well as competitive, or perhaps feel empowered to make changes in their own personal behaviors. Here, the message will be that individuals can change the world, and that we live in a world worth being treasured; • the visit to Ngaren then continues with three Treasure Rooms, which will be immersions into the beauty and importance of biodiversity. These rooms will show visitors that all humans are part of nature, and that we are all connected to each other, and to the rest of life on this planet, through a universal common ancestor. These rooms will emphasize that we are members of one big family of humans, and illustrate the importance of taking care of the planet which is our one and only home.

Floorplan The concept of the museum is described below in four sections: 1. the Welcome Hall, the Dome and the Orientation Hall; 2. the Terrace and the Exploration Stations; 3. the Research Rooms; 4. the Evolutionary Game Room and the Treasure Rooms.

1. The Welcome Hall, the Dome, and the Orientation Hall The Welcome Hall (Main Hall) Size: 1000 m2 When visitors arrive at Ngaren and have parked their car, they will enter into the Welcome Hall. The museum website, brochure, and the road signs that direct one to the site, will all anticipate the major attraction of Turkana Boy, who will be positioned as Ngaren’s ambassador – an icon of the Ngaren experience. In the Welcome Hall, visitors will start seeing images of Turkana Boy and begin to learn more about his story. In the gallery ‘A skeleton of a boy’ visitors will

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finally have the chance to interact with Turkana Boy. This will be one of the major highlights of Ngaren.

In the Welcome Hall visitors will be oriented – able to look around and enjoy the architecture, and get acquainted with the museum environment. Ngaren staff will welcome and assist people with tickets, to find the restroom, or get additional information needed to navigate the museum. If visitors want to eat something, they can go to the outside terrace or the restaurant, or they can start their visit in the Dome.

The Welcome Hall has a waiting area for 250 people to gather for the Dome show. The light in this area will be lower than in the Welcome Hall, allowing for vistors’ eyes to adjust to the low light level inside the theater. Here people will be able to faintly hear sounds coming from the Dome, adding to the excitement. Before the start of the show, staff members will welcome visitors to the Planetarium.

If visitors want to go straight to the galleries, they can enter the Orientation Hall without having to cross the Dome, bypassing the movie.

The Dome (Planetarium) Size: 800 m2 Type of gallery: Immersive; hearts-on.

Holding power: 15 minutes.

Target group: Families, school groups, business visitors, tourists.

Objective: To shape the mindset; to make visitors feel tiny before the immensity of the universe and the beauty of life, opening up to questioning their human exclusiveness.

Learning outcome: We are part of nature; we are all connected.

Key–message: We are all connected.

Icon: The Dome.

Must-sees: All-digital IMAX movie.

Collection: None.

The Dome connects the entry hall with the galleries, and helps pace the flow of visitor traffic through the museum. However, the Dome is more than just a passage into the museum: it is designed to prepare visitors with the correct mindset for the journey through Ngaren – a mindset that scales down the human journey into the context of the universe and the origin and evolution of life on Earth to help visitors give up their biased anthropocentric perspectives.

The movie that will be projected in the Dome will serve to orient visitors to this scale and perspective. It will be an IMAX movie created uniquely for Ngaren, through the collaboration of the museum content developers, professional screen writers and special effects movie developers. The orientation movie will show the wonders of space, allowing visitors to travel into the immensity of the universe, the development of the Earth’s atmosphere, and the origins of life. The narrative will be designed to captivate visitors’ imagination, allowing visitors to feel part of the story of life, and allowing them to understand that humans are but one of the many expressions of life on this planet. The movie will end by zooming in on the African Great Rift Valley which will orient visitors to their current location. The message will be that the location that you are at now, the Rift Valley of Kenya, is where this incredible human journey began.

The Orientation Hall Size: 600 m2 Type of gallery: Experience; hearts–on.

Holding power: 5 to 10 minutes.

Target group: Families, school groups, business visitors, tourists.

Objective: To immediately connect visitors with the environment and the past.

Learning outcome: There is a strong connection between human evolution and this place.

Key-message: This is where we all come from.

Icon: Magic window.

Must-sees: ‘A glimpse into the past’.

Collection: None.

As soon as visitors finish watching the movie in the Dome, exit doors will open into the Orientation Hall. The Hall is a spacious atrium with large glass walls overlooking the Great Rift Valley. Here visitors will be able to connect with the environment and the location where the human journey symbolically began. Here they will also have their first encounter with their hominin ancestors.

There will be large glass windows along the outside perimeter of the room. One part of the display will be a “magic” window that will loop a virtual scenery of the exact landscape outside of the Ngaren Museum, but from an era two million years ago. This location is also where visitors will be able to meet their hominin ancestors and see a glimpse of Turkana Boy, the star of Ngaren, in the distance. This “glimpse” is intended to create momentum – and anticipation of meeting Turkana Boy further on during the visit to the galleries. The technology used will be cutting-edge stereoscopic 3D vision that will provide visitors with a “wow” experience from the very start of their visit.

The rear of the room will have a half amphitheater-like structure for educational purposes or conferences. Also, this large room will be available to host events outside of museum hours, exploiting the fabulous scenery.

2. The Terrace and the Exploration Stations The Terrace The Terrace will be accessible both from the Welcome Hall and from the Orientation Hall. This location is where visitors will be able to find tables and chairs to relax while enjoying a stunning view over Africa’s Great Rift Valley. Hands-on exhibits will be scattered all over the terrace – digital kiosks, and telescopes that visitors can freely or collectively explore to learn about science, climate, landscapes and ecology. On the terrace there will also be a cafeteria that serves coffee, snacks and lunch meals.

The Exploration Stations Size: 5-10 stations, 2 m2 each, enough space so that a family group can stand around a station.

Type of exhibits: Hands-on.

Holding power: 10 minutes.

Target group: Families, school groups, business visitors, tourists.

Objective: To have visitors read the book of nature.

Learning outcome: Knowing our environment through sediments and fossils is key to understand our past.

Key-message: The present is the key to the past.

Icon: Telescope.

Must-sees: Rift valley through AR telescopes.

Understanding the theory of evolution requires grasping temporal and physical processes that are difficult to display in museums.

Ngaren will be situated on the most symbolic landmark of the human evolutionary story, Africa’s Great Rift Valley, a treasure trove of fossils. Three stations will be built on the outside terrace overlooking the rift. Here geology, tectonics, and natural processes of environmental and climatic change will be illustrated. The Exploration Stations will educate visitors about how fossils, sediments and geology help scientists reconstruct the past.

Telescopes and AR exhibits will be positioned in different spots to educate on the formation of the rift valley; how to read past climatic and ecological landscapes; how fossils form and why the rift is a fossil hotspot; the use of scientific methods to record, analyze and date what is found. Each station will provide the same content, enabling the simultaneous utilization of stations by different users. Also, these stations will allow for the gathering of large external groups – e.g. school groups – and here guides and teachers will be able to talk more freely to their groups than inside the galleries.

Visitors here will also be able to look at evidence of climate change in the past. By looking at the escarpment through cutting-edge technologies, visitors will be able to see how different layers of sediments

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have formed over the past 10 million years. Visitors will be able to familiarize themselves with the sediments, understand that the rift has lifted them up, and that erosion has exposed what can be seen, making it easier for geologists to read the geological past. Visitors will realize that they are witnessing episodes of climate change that caused the migration or extinction of species that used to live in the area before.

They will also learn that the valley in front of them is a "rift valley", formed by the spreading apart of two tectonic plates – the Somali and the African plates. They will learn that this rift started to form around 25 million years ago, at the onset of the Miocene, moving by 6-7 millimeter every year, and slowly lifting the earth on both sides.

They will learn that the highest peaks of Africa, Mount Kilimanjaro and Mount Kenya – both higher than 5,000 meters above the sea level – were formed by the pushing of the Great African Rift.

3. The Research Rooms From the Orientation Hall, visitors will easily be able to continue into the Research Rooms, and the museum galleries. There will be a suggested route through the museum that follows the Ngaren storyline. On this route, the story of humankind will be presented to the visitor as a journey – a serendipitous journey which is the story of evolution – from the origin of life (A field of pancakes), through the dinosaurs’ extinction (A dinosaur in Africa), the rise of mammals and the diversification of primates (A whale in the desert), to the start of the hominins’ line (A skeleton of a boy) and the spread and survival of Homo sapiens – the only hominin species alive today (A face with a chin).

The Research Rooms A field of pancakes Size: 800 m2 Type of gallery: Immersive.

Holding power: 10 min.

Target group: Families, school groups, business visitors, tourists.

Objective: To introduce visitors to the time depth of the origins of life and the mechanisms of evolution.

Learning outcome: Evolution explains life on Earth.

Key-message: All life has one common ancestor.

Icon: Stromatolite.

Must-sees: Interactive stepping stones floor.

The core of the narrative of Ngaren is that all life stems from one single ancestor and that life is dependent on, and intertwined with, the surrounding environment. All the galleries, all the protagonists, and all the stories at Ngaren will be expressions of this “law of evolution” and will show how evolution works, time and again, incessantly and with no foresight. This gallery is the starting point to this narrative, as well as the first room in the journey through the museum.

Like all the Ngaren Research Rooms, this gallery opens with a protagonist which is an item, fossil or other artifact, intended to symbolically portray a particular story and educational theme.

The protagonist in this case will be a fossil stromatolite, which is a mineral formation that slowly sedimented grains of rock and organic elements. The oldest stromatolites contain cyanobacteria aged 3.5 billion years ago – which is the time when scientists start counting the beginning of life.

The “beginning of life” is actually assumed to have lasted for almost 2 billion years – half the age of life on this planet itself. This part of the story of evolution is about bacteria, and more bacteria, and more bacteria. The visitor will learn that bacteria are fundamental for the development of oxygen in the oceans and atmosphere. It is from these single–celled organisms that multicellular organisms derive – and therefore more complex forms of life.

In this gallery visitors should be introduced to the time scale of evolution, and a few, key steps of the evolution of life. The learning

outcome of this gallery is for visitors to understand that humans only appear recently on the geological clock and that we, humans, owe our existence to a process of evolution that follows specific rules.

This gallery will open onto a transparent floor that will appear as if the visitor is walking over a field of stromatolites – appearing like large pancakes on the floor. Special light effects will make it seem as if the person is walking on a shallow water surface where the stromatolites are like “stepping stones”. As visitors step on the stromatolites’ tops, projections on the surrounding walls will be activated. These projections will show images of the key moments of the evolution of complex life. The first stepping stones will project only bacteria, then one particular step will project images of the symbiosis between a bacterium and an archaeon, and then another will show cells dividing and multiplying, and so on with more images (chromosomes, mitochondria, chloroplasts, DNA double helix, exoskeletons, etc.) leading progressively to the explosion of life in the Cambrian era, which will be projected all around the gallery.

Collection wish list: Replicas of Pikaia gracilens and stromatolites.

A dinosaur in Africa Size: 1,400 m2 Height: It needs to accomodate tall dinosaurs like Giraffatitan (ca. 16 m).

Type of gallery: Immersive; hearts-on; hands-on.

Holding power: 20 min.

Target group: Families, school groups, business visitors, tourists.

Objective: A wow experience into the African dinosaurs’ world; to make visitors realise that nothing in life is permanent.

Learning outcome: Despite their success, dinosaurs went extinct.

Their demise opened up the avenue for mammals’ success.

Key-message: Everything changes.

Icon: Spinosaurus.

Must-sees: African unique specimens reconstructed in real size and the Paleoaquarium.

This gallery is dedicated to the story of the evolution of dinosaurs on the African continent. It will house a unique, permanent exhibition of dinosaurs not found anywhere else, that will offer a one-of-a-kind opportunity not only to Africans, but to all international visitors.

In the narrative of Ngaren, dinosaurs will be depicted as one of many, fabulous expressions of the evolution of life on Earth at a point much, much earlier than the evolution of humans. Dinosaurs are symbols of the fragility of life especially during mass extinctions, like the one responsible for their demise, 66 million years ago. Here, the visitor will learn that humans would not be here had the dinosaurs not gone extinct – an iterated lesson about the interconnection of all life.

This gallery is conceived of as a majestic space for visitors to marvel at these impressive, large creatures. The gallery will be constructed so that visitors will feel tiny in comparison to the dinosaurs displayed.

The intention is that people in this gallery will ponder the vast time of life on earth before humans, and begin to grapple with the constant change and uncertainty of life on this planet.

The protagonist of this gallery is Spinosaurus – the African counterpart of T. rex. Spinosaurus is one of the largest known carnivorous dinosaurs of all times. It populated the Sahara during the Cretaceous period – around 100 million years ago – when, what is today the biggest desert in the world, was home to vast river systems and lakes. Fossil fragments of Spinosaurus have been found in Kenya, too, making Spinosaurus a perfect protagonist for Ngaren.

Spinosaurus was even larger than T. rex, between 15-16 m of length, with a huge ‘dorsal sail’ that had vertebral spines reaching up to 1.65 m of length. Its long tail evolved into a large and flexible fin-like organ that confirms to scientists that Spinosaurus was an aquatic dinosaur. Considered to be a “river monster”, its skull and teeth resemble crocodiles’, making it an interesting example of evolutionary convergence.

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The selection of dinosaurs for display in this gallery will be chosen to highlight the diversity of African dinosaurs (carnivorous, plant eaters, fish eaters, flying ones). The selection will encompass specimens from before and after the breakup of the supercontinent Pangea, and include a relatively smaller selection of Triassic and Jurassic specimens, versus a majority of representatives of the Cretaceous. The goal is to highlight dinosaurs that are exclusively found in Africa. A large rotating 3D globe will exhibit the formation and breakup of Pangea, illustrating the distribution of the dinosaurs on display, and educating visitors on the scientific evidence of plate tectonics and continental drift.

Before leaving the gallery, visitors will have a memorable immersive experience in a state-of-the-art Paleoaquarium, witnessing Spinosaurus sprinting in water to hunt fishes the size of cars. The snout of a Carcharodontosaurus will suddenly appear to slake its thirst from the river bank, frightening the audience with his huge pointy teeth. There will be prehistoric reptiles swimming all over; predators fighting and killing – an extinct world of fierce competition.

It will be an experience like no other. One of Ngaren’s highlights.

Collection wish list: • Spinosaurus • Giraffatitan • Carcharodontosaurus • Mosasaurus • Pterosaurus • Kentrosaurus • Ouranosaurus Additional items for a pan-African collection.

• Saturnalia • Heterodontosaurus • Massospondylus • Atlasaurus

• Dryosaurus • Suchomimus • Paralititan • Angolatitan • Majungasaurus.

A whale in the desert Size: 1,200 m2 Type of gallery: Immersive; hands-on; hearts-on.

Holding power: 15 minutes.

Target group: Families, school groups, business visitors, tourists.

Objective: To educate visitors on their mammalian origins and evolution as primates.

Learning outcome: Humans are apes.

Key-message: Environmental changes trigger evolution over time.

Must-sees: Theatrical animation of the whale in a changing environment.

Icon: The Turkana beaked whale fossil.

This gallery will open with a theatrical animation of the story of a beaked whale found in the Turkana desert – a fossil dated to 17 million years ago. The whale will act as a storyteller – swimming through time and revealing the story of the dramatic change in climate and geography during the adaptive radiation of primates in the Miocene. Here, dinosaurs have long gone extinct and mammals have greatly diversified, and are now the rulers of the planet.

The whale introduces a story of evolutionary outcomes in a dramatic way: there will be a whale swimming inland, in a river surrounded by canopies full of primates and birds. There will be animals drinking and grazing by the banks. The visitor will hear the sounds of monkeys and apes all around. As the whale swims, the surrounding environment will change, with tropical forests giving way to drier habitats and different animals. The swim will end in the shallow waters of a drying river, where the whale will get stranded and die.

The visitor will understand that the environment has irreversibly

changed, and that the formation of the Great Rift Valley affected major climatic and topographic features of the African continent and beyond. At the end of the installation, the beaked whale will be visible in a replica, emerging from the sand. Visitors will be able to understand the power of climate change and its role in what species survive and what species go extinct.

This gallery is where the power of evolution will be made apparent. It will show how the forces of tectonics and climate change underlying evolutionary trajectories. It will show the tragic outcomes of the processes of extinction, as well as highlight successful evolutionary stories including the adaptive radiation of primates in the Miocene.

Visitors will learn that during the course of about 20 million years, apes evolved, diversified and became widespread throughout Africa and Eurasia. Visitors will learn that the ancestors of humans diverged from the ancestors of chimpanzees at the end of this era (8-5 Mya) – initiating the hominin evolutionary journey that will be exhibited in the next gallery ‘A skeleton of a boy’.

Collection wish list: • replica of the Turkana fossil whale snout and relative model; • real size models of extinct fauna and plants contemporary to the Turkana fossil whale; • skeletons, teeth, and models of Miocene apes (to name a few Aegyptopithecus; Proconsul africanus; Proconsul major; Proconsul gitongai; Kenyapithecus; Victoriapithecus).

• real size models of living great apes.

A skeleton of a boy Size: 1,200 m2 Type of gallery: Hands–on; body–on; social–on.

Holding power: 20 minutes.

Target group: Families, school groups, business visitors, tourists.

Objective: A mind blowing encounter with Turkana Boy; to persuade visitors that evolution applies as much to humans, as to any other life forms.

Learning outcome: Africa is humanity’s homeland.

Key-message: Evolution applies to humans as well.

Icon: Turkana Boy. Must-sees: the encounter with Turkana Boy. This gallery is the gallery of the icon of Ngaren – where visitors will finally meet Turkana Boy. Turkana Boy will appear naked, holding a stick that aids him to walk. At first, he will look a bit mysterious: lean and tall for his age, but clearly a boy. His eyes are deep inside his prominent forehead, his mouth sticks a bit out of his face. But he is not foreign, on the contrary. As soon as visitors get closer to him, he will reach out his hand to connect. He won’t speak any modern language, but our body languages are mutually understandable. He will show visitors that our ancestors were “human” – that they are not just fragments of bones from an indefinite past.

Visitors will learn that Turkana Boy belongs to the species Homo erectus (in Africa also named Homo ergaster for distinction with Eurasian species), who dwelled in the African savannah between 2 and 1.5 million years ago. His people were knapping elaborate and beautiful stone tools already, had tamed fire, and had migrated out of Africa much earlier than sapiens, populating East Asia and Europe for hundreds of thousands of years before the arrival of other hominins.

The encounter with Turkana Boy is intended to be a mind-blowing experience. The Turkana Boy fossil is the most complete hominin fossil found to date, which means that a very realistic and scientifically accurate reconstruction can be made by paleo-artists. Turkana Boy can be brought to life in this way.

The early hominins’ gallery at Ngaren will also be populated with all the African early hominins that make up our evolutionary story.

This will be unique from all other types of displays of early hominins around the world. The gallery will include exclusive sculptures made especially for Ngaren. The story told in this gallery takes place on

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the African continent, but the gallery will include a few references to early migrations of the genus Homo outside of Africa. Key Kenyan specimens, whose reconstructions are still constrained to glued fragments of bones, will be developed into life-size models and portrayed for the first time anywhere in the world – e.g.

Kenyanthropus platyops; Homo habilis; Homo rudolfensis and more.

Models will be displayed so that they catch visitors by surprise – each time a visitor encounter a new character in the story. The models will display the story of human evolution that we know up to the present day. The exhibit will provide scientific evidence of the story – and be designed to dismantle misconceptions about the linearity of evolution. Visitors will be able to experience the intricacies of our evolutionary tree – and realize that our “tree” is more similar to a messy bush than an actual tree. One option for an exciting way to exhibit these models would be to place them in a maze with dead ends portraying how all the lines of evolution became extinct – but showing that the one of Homo sapiens survived. Visitors will be able to go around the models, get close, analyse them in detail, make comparisons between them. Visitors will also be welcome to take selfies with the models, and share their experience on social media.

Collection wish list: The most complete collection of real size models and replicas of fossil specimens of early hominins.

• Sahelanthropus tchadensis • Orrorin tugenensis • Ardipithecus kadabba • Ardipithecus ramidus (Ardi) • Kenyanthropus platyops (KNM–WT 40000) • Australopithecus deyiremeda • Australopithecus bahrelghazali • Australopithecus anamensis • Australopithecus afarensis (Lucy, Dikika child, Laetoli footprints) • Australopithecus garhi • Australopithecus africanus (Mrs. Ples, Little foot, Taung child)

• • • • • • •

Australopithecus sediba Paranthropus aethiopicus (Black skull) Paranthropus robustus Paranthropus boisei (Zinjanthropus) Homo habilis (KNM–ER 1813) Homo Rudolfensis (KNM–ER 1470) Homo ergaster from East and South Africa (KNM–ER 3733; KNM– ER 3883; KNM–WT15000 Turkana Boy; DNH 134) • Homo erectus (specimens from Java, China, Georgia).

A face with a chin Size: 1,400 m2 Type of gallery: Hands-on; body-on; social-on.

Holding power: 20 minutes.

Target group: Families, school groups, business visitors, tourists.

Objective: To make visitors understand that we are all part of one same family of humans.

Learning outcome: We are all Africans. Our differences are expressions of our evolutionary history.

Key-message: We are universally human.

Icon: The family photo wall.

Must-sees: Pepper’s ghost mirroring visitors’ faces on modern human skulls of different ages.

While the previous gallery will mainly be set on the African continent, this gallery will be about the migration of Homo sapiens all over the world. Visitors will be able to query digital maps that will allow them to follow their own journey out of Africa through their ancestors’ stories.

Visitors will learn that during the last million years of hominin evolution, Homo diversified in and out of Africa – with one surviving branch finally leading to our own species. Visitors will learn that when modern humans start to appear in the African fossil record around 300,000 years ago, they existed on earth with other hominins: Homo naledi in South Africa; Homo heidelbergensis all

across east and south Africa, but also in Europe and east Asia; Homo erectus, in east and southeast Asia; Homo neanderthalensis in Europe and the Middle East. New fossil and ancient genetic evidence now reveal even more regional variation – for example Denisovans in central Asia, Homo luzonensis in the Philippines and floresiensis in Indonesia. Visitors will realize that rather than a single linear evolutionary path, the diversity of the hominin line is more like a bushy branch than a tree.

found in the fossil record will be made specifically for this gallery.

These are the oldest findings proving the existence of our lineage at least 300,000 years ago. But the gallery will also be constructed to acknowledge and anticipate new research and new findings that may continue to develop a pan-African story. This room will have a live-lab where visitors will be able to see excavations in progress, talk to scientists, and preview recent findings that will not have become part of the Ngaren permanent exhibits yet.

Visitors will realize that we are the only hominin alive today. The gallery and exhibits will show that as sapiens left Africa and colonized all the world, our species seems to have out-competed all the others. However, improved DNA studies suggest possible assimilation of Neanderthal and Denisovan on the way. DNA studies also reveal that all living humans today descend from an ancestral African population. Over time, groups of this ancestral population dispersed across the world, giving rise to the variation we recognize in humans today. Now humans are everywhere, but we know from scientific evidence that we are related – brothers and sisters that came from Africa. We are all Africans.

Collection wish list: • Replicas of Homo sapiens skulls of different ages and sex.

• The most complete collection of real size models and replicas of fossil specimens of early Homo sapiens (Jebel Irhoud, Morocco, 315,000 y; Florisbad, South Africa, 260,000 y; Omo Kibish 1, Ethiopia, 195,000 y; Misliya Cave, Israel, 180,000 y; Herto, Ethiopia, 160,000 y; Qafzeh, Israel, 120,000 y) and contemporary hominin species – Homo heidelbergensis, Homo naledi, Homo neanderthalensis, Homo floresiensis, Homo luzonensis, Chinese specimens. List to be compiled carefully after making final decisions about exhibits.

At the end of this gallery, visitors will have the chance to upload their photo onto a “family photo wall”, which will graphically show that we are all related and part of one family of humans.

4. The Evolutionary Game Room and Treasure Rooms

This gallery will be designed to be modern and technological, with virtual CT scan models, 3D printing and genomic stories that communicate how much the field of research of our past is substantiated by cutting-edge science. To tell the story of the human journey there is a wealth of evidence in the form of fossils, archeological artifacts, and genetic information, that provides amazing stories. It would be impossible to tell this story without this evidence, and technology allows us to understand even more about the details of even individual stories. Visitors will learn that we can decipher stories from the past including stories of people travelling on boats or surviving volcanic eruptions. Models of the earliest sapiens

Evolutionary Game Room Size: 600 m2 Type of gallery: Hands-on.

Holding power: 20 to 30 minutes.

Target group: Families, school groups, business visitors, tourists.

Objective: To make visitors experience how cooperative they are by nature and sense their connection with biodiversity.

Learning outcome: By cooperating and using our brains we can change our behavior for the better.

Key-message: We need each other.

Icon: Jenga! game.

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This gallery will be a joyful and energetic space for all visitors, young and old. Visitors will have the chance to play a social game, or engage in something more thoughtful. It will be a space where people can reinforce their understanding of what they have experienced in the exhibits – and absorb the information, examples, and stories they have seen at Ngaren. The goal is that everybody leaves satisfied and stimulated to think and learn more about the many questions that arose during their visit.

The look and feel of this gallery will be a colorful combination of games – from video games, to party games, tabletop games, and escape rooms. The designers, content developers, and game developers will produce unique games for this room so that visitors will have the chance to play with concepts and facts of evolution, and experience what it means to be human. One of the aims of this gallery is to make visitors realize that life on earth will continue with or without the existence of humans. It will explore topics and scenarios of our own extinction and what we can do to mitigate our impact on the planet.

The icon of this gallery is the Jenga! tower. Jenga is a Swahili word that means “to build” and has become famous worldwide as a game of coordination and strategy. It consists of 54 blocks of wood that form a rectangular tall tower which is slowly dismantled by the removal of one piece each turn. The aim of the game is to have the tower not fall despite removal of underneath blocks. The symbolic connection to synergy, cooperation, interconnection among each other and among living beings is very powerful and will stimulate players to ponder our own existence on this planet and the fragility of nature.

Treasure Rooms The intention is that when visitors leave the Evolutionary Game Room they will fully appreciate the importance of biodiversity, but also understand that we are all part of nature and that we have an obligation and self-interest to take care of our world. The Treasure

Rooms (Symphony of nature, Homage to humanity and A treasure trove of ideas and great minds; 400 m2 each) will be designed as an immersion into the beauty of biodiversity, through the stimulation of all senses. The rooms are conceived so that visitors realize how beautiful our world is and that we have an obligation to take care of it. These galleries may be spaces that can be developed in collaboration with artists.

‘A treasure trove of ideas and great minds’ in combination with the Evolutionary Game Room could be promoted for special business game coaching or as part of leisure activities for special conferences at Ngaren, contributing in making Ngaren an attraction for purposes beyond tourism and education.

From the Treasure Rooms visitors will return back into the Welcome Hall, where they will find the information desk, shop and main restaurant.

Summary table of objectives, learning outcomes and key messages Gallery

Objective

Learning outcome

Key message

The Dome

To shape the mindset; to make visitors feel tiny before the immensity of the universe and the beauty of life, opening up to questioning their human exclusiveness.

We are part of nature; we are all connected.

We are all connected.

The Orientation Hall

To immediately connect visitors with the environment and the past.

There is a strong connection between human evolution and this place.

This is where we all come from.

Exploration stations

To have visitors read the book of nature.

Knowing our environment through sediments and fossils is key to understand our past.

The present is the key to the past.

A field of pancakes

To introduce visitors to the time depth of the origins of life and the mechanisms of evolution.

Evolution explains life on Earth.

All life has one common ancestor.

A dinosaur in Africa

A wow experience into the African dinosaurs’ world; to make visitors realize that nothing in life is permanent.

Despite their success, dinosaurs went extinct. Their demise opened up for mammals’ success.

Everything changes.

A whale in the desert

To educate visitors on their mammalian origins and evolution as primates.

Humans are apes.

Environmental changes trigger evolution over time.

A skeleton of a boy

A mind-blowing encounter with Turkana Boy; to persuade visitors that evolution applies as much to humans, as to any other life forms.

Africa is humanity’s homeland.

Evolution applies to humans as well.

A face with a chin

To make visitors understand that we are all part of one same family of humans.

We are all Africans. Our differences are expressions of our evolutionary history.

We are universally human.

Evolutionary game room

To make visitors experience how cooperative they are by nature and sense their connection with biodiversity.

By cooperating and using our brains we can change our behavior for the better.

We need each other.

Symphony room

To appreciate nature with all senses.

We need to take care of our world.

Our planet is our home.

Homage to humanity

To value human cultural diversity.

Human diversity is something to respect and protect.

We are all one family.

A treasure trove of ideas

To inspire and empower visitors to support the future of the human family and planet.

There is a lot we can do.

Every journey starts with a single step.

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Schematic representation of the accessibility of the different areas of the institute.

ANNEX 4: ALTERNATIVE PROJECT DESIGN AND CONSTRUCTION PROPOSED NGAREN MUSEUM OF HUMANKIND PROJECT DESIGN AND CONSTRUCTION METHODOLOGY FOR KENYA

Submitted to

Ngaren Inc. as part of the Naturalis Biodiversity Center’s Programme of Requirements

Submitted by Otto Mruttu & Partners Architects December 2020

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Contents 1.0 Introduction 2.0 Methodology and Work Plan 3.0 Key Work Stages

1.0.0.0.1 Introduction This document complements the Program of Requirements prepared by the Naturalis Biodiversity Center, Leiden, The Netherlands by providing a design and construction methodology that is specific to Kenya. The document explains the Kenyan methodology by anchoring the process in Kenyan law, The project’s key work stages, milestone and deliverables are described in the context of Kenyan law whilst the statutory requirements and deliverables are also defined as would be expected for a large project being undertaken in Kenya.

The methodology is written from a construction project management perspective and also defines the roles to be played by the core team of design consultants: architect, quantity surveyor, structural engineer, civil engineer, electrical engineer and mechanical engineer.

site conditions and permissible development guidelines. A Project Inception report will then be prepared. Task 1 deliverables in the form of an inception report will contain: • Site Investigations Report • Schedule of conditions of the site • User requirements and input • Project methodology and work plan • Feasibility study • Permissible Development Guidelines • Schedule of required consultants • Design brief • Works Program • Approved Change of Use from agricultural user to mixed use.

2.1.0.0 Methodology Outline On close examination of the terms of reference this project methodology has been divided into five key tasks taking into account deliverables on completion of each phase. These phases are:

2.1.1.2 Task 2: Outline Proposals Outline design proposals will then be prepared in conformance with the results of the project inception report. This proposals will be a consideration and development of the design brief in the form of Outline Design Proposals which incorporate a detailed presentation of the client’s requirements and an approximation of costs of meeting the requirements. The consultants will also report on any decisions required from the client and will receive any amended instructions from the client required to progress the design. The project manager will advise the client on the need to instruct other consultants required at this stage. Task 2 deliverables will include: • General detailed Layouts • Report on site conditions • Preliminary cost estimates

2.1.1.1 Task 1: Inception This task will include the inception of the project, negotiations with the client, advising the client on the services required of all project consultants, advising the client to engage a Physical Planner for the purposes of applying for Change of Land Use consent, obtaining an initial statement of requirements and outlining possible courses of action, preparing a Site Investigations Report to determine the

2.1.1.3 Task 3: Scheme Design The architect will prepare in collaboration with other consultants, a scheme design consisting of small scale working drawings which shall indicate the spatial arrangements and appearance of the proposals. In addition to the drawings, the consultants will present an assessment of the costs and timetable of the project. The architect will also consult with the County Government and submit copies of the drawings

2.0.0.0 Methodology and Work Plan

for planning consent, structural approvals and an application for a Construction License from the National Environment Management Authority (NEMA) upon preparation of an Environmental Impact Assessment under the building by laws. Consultants will also submit to the client an assessment of costs together with a revised project time table. Task 3 deliverables will include: • Architectural working drawings submitted for statutory approvals; • Structural drawings and schedules for statutory approvals; • Environmental Impact Assessment (EIA) to be used for submission to NEMA for a Construction License; • Cost estimates based on more accurate quantities; • Revised project schedule.

2.4.1.4 Task 4: Detail Design – Production Information This phase will include the preparation of working drawings, coordination of consultants respective input up to preparation of tender documents; drawings, specifications and bills of quantities.

Following which tenders will be advertised, analyzed and the winning tenderer notified. Deliverables will be: • Architectural working drawings; • Production information drawings; • Structural & civil engineering drawings and specifications; • Mechanical & electrical engineering drawings and specifications; • Specialist works’ drawings and specifications; • Product specific specifications • General Specifications • Bills of quantities • Approved number of tender sets 2.4.1.5 Task 5: From Tender Action to Completion This task will comprise of consultant’s advising on the tender process, prequalifying tenders, tender action, tender analysis and recommendation of tender awards, contractor(s) mobilizing for site operations, operations on site, testing & commissioning, hand over and management of the defects liability period, preparation of final account and project close out. The deliverables during this phase are:

• Prequalification of contractors; • Tenders; • Tender analysis and recommendations; • Contract administration; • Periodic / regular valuations by the quantity surveyor; • Monthly / regular architects’ interim payment certificates to the contractor; • Inspections and reports; • Meetings and minutes; • Financial appraisals; • Architects instructions when necessary; • Regular site visits; • As built drawings; • Testing and commissioning of equipment and installations; • Operations and maintenance manuals • Hand-over of completed and facilities; • Practical completion certificates; • Management of the defects liability period; • Certificate of making good defects • Final account; • Close Out Throughout the project there will be extensive consultation with the client and stakeholders. The end of each phase will see approvals for the work completed and updated work plans for the following phases.

2.4.1.6 Close Out and Training This task will involve training of the clients’ staff in using the Building Management Systems together client feedback and training in operations and maintenance of the buildings.

2.4.2.0 Key Issues There are several key issues that have been identified that will influence the approach to the project.

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2.4.2.1 Affordability The team will work together with the client to ensure that the project is delivered on time and at budgeted cost. You will notice in the description of phased services above that we have allowed for preliminary costing and cost estimates in the initial phases of the project. This approach ensures that warning signs of cost over runs are identified at the earliest possible opportunity.

2.4.2.2 Contract Packaging The division of the works into appropriate sections and contracts will demand careful consideration, as a number of criteria need to be applied. The capabilities of contractors will be an important factor.

This will need to be determined in early discussions with the client.

2.4.2.3 Materials, Methods and Local Resources The use of design solutions and materials appropriate to the country should be central to the design philosophy, both in terms of the future operation of the building and in making cost-effective use of local resources and skills. Familiar construction methods and materials will be used to the extent that these are in line with cost, time and long-term use criteria. The importation of complex systems and components should be managed to ensure that lead times are accurately factored.

2.4.3.0 Methodology & Task Assignments 2.4.3.1 Task 1 (Inception) On contract award, the key consulting team members will meet with the client project team to introduce the team, to discuss and finalize the work-plan and schedule, and to plan stake holder consultations.

Task1 opens with a project initiation meeting and concludes with a review meeting on the Inception Report. In between these two meetings it is expected that the consultants will carry out the following tasks:

Develop a brief and plan of action. The strategic brief will include the following: • The client’s objectives, requirements, priorities and established criteria, • Preparation of a feasibility study to determine the scale and specification level of the building, • The client’s environmental policy, • Life expectancy of the building and its components, • Access considerations, • Security requirements, • Health & Safety policy, • Detailed user functional requirements, • Preferred spatial relationships & orientation, • Briefing from other interested parties, e.g. end users, tenants, hotel managers, etc • Funding or institutional requirements / restrictions, • Environmental considerations and consultations with NEMA. • Physically Disabled requirements • Need to carry out soil & ground tests so as to decide on the appropriate foundations technology • Need to consult with the local authority so as to take into consideration the permissible development guidelines • Advice the client on the appropriate construction methods.

• Carry out consultations with client so as to incorporate client specific requests • Prepare an inception report detailing all the above.

2.4.3.2 Task 2 (Outline Proposals) Outline design proposals will incorporate all suggestions made by the client during presentation of the Inception Report. The consultants will ensure that the strategic brief (Inception Report), will be evaluated to establish that: • The client’s stated objectives are reflected; • The end users’ objectives have been incorporated; • An adequate basis for design is provided; • The time and cost parameters are reasonable

• All information the client should provide before design commences is provided • The consultants will carry out the following activities while preparing preliminary sketch proposals.

Further, the team will; • Advise the client on the need for surveys which will include; traffic, ground, soil, surrounding buildings, topographical and cartographical; • Consult the local authority on permissible development guidelines; • Consult NEMA on Environmental impact studies and submission of the Environmental Impact Assessment to NEMA for approval; The team will establish change control procedures through a project quality plan so as to ensure that all changes to the brief are carried out in a controlled manner.

During this task, outline design proposals will be provided. These will: • Show the design sufficiently developed for the client to comprehend, comment on and approve the proposals; • A diagrammatic analysis of requirements; • Use of Building(s); • Solutions to functional and circulation problems; • Relationship of spaces, massing, • Construction and Environmental interventions • An estimate of the Construction Cost, sufficient to allow for the preparation of a cost plan.

The outline design proposals will comprise of the following documents: • General layouts • Site studies • Sectional Elevations • Elevations • Construction Estimates • 3D models wherever required to understand design.

Project Management during Outline Proposals Active project management will be carried out throughout the project to: • Ensure time, quality and cost objectives are met; • Provide monthly progress reports to the project team; and • Provide a continuous contact point for client questions and "hotline" issues.

The project management task for the consultancy effort will continue throughout the project. It will include: • Client liaison; • Establishing design criteria and design directives; • Schedule adherence; • Management of time and budgets of the Team; • Project administrative functions Consultant team roles: Outline Proposals Stage Quantity surveyor The QS will assist the consultant team in reviewing financial aspects of the preliminary sketch designs and monitoring costs against the budget. They will be involved continuously and will report regularly at consultant team meetings. The QS will evaluate the Strategic Brief and advice on the cost implications of design and energy options.

They will prepare an initial cost plan and cash flow forecast, relying on input from other consultant team members.

Structural and Civil engineers The engineers will work with the architect to develop structural concepts which are integral with the overall design at this stage.

They will visit the site and advise on the structural constraints it imposes, and advice on surveys needed, for example where there are special conditions such as a high water table. The structural engineer will advise on environmental issues such as excavation and landfill.

The civil engineer will advise on the civil works by proposing possible solution on the road and drainage works. They will also liaise with services engineers to ensure integrated design. Priorities should be established and conflicts resolved at design team meetings.

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Mechanical & Electrical Engineers (Building Services engineers) At this stage, the building services engineers will take into account orientation, climatic and other environmental factors. There will also be a need to establish performance, installation costs and costs in use. The services consultants will play an important role in contributing to an integrated design approach, including consideration of sustainability issues, for example where there are special conditions such as a high water table. The structural engineer will advise on the availability of water which will then be taken into account by the services engineers. They will identify surveys required and initiate preliminary consultations with statutory authorities and will contribute regularly to design team meetings.

Health and safety All consultant team members will co-operate with the Project Manager in carrying out risk assessments, and preparing material for inclusion into the Health and Safety File and the pre-tender Health and Safety Plan.

Task 2 Deliverables: Outline Proposals; • General layouts • Site studies • Sectional Elevations • Elevations • Preliminary construction Estimates • 3D models wherever required to understand design.

2.4.3.3 Task 3 (Scheme Design– Statutory approvals) In task 3, the team will carry out the following tasks after the outline proposals have been approved: • Complete development of project brief taking into account approved scheme and recommendations; • Develop scheme designs from approved outline design proposals; • Provide information to the QS to prepare cost estimates; • Consult statutory authorities; • Submit application for architectural planning permission;

• Submit application for structural approvals; • Co-operate with planning officials where necessary.

• Prepare and submit an Environmental Impact Assessment to NEMA for the purposes of obtaining a NEMA construction license.

Task 3 Out-put • Following tasks carried out in task 2, the team will produce the following: • Statutory applications will be made, • Detailed proposals showing coordinated design intentions, site layout, planning and spatial arrangements, elevation treatment, construction and environmental systems build ability, • A firm cost plan including a cash flow forecast to enable the client make necessary financial arrangements, • Pre-qualification of contractors will be carried out.

Project Management during Task 3 (Scheme Design) Additionally, the architects will: • Coordinate and monitor design in put by others; • Establish the form and content of design outputs, their interfaces and a verification procedure; • Establish / review project quality management procedures in concert with relevant procedures of all consultant team members; • Confirm programme and pattern for consultant team members; • Advise on methods of procuring construction; • Report to the client for design and specification reviews.

• Coordinate preparation of statutory drawings on receipt of clients’ approval to proceed.

• Coordinate preparation of NEMA Environmental Impact Assessment Consultant team roles: Scheme Design Stage Quantity surveyor The QS will be in close collaboration with the architect during this time of detail design. Choices of materials and specification notes concerning standards and workmanship need to be watched

carefully and checked against the cost plan. The QS will be closely involved in discussions regarding the selected procurement route.

The QS will provide an updated cost plan and cash flow forecast for inclusion in the Work Stage report.

Structural and Civil engineer The structural engineer will cooperate closely with the architect to ensure a satisfactory integration of structural considerations into the overall design. The engineer will have regard to the location and requirements of all service installations, the building envelope, and the construction process.

The engineer will consult with statutory authorities as appropriate, and provide information as necessary for statutory or third party approvals. Where necessary, the engineer will develop drawings and specifications for tendering documentation for nominated sub-contract work or enabling contract works Mechanical and Electrical engineers (Building services engineers) The building services engineers will assist the architect in finalizing design integration. Their proposals will develop information drawings and specification notes sufficient to allow tendering documentation for nominated sub-contract work or nominated supply items. They will consult with statutory authorities as appropriate.

They will also prepare builders’ work requirements in detail for incorporation in the architect’s and structural engineer’s drawings.

All information will be passed to the QS through the architect for checking against the cost plan.

Registered NEMA Expert A registered NEMA expert will carry out an environmental impact assessment of the project and propose mitigation measures that will be used during construction and in the lifespan of the building. This assessment will include impact of construction activities and a traffic analysis in consultation with the local authority and NEMA. The resultant report will then be submitted to NEMA for the purposes of

obtaining a NEMA Construction License. Should the report reveal the need to redirect vehicular traffic during construction or permanently around the site, then our NEMA expert and the project civil engineer will liaise with the City Engineer so that consent for the proposed traffic mitigation measures are granted and the proposals implemented.

Deliverable: Scheme design comprising of; • Architectural drawings, structural drawings & bar bending schedules to be used when making statutory approvals; • Environmental Impact Assessment will be submitted to NEMA; • Scheme design proposals showing coordinated design intentions, site layout, planning and spatial arrangements, elevation treatment, construction and environmental systems build ability; • A firm cost plan including a cash flow forecast to enable the client make necessary financial arrangements, • Draft Bills of Quantities will be presented for the client's approval of specifications, • Pre-qualification of contractors will be carried out.

2.4.3.4 Task 4 (Detailed Design – Production Information) The team at this stage will embark on preparation of final bid documents. However, prior to the exercise commencing, the team will: • confirm that the project brief has been confirmed by the client so as to avoid variations during construction, • confirm that detail proposals have been accepted by the client, • confirm that a cost plan has been prepared by the quantity surveyor, • confirm that the proposal conforms to all relevant legislation, • confirm that information from possible suppliers has been incorporated in the proposals, where named suppliers are necessary, After all the above has been put in place, the team will embark on development and preparation of final proposals. This will be done in the following manner:

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• Coordination and integration of information from consultant team members, • By reviewing with team members the clients response to phase to out-put, • Drafting preliminary notes for bills of quantities, specifications and schedules of work, • In the event of adverse comments from the planning department on the submitted scheme, • the consultants will amend the proposal to suit planning comments, • the consultants will carry out inspections and tests on specified products (e.g. stones, bricks, components, panels, etc.) this will ensure that approval of items takes place before publication of bills of quantities, Deliverables for Task 4 (Detailed Design – Production Information) • Complete set of detail design drawings including drawings and information from engineers • Draft Specification notes • Draft bills of quantities • Cost estimates • Non-production information for use in dealing with third parties (e.g. in connection with leases, insurances, boundaries, etc.)

After draft tender documentation has been prepared, the consultants will present appropriate copies to client’s project team for comments / approval. Meanwhile, consultants will embark on the pre tender check activities in the following way: • Prepare adverts for the print media to notify interested contractors of time and place of collection of tender documents, • Wherever necessary prepare material for submission to the client’s insurers to enable active insurance cover during construction, • Review / update standing lists or register of specialist tenders and check written confirmation from client on tenders to invite, • Discuss with the client the method of short listing tenders (e.g. tender questionnaire, etc)

• Initiate tender action for quotations from approved specialist supplier (e.g. air conditioning etc.), Following comments / approval of the draft tender package by the clients, the consultants will; • Amend the tender package to suit client’s comments.

• Check tender invitation documents after making the necessary copies of drawings, • Put in place measures to assist the tenderers in visiting the site, procedures for seeking information from consultants, etc.

Project Management during Pre-Tender Phase In order to ensure that the pre tender phase of the project runs smoothly, the architects will assist the Quantity Surveyor and Services Engineers during preparation of the Bills by supplying the following to them: • Specification note for incorporation as preambles to work sections, • Information for inclusion in preliminaries such as: - Form of contract - Content and use of contract documentation - Method statements required - Work to be done directly by employer - Requirements concerning sequence, time, limitations, etc.

- Provisional sums to be included, - Provision for named / nominated subcontractors / suppliers, - Prime sums to be included Further, the project manager will coordinate the consultant team to ensure that the tender package is ready for collection.

Consultant team roles: Detailed design and Production Information Quantity surveyor The QS will be supplied with drawings and specifications for all the contract works. Any observed discrepancies or omission will be raised with the architect, preferably by question-and-answer sheets.

The QS will carry out cost checks and keep the architect informed of the results. Contract particulars and other information for the preliminaries will be supplied to the QS. Once the billing and tendering

documentation is complete, the QS will provide the design team with an updated cost plan.

Structural Engineer The engineer will prepare production drawings and specifications for the relevant construction and operations on site. Documents might also be needed for preliminary contracts or enabling works which usually have a structural content.

The engineer will provide the QS with drawings and specifications for billing, and with reinforcement lists or schedules as relevant. It might also be necessary to supply copies of surveys, soil reports, and geotechnical information to accompany tender enquiries.

Building services engineer The services engineers will prepare the necessary drawings and specification. Tendering procedures for named or nominated sub-contract work will be finalized. Where work is to be subject to performance specification and is intended to be the direct responsibility if the main contractor, albeit via some domestic arrangement, then the services engineer should alert the consultant team to this as the main contract will need to include appropriate terms.

All necessary information should be passed to the QS for inclusion in the specification and Bill of Quantities. Where the services engineers are responsible for obtaining tenders from sub-contractors and suppliers, evaluation of these will be in collaboration with the architect, QS and planning supervisor.

NEMA Expert The NEMA Expert will liaise with the National Environment Management Authority to ensure that a Construction License has been granted. Further, any recommendations made by NEMA will be communicated to the client and consultants so that any mitigation measures to be implemented during the construction phase are captured as preliminaries in the bills of quantities.

• Complete set of detail design drawings including drawings and specifications from engineers • Specification notes • Priced bills of quantities including construction estimates • Cash flow forecast • Non-production information for use in dealing with third parties (e.g. in connection with leases, insurances, boundaries, etc.)

• NEMA Construction License, • Prequalification of specialist sub-contractors in the following categories; - Plumbing & Drainage sub-contractor; - Bore hole contractor; - Ventilation sub-contractor; - Air conditioning sub-contractor; - Fire prevention and intervention; - Electrical sub-contractor; - Structured cabling and networking; - Building Management Systems; - Solar power subcontractor; - Solar water heating subcontractor; - CCTV subcontractor; - Security and Alarm systems subcontractor; - Television and Audio Vision subcontractors; - Kitchen and hotel fit out specialist subcontractors; - Laboratory specialist subcontractors; 2.4.3.5 Task 5: Tender Action – Completion Project tender documents will be prepared in accordance with the Joint Building Council or FIDIC general and specific conditions of contract. Any special conditions to the contracts will be drafted by the project manager after consultation and agreement with the client’s Project Team.

Specifications will be based on Kenyan Standards and where not available European Standards will be used while Bills of Quantities will be prepared to an agreed format.

Deliverables for Task 4 (Detailed Design – Production Information)

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The tender documents will be a comprehensive set of contract conditions, working drawings, specifications and Bills of Quantities to fully explain the construction works and significant design issues and will be prepared in accordance with client’s policies.

Provisional sums and prime cost sums will only be included within the tender documents for unforeseen contingencies and for work to be executed by statutory authorities or specialist sub-contractors.

Clients Review of Tender Documentation The complete tender packages, with a draft contract for construction contractors, will be submitted for a milestone review. The shortlist of eligible bidders will be agreed upon, as well as a schedule for the tender process. The tender packages will be finalized following review and delivered in agreed copies.

Pre-qualification The Project Team will prepare pre-qualification criteria and pre-qualification documentation for issue to prospective contractors. This request for qualifications (RFQ) will be submitted to the client / project manager for approval, along with a recommended approach to dissemination. The client will then publish notices and otherwise notify possible contractors, assisted as necessary by the consultant's team.

With the client’s agreement, the Team will undertake a formal program to generate and monitor bidder interest. During all bidding processes, qualified firms will be kept abreast of pending contracts as well as the location of the bid documents. To ensure the maximum participation of firms throughout the duration of the program a tracking system will monitor the activities of all contractors involved.

Pre-qualification submission evaluation criteria will include: • Experience of the firm/JV on projects of a similar scale in the past five years; • Personnel capabilities – the experience of the specific personnel proposed for the key positions onsite;

• • • • •

Equipment capabilities; Financial position – records for five years; Safety and environmental policies and record; Litigation history; and Conflicts of interest.

The consultants will evaluate the returned prequalification documents using the criteria agreed with the client and make recommendations on which contractors should be selected to tender. Tender documents will be issued only to the successfully pre-qualified contractors.

Tender Call A tender call will be issued to eligible bidders. Sufficient time will be provided to enable the bidders to finalize their Teams and to prepare accurate bids.

Tender Evaluation During the tendering process, our team will: • Participate and assist in the tender opening session and prepare a formal record of the tender opening; • Prepare a tender evaluation report to: • rank all tenders including any alternatives on the basis of tender price only • assess the eligibility and conformity with tender instructions arithmetically check tenders • list the most important conditions and prepare a preliminary valuation of their financial consequences • prepare and submit to the client an interim report identifying any non-responsive bids and recommend that the two or three lowest responsive bids for further detailed evaluation • prepare a detailed evaluation of the two/three lowest responsive bids recommended for further evaluation; • Assess the qualification of the respective bidders with regard to their financial status, previous experience, origin of equipment, joint-venture statements, nationality, etc.;

• Assess the technical adequacy with regard to equipment, staff, working methods, time schedule, quality assurance program and site organization; • Assess the tenderer’s understanding of the local situation and ability to manage activities in compliance with health and safety stipulations; The team will additionally; • Check on unbalanced prices in terms of sensitivity for variation in quantities and, if applicable, check on sensitivity of tender amount for variation in key prices (e.g. fuel, cement, bitumen, ballast; etc.) and perform discounted cash flow analysis; • Analyze and evaluate conditions made by tenderers; • Briefly evaluate alternatives, if any; • Request clarifications, if necessary; • Identify areas where potential savings may be realized during contract negotiations; • Prepare a draft tender evaluation report with an award proposal, based on evaluated tender prices and indicating remaining doubts to be removed in contract negotiations; • Submit the draft evaluation report in a meeting with the concerned authorities, assess and, if necessary, discuss comments received and include the results in the Final Tender Report then to be prepared; and • Submit the Final Tender Report to the client.

Contract Negotiation The project team will assist the client in contract negotiation with the selected contractor.

Construction Management and Contract Administration of the works Below is a demonstration on the flow of work. Task 5 will start before Task 4 is complete to compress the schedule. Each of the tasks is described below.

If necessary, for each tender received the Team will: • Clarify and settle open questions, as far as possible by correspondence or discussions and prepare certified correspondence of the process; and • Finalize, if necessary, contract negotiations in discussions with the selected bidder in the presence of client’s authorized representatives and arrange for signing of certified correspondence.

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Project Implementation Plan Mobilization A 21 day mobilization period is recommended to enable the contractor to get key individuals on site, and to move any specialized equipment to the site. This is subject to client’s approval.

Construction Supervision During construction, the team through the onsite Clerk of Works and Resident Engineers we will monitor compliance with plans, specifications and construction practices. The Team's project organization should have the flexibility and resources to provide the full range of inspection disciplines as and when needed and on-call basis. Inspectors will take part in regular progress meetings with contractors and will be instrumental in coordinating construction activities.

The Team will expedite solutions to all design-related questions.

Requests for information will be sent to the appropriate professional source, and the project manager will co-ordinate the timely resolution of any design-related uncertainties.

The consultants’ primary objective should be to safely produce the highest quality construction, on schedule and within or below budget. In addition, the team should have 1st hand knowledge of local building codes, regulations, labor markets and climatic conditions allowing them to manage the programme in a manner that capitalizes on this experience for the benefit of the client from day one to close-out.

The team will be responsible for the measurement and valuation of the works. Every month an anticipated final account report will be prepared, which will include the effect of variations issued to date and those contemplated.

Site meetings with the contractor(s) will be held at weekly intervals to review progress against the contractors’ programme and monthly

reports will be submitted to the client.

Other meetings or visits by the Resident Engineer/Project Manager or specialist staff will be arranged as necessary or as requested by the client.

The Architect, Clerk of Works and Resident Engineer will closely liaise with client’s Project Manager and Project Team and will advise and seek approval where any variations are likely.

Also during this phase, the contractor will be expected to implement the Environmental Management Plan. Performance will be checked against agreed targets and standards by the consultants.

Deliver As-Built Drawings In addition to the submission of as-built drawings (prepared by the contractors) and other descriptive data, on completion of the construction project archives will be prepared, including a list of the contractors and suppliers involved in the works.

Maintenance and Operations Manual A Maintenance and Operations manual will be prepared, including: • Operation and maintenance manuals and catalogues relating to equipment and systems; • Terms of warranties and maintenance contracts and certificates of warranty; • Requirements for routine and periodic maintenance; and • Recommendations on minimum spare holdings and sources.

An indicative programme and budget will also be prepared covering items, which can be expected to require maintenance or replacement in the longer term.

Maintenance Training With material and support from suppliers, the consultants will organize a training program on the maintenance of the new lighting systems, HVAC systems, electrical systems, solar water heating systems, solar power systems and other specialist installations.

An overview of maintenance management systems will also be provided.

Construction Completion Report A Project Completion Report will be prepared summarizing all relevant events during the construction of the works and certifying the consultants’ final position on all technical, administrative and financial matters arising out of the implementation of the contract works.

Final Account When all contractor invoices and claims have been resolved, a final accounting of the project will be prepared for the client 2.4.3.7 Defects Liability Period & Report During the Defects Liability Period, the Project Team will • Undertake inspections on completion of corrective actions by the contractor on any defects which occur; and • Prepare, certify and issue final certificates for payment upon final completion.

• Issue a maintenance/defects period report in three copies at the end of the one year period.

contractual services to successfully implement a project of this size and nature. Achieving the project objectives will require: • A commitment to the client involvement in and control of project progress and direction; • A focus on critical programme aspects of technical quality, programme and cost; and • Full utilization of experience in projects of a similar nature.

Key concepts to our approach are: • Co-ordination within the consultants, between the consultants and client’s Project Team and with other relevant bodies; • Communication - clear and effective communication between the consultants and the client and between all project participants and users; and Project Management Elements

2.4.4.0 Project Management & Quality Assurance 2.4.4.1 Project Management The objectives of the project management approach are: • To ensure project success in terms of accomplishment, time and cost by incorporating a proven structure and procedures, and by assigning senior, experienced staff; • To identify potential problems and solutions as quickly as possible; and • To provide timely, accurate information to the client.

The project management philosophy involves an integrated team effort to organize and manage the full range of technical and

Our project management approach includes: • A project management plan • Quality assurance practice • Project schedule management • Project cost control tools; and • Safety & security management

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2.4.4.2 Project Management Plan A detailed project management plan (PMP) will be implemented to address the management and coordination of every aspect of the project. The management plan will establish the lines of communication, chain of command, review and approval authorities, coordination procedures and all other processes required for proper management of the entire project.

The plan will use proven Project Management Procedures to provide a comprehensive resource for all activities and individuals. The PMP will identify the roles and responsibilities of the consultants members and the client’s project staff for the total project - review and assessment, design, bidding, contract award, construction, contract close-out, project files and document control, project meeting system, project controls, information systems and reports.

The PMP will be developed together with the client’s designated project representative.

Recognizing that every project has its own unique elements and concerns, the PMP will be fine-tuned to incorporate these while still maintaining the basic management fundamentals. The team’s major strength is its track record of implementing these time proven management strategies for successful completion of one complex project after another, within the timeframe and budget established and approved by our clients. The combination of the experience of our people and the proven benefits of the project management strategies will ensure that the Project Team will exceed the expectations of the client throughout the project.

2.4.4.3 Procedures We will define procedures for every element of the PMP: • Budget approval and budget control; • Schedule approval and schedule control; • Design review and approval; • Documentation and document control; • Contract administration;

• • • • • •

Communication and reporting; Construction implementation; Phasing and coordination; Safety plan and security requirements; Quality control; and Project closeout and finalization.

2.4.4.4 Coordination With the Project Management Plan and administrative procedures finalized, the task of managing the process becomes a matter of schedule and budget control. To ensure that the project continues to progress as planned, a clear definition of communication procedures will be implemented to ensure that all the consultants have a thorough understanding of the process that governs the work.

During the design phase, the consultants will investigate the client’s operational requirements and ensure that the procedures to be used during surveys and construction are compatible with all the client’s environmental, safety and security requirements. These requirements will be defined in the project procedures, which will form part of the construction documents for all contracts. Specifically, all contractors will be made aware of these requirements prior to starting construction.

2.4.4.5 Controls, Communications and Administration The Project Management Plan will provide the framework for maintaining control of the project, defining organizational information to provide effective communication between consultants, and coordinating all design and construction activities with the client.

Project communications will consist of the appropriate project meeting system, document distribution and routine progress summary reports. Project coordination utilizes the elements of project control and communications to ensure from both a design and construction perspective that the operational requirements of the end user and of the client are respected Weekly construction progress

meetings provide the basis for evaluating the contractor's performance against their plan and schedule and an opportunity to discuss the work plan for the upcoming weeks. During the "look ahead," the Project Architect i.e. the Team Leader will encourages the contractor to identify potential problems that could impact their work plan.

The Project Management Team will work with the contractor to identify courses of action to avoid potential problem areas. Regular progress meetings provide the best opportunity to communicate and receive meaningful information. By focusing on the full range of issues from schedule, to quality, performance and acceptance, the participants are afforded every opportunity to positively influence the final project outcome.

All major capital projects encounter changes. Enlightened management prepares for this eventuality rather than clinging to the false hope that changes will not occur. The team, in close consultation with the Client, will ensure that project management procedures are structured to allow for the timely and equitable processing of legitimate claims.

2.4.4.6 Document and Information Management To maintain control of the project, the Consultant’s Team will use a project tracking system that will provide everybody connected with the project with detailed and up-to-date project information. The information will also be organized in a manner that is understandable at all levels within the team.

This is a computerized database control system, which is part of the overall information system. The information elements driving this system will include document, schedule and budget control; project accounting; and project progress reporting. The system will ensure efficient and accurate control and reporting of the crucial administrative procedures: • Control, recording and distribution of contract deliverables; • Generation and storage of all project documents including those received and/or issued including revisions and distribution;

• • • • • •

Management and control of the Request for Information process; Control and management of contractual correspondence; Shop drawing management and control; Management of quality records; Control, documentation and reporting of change orders; and Recording and reporting of punch lists.

2.4.4.7 Reporting The expectations of the client regarding the level and frequency of reporting will be defined in the project procedures as specific deliverables. Standard reporting mechanisms will include published monthly progress reports detailing current issues and the status of the Project Management Plan. The reporting system will be expanded to provide specific detailed reports during each phase of the Project Management Plan as may be required.

2.4.5.0 Quality Assurance 2.4.5.1 Total Quality System Quality will be achieved and maintained through a Total Quality System (TQS). The TQS will: • Define the responsibility levels of each of the Team members; • Outline the specific deliverables required for each Team member and each procedure; • Specify the time frames and delivery dates for these deliverables; • Specify the documentation requirements and provide standard document forms to be used throughout the project; and • Specify how the documentation will be used, recorded, distributed and filed.

Implementation of the Total Quality System will ensure the quality of the work to be provided by all Team members. Some crucial project objectives are listed below: • Creative, clear and unambiguous documents; • High standards of workmanship; • Unobstructed and safe working conditions; • Timely and cost-effective construction; • Life-cycle cost performance (including issues of operation)

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• efficiency and ease of maintenance; and • The satisfaction of end user expectations.

2.4.6.0 Project Schedule Control 2.4.6.1 Master Project Schedule Based on the work scope, the schedules will be refined during the first task of the project, and updated monthly. This will provide the Team and Client with a simple, easy to follow roadmap of the project and an overall update on progress.

The project schedule is complete with a Work Breakdown Structure (WBS) to uniquely identify each task in the project. By using the combined power of Project Tracker and MS Project, the team will provide an accurate assignment of the cost of each of the project tasks. Work Breakdown Structure elements will be used by all project participants in their areas of responsibility.

2.4.7.0 Project Cost Control 2.4.7.1 Master Project Budget During the finalizing of designs the project budget will be progressively refined. As the budget for construction is finalized and approved, it will be managed by the Project Team using Project Tracker, which will maintain cost control through project completion. The budget will be imported into the database and will be administered using the procedures and controls developed for budget changes and budget reporting.

The system will provide details on: • Source of funds available; • Commitments; • Actual cost to date; • Estimate to complete as of a report date for each component; • Code of accounts (i.e. equipment, consultant services, design, construction, etc.); • Total project costs; • Change order status; and • Potential claims.

2.4.8.0 Claims Avoidance and Mediation The primary way to avoid claims is to minimize the driving forces that lead to them. Whether the claim involves poor design documentation, poor on-site management or aggressive contractor behavior, failure to resolve it successfully can be considered the result of management control problems.

Claims avoidance begins at the design definition phase and continues throughout design and engineering, the preparation of construction and bid documents, and into construction. Attention to detail, timely decision making and responsiveness during each of these key milestones will greatly reduce claims.

During design reviews, the team will seek out the potential for claims in, for example a lack of design details and conflicting information.

During construction, the Team will work proactively with contractors. During periodic progress meetings, the Team will review contractors' plans to identify and avoid potential problems in the coming month's work plan. This approach, coupled with prompt response to contractor requests for information, will significantly reduce the potential for claims.

While all major capital projects encounter changes and claims it will be the Project Team’s task to minimize their occurrence and impact through accomplishment of the following tasks: • Require a baseline schedule; • Require proper updates; • Address actual or anticipated changes in the schedule immediately; • Compile daily site reports; • Keep accurate and complete meeting minutes; • Implement critical document logs; • Implement a solid document control system; • Make the Client’s Project Team costs for delay or disruption known contractually; and • Limit the time frame for claims.

The Project Architect will move quickly to resolve disagreements to discourage claims. In the event that a written request for equitable adjustment is received from the contractor, the Project Architect will assemble pertinent information, analyze the merits of the claim, recommend to the client through the project manager elements to accept or deny, prepare estimates for elements recommended for acceptance, and assist the client in negotiating with the contractor, and document the final decisions.

The approach to claims minimization and resolution includes: • Prompt refutation in writing of any written allegations of the contractor that are not supported by fact; • Documentation of daily records of work, instructions to the contractor, memoranda, and records of existing conditions, including surveys, samples of materials, photos, etc.; and • Assembly of a file for each claim.

• Encouraging mediation as an alternative form of dispute resolute 2.4.9.0 Cash Flow In order for the client to effectively manage the funding requirements, we will provide a cash flow analysis for the entire project.

Project Tracker will provide the necessary information, which will be analyzed against the project schedule to ensure that the project commitments and expenditures (both anticipated and realized) have been coordinated with the availability of cash funds for the duration of the project.

The information provided by the budget database is compatible with the scheduling software that we propose to use on this project. This information will be imported directly into the scheduling software package.

Cash flow reports will then be generated to provide a quantitative cash flow analysis against the current project time line for the project as a whole and as well as specific reports for elements of particular interest.

2.4.9.1 Project Accounting The budget control system will be utilized to maintain project accountability and will work in tandem with the client’s own accounting systems.

During the construction phase of the project, the Project Architect and Quantity Surveyor will review progress payments submitted against all contracts under management and will provide the client with recommendations for payment approval.

Approval of progress payments will be based on the most current contract values identified by Project Tracker and a contract component breakdown based on the Work Breakdown Structure and related cost codes.

The architect and quantity surveyor will analyze the component breakdown with respect to actual work completed and services and materials provided. A schedule for payment processing will be developed to include the detailed budget component breakdown.

Recommendations for progress payment will also be accompanied by all of the applicable backup documentation, such as consent of sureties, insurance certificates, statutory declarations, etc., which may be required under the terms of the individual contracts.

2.4.9.2 Financial Risk Assessment The project management procedures are designed to minimize risk. The budget and schedule controls implemented will provide information regarding the project's progress, but also regarding the target problem areas and possible mitigation measures to be taken.

The Team will assess the risk at every milestone. Our goal will be to identify the following: • Market conditions for the availability of manpower and skilled workers; • Labor/union unrest, which may result in strike positions and schedule delays; • Availability of materials;

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• Changes in the exchange rate, which may affect the purchase of specialty equipment provided by suppliers; • Increases in unit rates and the cost of materials over the duration of the development project; • Project "hot-spots" requiring specific attention; and • Additional resources as required.

These market indicators will allow the Consulting Team to quantify risks to the project in terms of contingency allowances to be carried by the project budget.

2.4.10 Safety & Security Safety and security during construction is of primary importance.

In consultation with the client, we will establish procedures to be followed by contractors when undertaking work at the site.

The Safety Plan will define the requirements to be followed by all workers involved with the project, including site staff, consultants, builders, suppliers, etc., and will be developed to address the various aspects of the project from design to construction.

3.0.0.0 Key Work Stages of the Methodology Strategic Briefing

Clients’ Input on the design brief, and appointment of consultants.

Development of design brief to clients’ requirements. Coordination by PM Ngaren Museum site to be delineated from the larger Surveyor Physical Planner property.

Client Architects Surveyor to carry out topographical surveys and present the same to the architect.

• Change of Use • Topographical surveys • Design Brief • Consultants’ terms of engagement • Methodology and work matrix

Physical Planner to prepare a Planning Brief and apply for Change of Use. Outline Proposals

Clients’ comments on the Outline Design Proposals. Appointment of Service Engineers, Civil & Structural Engineers & Quantity Surveyor Client to provide documents required for statutory approvals: • Copy of Title Deed • Copies of Rates Receipts, • Change of Use • Statutory submission fees.

Outline Design Proposals showing layouts in relation Coordination by PM to the brief, museum narrative, including information to consultants to enable preliminary designs by engi- Client Architect neers and cost plan by quantity surveyor.

Museum Specialist Planner Investigations on possible structural and services Quantity surveyor solutions.

Structural Engineer Consultants to contact utility companies, review their M & E Engineers development plans and negotiate priority connection of utility services to the site.

Design revisions following client feed back Architects to make Scheme Design submissions to the County Government.

• Outline Design Proposals • Museum Narrative • Preliminary structural solutions • Cost Plan

Key Stage Scheme Designs

Duration (Est.) Requirements

Activities

Preparation of Scheme design proposals showing the Client to appoint Registered NEMA Expert. building(s) at a suitable scale to incorporate building services and structural solution(s) Client to provide documents required for Development of Plans, Sections & Elevations suitable statutory approvals: for submission to statutory authorities for planning • Copy of Title Deed permission.

• Copies of Rates Receipts, Preparation of budgetary cost estimates • Change of Use Architectural Drawings submitted to the County Government for Planning Permission.

Action

Deliverables

Coordination by PM

• Architectural Detailed Design Drawings.

• Structural drawings, schedules and calculations • Mechanical drawings and specifications • Electrical drawings and specifications • HVAC drawings and specifications • Specialists’ drawings and specifications • Architectural approvals • Structural approvals • NEMA Construction License

Client Architect Museum Specialist Quantity surveyor Structural Engineer M & E Engineers Specialists

Structural Drawings submitted to the County Government for Planning Permission.

Detailed drawings will be issued to project consultants for their input Environmental Impact Assessment will be prepared and submitted to NEMA for a construction license.

Final Proposals

Consultants to provide final designs for sign off by the client.

Production Information

Final design signed off by client is then used as the basis for preparation of Production Information Drawings.

In-house consultants’ review of all information.

Production Information drawings comprising of detail Coordination by PM drawings, assembly drawings, Services drawings, structural drawings and specialist suppliers’ packages Client Architect will be prepared and circulated to the team.

Museum Specialist Quantity surveyor Main works specifications and bills of quantities are Structural Engineer Clients’ approval of prepared.

Civil Eengineer finishes, materials and M & E Engineers specifications, details and Services and specialist works specifications and bills Specialists components. of quantities are prepared.

Reviews, value engineering and sign off.

• Architectural Production Information Drawings.

• Structural drawings, schedules and calculations.

• Draft Main Works Bills of Quantities • Mechanical drawings, specifications and bills of quantities • Electrical drawings, specifications and bills of quantities • HVAC drawings, specifications and bills of quantities • Specialists’ drawings, specifications and bills of quantities • NEMA Construction License

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Key Stage

Duration (Est.) Requirements

Tender Documentation

Activities

Action

Tender package comprising of Drawings, Specifications and Bills of Quantities will be made available tenders.

Coordination by PM

Deliverables

Client Architect Museum Specialist Quantity surveyor Structural Engineer Civil Engineer M & E Engineers Specialists

Tender Action

Public call to shortlist interested international local contractors.

Tenders issued to short-listed contractors. Tenders Coordination by PM will be priced, returned, evaluated and recommendaClient tions made.

Architect Clients’ instructions Project Manager, Architect and Engineers to prepare Museum Specialist to appoint recomQuantity surveyor qualifications for Clerk of Works and Resident mended contractor & Structural Engineer Engineers and advertise for the positions. sub-contractors.

Civil Engineer Clerk of Works and Resident Engineers are appointed. M & E Engineers Client to approve employSpecialists ment of Clerk of Works and Resident Engineers

• Tender packages sent out and received.

• Tender evaluation report prepared.

• Appointment of contractor(s), suppliers and specialists.

• Clerk of Works and Resident Engineers are selected and employed.

Mobilization

Proof of Insurances by contractor, contract attestation and access to site.

• Contractor to mobilize for site operations.

• Contractor to submit proof of insurances; • Contractor to submit performance bond; • Contractor and client to sign contracts.

Selected contractors are given time to mobilize for site operations. Contracts are drawn and signed by both parties.

Coordination by PM Client Architect Museum Specialist Quantity surveyor Structural Engineer Civil Engineer M & E Engineers Specialists

Key Stage Operations on Site

Duration (Est.) Requirements Monthly Payments to contractors on advice from consultants

Practical Completion

Defects Liability

Defects Liability

Activities

Action

Deliverables

Contract administration by consultants, including site visits, inspections, meetings, valuations and certifications.

Coordination by PM

• Contractor builds; • Clerk of Works and Resident Engineers ensure compliance; • Consultants inspect the works and administer construction contract; • Monthly payment valuations; • Site meeting and inspections.

As built drawings and Operations & Maintenance Manuals are given to clients. Building(s) ready for occupation.

Coordination by PM

Defects arising are made good at the contractor’s cost.

Coordination by PM

Client Architect Museum Specialist Quantity surveyor Structural Engineer Civil Engineer M & E Engineers Specialists

Client Architect Museum Specialist Quantity surveyor Structural Engineer Civil Engineer M & E Engineers Specialists

Client Architect Museum Specialist Quantity surveyor Structural Engineer Civil Engineer M & E Engineers Specialists

• Building is inspected and handed over; • Testing and commissioning is carried out; • As built drawings and O & M manuals are handed over; • Architect applies for Occupation Certificate • Defects arising are recorded and made good; • Certificate of Making Good Defects is issued by architect; • Final Account is issued by architect.

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ICT INFRASTRUCTURE (Appendix 3)

1

"Any sufficiently advanced technology

is indistinguishable from magic" Sir Arthur Charles Clarke

INTRODUCTION The Ngaren Museum of Humankind will need a sophisticated and flexible ICT system that can grow with the museum as it develops new exhibits and expands its offerings. In addition, Ngaren will need to choose a technological infrastructure and system that anticipate changes in technology that will undoubtedly take place in the next five years as the project is built (and beyond). There has been a great deal of advancement and development in museum technology recently and the industry will likely continue to see disruptive changes in years to come.

Moreover, the lifespan of an exhibition is often longer than the life of individual components, and screens, computers, or other technological parts of exhibitions will be outdated years before the exhibition is redesigned. Therefore, it is critical that the infrastructure and architecture chosen for Ngaren be constructed in such a way that alternative components are relatively easy to replace. Since the museum will be open consistently, it is also critical that staff can make changes and repairs quickly and efficiently to minimize downtime and disruptions for visitors.

The goal of the exhibition department is to offer visitors an imaginative, inspiring, and educational experience and this aim should be the central starting point for the design of the technical infrastructure for Ngaren. In putting this recommendation together, we have used our experience in building the Naturalis Museum in Leiden, Sound & Vision in Hilversum, and the Boerhaave Museum in Leiden. Our experience has led to the conclusion that buying “offthe-shelf” museum interactives and presentations is not the most effective and advantageous approach and we are recommending that the Ngaren leadership develop a digital infrastructure that allows them to set-up, manage and control the exhibits through a more bespoke technological system.

The recommendation for Ngaren is to establish a technological infrastructure that is based on established building blocks of technology that can be adapted and integrated to create a flexible, adaptable and durable system for the museum.

Flexibility and modernization Permanent exhibitions are expensive and time consuming to develop and are not changed on a monthly or even an annual basis, therefore the technology and ICT backbone for exhibits needs to be built so museum displays and content can be relevant and current for the life span of the exhibition. In addition, museum exhibits often include different components comprised of a high diversity of unique one-off installations or “specials” that require specific technological infrastructure and software. To guarantee the visitor experience in an exhibition for the long term, Ngaren will need to be able to adapt technology quickly and reliably so that exhibitions and displays function and do not look outdated.

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Museum as code Based on this approach, we have designed a museum infrastructure and set of standards for suppliers that will most effectively allow Ngaren to control and operate the ICT for exhibitions. The figure below is a schematic representation of that infrastructure:

The vast majority of the components listed in the chart above consist of open-source software. Using an open-source approach is recommended for museums as public institutions as it prevents vendor lock-in, and allows the institution to change course if prices rise, vendors go out of business, or other more advanced and better technology becomes available.

The central component in the architecture suggested above is formed by Ansible. Ansible is a configuration management tool particularly suitable for museums because of the functionality it offers based on a relatively simple, accessible language. Moreover, Ansible enables you to work organically towards more automation and reproducibility in an environment with many uncertainties and external dependencies.

delegated to multiple employees via a simple web interface.

If set up using Ansible, Ngaren will have automated control and design of a wide range of equipment, from switches, computers to microcontrollers, projectors, and power relays from a computer with network access. i.e. a computer with network access, a Linux operating system, software, and content, which can be retrieved from a central Nextcloud server that can control a multitude of functions in the museum environment. Moreover, these tasks can be

Cloud computing

By choosing a versatile tool such as Ansible, one can move ever closer to the ideal of controlling parameters that influence the technical operation of the museum. Also, as illustrated in the image below, there are possibilities to develop this functionality further.

We recommend the use of cloud technology for this infrastructure.

The Cloud is ideally suited for continuously monitoring and automated development, adaptations, and improvement of the museum systems. The basis for the Ngaren Museum Infrastructure should therefore be formed by the Ngaren Cloud.

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DEVELOPMENT, APPLICATION, MAINTENANCE, AND MANAGEMENT OF TECHNOLOGY The technological infrastructure of Ngaren will provide the basis for the exhibits and many types of games/interactives: kiosk software, media player functionality, simple multiplayer games, interactive tests, more complex setups, and specials that are ready-made from the market but need to be controlled and managed in the museum infrastructure. The museum infrastructure therefore needs to offer scalability and flexibility to be able to manage these systems and accommodate new technology and exhibits.

Games and Interactives The development of games and interactives in the exhibitions and changes that may be needed after implementation will need to be part of a standard process so that suppliers, technology (hardware, software, peripherals) do not create obstacles or risk to the management processes (incident, change, and problem management). It is recommended, therefore, that the development of games and interactives take place on the same system but separate infrastructure as that of production, and in the same version. Versions should be automatically stored, tested, and rolled out in the production environment and, if necessary, it should be possible to recall versions when they are not adequate or have “bugs” in the system. In addition, games and interactives should be centrally managed from the network, but also function as standalones in the event of a network failure. From this approach, it is also possible to quickly and easily move games, or temporarily show a different presentation at a special event. It also simplifies showing current events in the museum. An agile methodology is chosen for the development of the museum interactives. This imposes special requirements on the suppliers and the platforms on which development takes place.

Where possible, open-source software is recommended for use.

The games and interactives developed should also be opensource to the (international museum) community. This will help put Ngaren on the map as an innovator. At the same time, this will allow improvements of the applications produced by the larger technological software development community to be available

to Ngaren. And importantly, this will allow Ngaren to achieve independence from suppliers. Open Source hardware and software lead to product improvement that benefits the customer, the supplier, the product, and the market.

• Hardware used for Ngaren exhibits should be purchased as standard hardware, independent of suppliers, thus reducing costs and preventing problems with aging, and allowing for simpler and cheaper replacement options for broken or obsolete equipment.

• For input and output interfaces (such as a touch screen, mouse, or keyboard) an abstraction layer is recommended to create flexibility.

• Custom hardware should be avoided as much as possible, but in the instances where customization is necessary, it should fit into the infrastructure of the overall ICT plan in terms of management, maintenance, and monitoring.

• Closed source embedded software or control should be avoided to decrease supplier dependence (and therefore choices for platforms and control) is excluded, which in turn limits the risk of obsolescence (“vendor lockout as a principle” instead of “vendor lock-in as a risk”).

• Arduino is recommended as a tool for developing interactive objects, taking inputs from a variety of switches or sensors, and controlling a variety of lights, motors, and other outputs. Arduino projects can be combined with esp32 to expand the possibilities.

• The games and interactives can draw on the content sources of Ngaren (for example an image bank, CRS, etc.). This makes managing content and developing games and interactives easier.

• Games and interactives should be provided with monitoring and logging software to simplify management. Monitoring and logging software automates incident reporting thorugh the system rather than relying on manually reporting incidents by staff. In addition, such software provides useful statistics on game usage, which topics are consulted more than others, how is the distribution over the galleries, etc. which provides valuable feedback for future exhibit development and interest of visitors.

• The recommendation is that the infrastructure of Ngaren be IP

Apply an integrated vision and approach to development, testing, deployment (connectivity, standardization, automation, versioning), reporting, and content management. based, so that all devices are network devices, and the museum becomes part of the “internet of things”, enabling more central control, monitoring, logging, reporting, and efficiencies.

• The furniture in which the games and interactives are housed should also be easily accessible for maintenance and be closed, cooled, and provided with labels (chips or barcodes) to simplify call-registration and problem solution.

• The design and the content of the games and interactives need to be fully separated, stored and managed so that the content in the exhibits will always be up to date and can be adjusted quickly and with little effort. Defective hardware can also be easily replaced, applications delivered, tested, and further developed incrementally allowing for a process of interactive and continuous improvement.

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ORGANIZATION AND DIVISION OF ROLES Organizational model In the organizational structure, there is a clear line drawn between the roles of the ICT department and the Exhibitions department so that the ICT department is responsible for the technical infrastructure (hardware, software, OS, network, etc.) on which the Exhibitions department can develop its content.

The two departments will need to work together to draw up a Schedule of Requirements for suppliers for interactive display designers as well as hardware. After a supplier or producer has been chosen, ICT will be responsible for the technical aspects of the end products and Exhibitions will be responsible for the functional requirements. ICT will manage the ICT infrastructure of the exhibitions and will therefore function as an internal infrastructure supplier. The Exhibitions department will be responsible for developing the games and content and is, therefore, an internal customer of ICT. It will be important that exhibition administrators be able to adjust content independently or change time schedules or locations of games, without interference from ICT. This division of roles requires commitment from ICT that will need to start at the design phase of the exhibition.

USING THE MUSEUM INFORMATION FOR A BETTER VISITOR EXPERIENCE DEVELOPMENT OF NGAREN APP The new infrastructure will function to connect the visitor to Ngaren.

In addition, Ngaren will be able to use the museum information infrastructure to get to know more about the visitors, their interests, and behavior in the galleries. To accelerate this process, an app should be developed. This Ngaren app can be downloaded at home or in the museum. It will support and guide the visitor from the moment he/she purchases a ticket, and offers service information based on indoor positioning during the visit. A smartphone, in combination with the app, can trigger technology in the exhibitions.

Vice versa, information from the visitor can also be fed back into the system to record usage and statistics that will help improve visitor experience. For instance – information for queue control, content activation, exhibition interaction, service information, payment transactions, and direct marketing after the visit.

Ngaren needs to develop a stable technological backbone for the organization – as the technology will be important to the visitor experience. Replacement of technology is usually necessary after the technical lifespan (5 years), at which point the lifespan of that technology has likely been reached because interfaces and platforms have been further developed and are therefore no longer compatible with what was initially delivered. The infrastructure will therefore have to be continuously improved, adapted, and further developed, through a Continuous Improvement Process (CIP). This procedure will lead to stability through flexibility. The technology in the exhibition will not be outdated after 1o or 15 years but will remain up to date. The same goes for content and layout. This is best achieved by separating data, design, and infrastructure.

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ICT DESIGN The Data Layer uses the API for the (media) content that connects various information sources.

• For dynamic content such as announcements or other news, the use of a messaging service is important. This allows information to be sent independently of the interface design.

• The necessary separation of function from design is enforced by setting standards in programming languages and frameworks. In this case, Python is chosen together with HTML5 and Java.

Open Source Code is a core value for sustainable development.

• Ngaren developed code will be shared via cloud platforms with the community that will consist of other museums, research institutions, and educational organizations.

The recommended design of the ICT department consists of several functional layers.

The Infrastructural Layer includes the Ngaren Cloud and specific hardware: • pc: micro PC’s such as INTEL NUC’s (cigarette box size, small on the outside but powerful on the inside) • control: Arduino controller • OS: Ubuntu with kiosk browser to be determined These choices are based on the current state of technology, and may differ when the project is being built.

WORKFLOW AND SERVICE MODEL The Museum infrastructure will make it possible to realize development based on CIP, both for the technical managers of the infrastructure, developers, designers, and content suppliers.

Through this infrastructure, ICT will be able to offer services at different tiers, with the option of switching to another service tier if the initial service tier is insufficient and more flexibility is required.

The lowest layer has the most flexibility for the supplier, but this also makes the dependence on the supplier greatest, so a strict SLA with the supplier is most important. The SaaS model at the top is the most scalable, uses standard hardware and software, with repeatable components. Suppliers can reuse each other's open-source components.

- Examples of hardware are: PC’s with the Arduino controller to control buttons or switches.

- Infrastructure as a Service can come in the form of a virtual and/or physical environment (servers, storage, network).

- Examples of Platform as a Service are: OS, development tools, etc.

- Software as a Service is aimed at the interactives (games, information interface).

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FINANCIALS (Appendix 4)

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INTRODUCTION Ngaren:The Museum of Humankind will be located at one of the most beautiful locations in Kenya. The Great Rift Valley is mostly still an area of unspoiled nature. It is also a key landmark for the journey of humankind. Its nature is beautiful and its sights are breathtaking.

It is a natural environment, the result of natural processes, that took place throughout tens of millions of years. Here you can connect with the environment and with the past.

The Ngaren building is a museum with a planetarium, exhibition spaces, an information center, and office spaces. All these functions need to be accommodated in the building. The building should be hospitable, customer-oriented, and logically structured so that it appropriately accommodates proper traffic of staff, visitors and combines architectural beauty with functionality.

The building needs to reflect the culture of the organization (scientific, cultural, emphatic, playful) and in this way it makes the organization recognizable to the outside world.

Ngaren is a cultural institution. The new building must therefore radiate architectural quality and durability. Aspects of that value are: • the building is an icon for Nairobi and Kenya, both in an architectural and in a functional sense; • the building must feel ‘solid’ and pure and the finish and detailing must be of high quality; • the materials used should be predominantly natural products and must “age elegantly"; • cooperation with Kenyan artists is encouraged.

All these elements are considered in the investment budget for Ngaren. The cultural lay-out, the site, the quality of the architecture and the durability goals are reflected in the calculations.

In the table on the next page the total investment budget is presented. On the next pages, every item is discussed individually.

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Budget January 2021

1. Building site preparation

($)

Construction 35,316,100 Mechanical installations 10,866,500 Electrotechnical installations

8,149,900 2. Construction costs

3. Grounds 2,500,000 Archeological research 50,000 Preparation costs

100,000 4. Additional costs

Project manager Clerk of Works and staff Design team and interior decorator Additional advisors

(sub) totals 250,000

54,332,500 2,500,000

150,000

226,380 385,875 5,241,588 250,000

1. Building site preparation This budget is reserved for all preparation of the site before construction starts, leveling the site, filling in certain parts, reinforcing it, protecting certain elements like trees or archeological findings, etc.

2. Construction costs The construction costs are calculated for the building, estimated at 21,733 m2 gross area. For the construction we calculate with a budget of 2,500 dollar per m2. That is a relative high budget. This is mainly due to the higher costs we expect in realizing the durability goals, that will result in relatively high costs for the mechanical (20%) and electrotechnical installations (25%).

Construction costs (gross area)

5. Project management costs 6,103,843

6. Design and build galleries 31,600,000

7. Inventory 861,500 Contingencies 4,074,938 Insurance and legal fees

322,600 8. Contingencies

4,397,538

9. Organization starting costs 600,000 Total (excl. VAT)

Budget items

100,795,380

Construction costs/m2 in $ Mechanical installations/m2 in $ Electrotechnical installations/m2 in $ Total

($)

($)

1,625 500 375

35,316,100 10,866,500 8,149,900

2,500

54,332,500

3. Grounds This is the budget for all the work that needs to be done around the building described in chapter 9: car park, fences, the garden, playgrounds etc. including the consultancy we reserve 2,5 million dollars. It is a generous budget aimed at making the Ngaren grounds an integral part of the Ngaren experience.

Grounds

($)

Project manager

Service roads and structures 200,000 Art and playing objects 100,000 Terrace outdoor event space 225,000 Landscaping 200,000 Car and bicycle park 350,000 Fencing 100,000 Water drainage 450,000 Water tanks 600,000 Project management 275,000

Preparation phase (years) 1 Design phase (years) 2 Realization phase (years) 2 Aftercare phase (years) 0,5 Total 5,5

Number of hours/week 40 Working weeks/year 49 Fee in dollars 21

Total

Total costs

2,500,000

4. Additional costs The Great Rift Valley is mostly still an area of unspoiled nature. It is also a key landmark for the journey of humankind. It is a natural environment, the result of natural processes, that took place throughout tens of millions of years. Before starting the construction therefore there is a budget to survey the area for fossils, artifacts or other signs of human presence or geological phenomena that need protection ($ 50,000).

Also, a budget is available for contingencies that occur before the construction starts ($ 100,000).

5.1 Project Manager We foresee that the Project manager is one of the first to be appointed by the Client. He/she works for 5.5 years for the client, the first two year preparing for the actual construction, two years for building NMH and the site, and a half year for the aftercare. Working 40 hours a week, 49 weeks a year at $ 21.00 an hour, his fee will amount to $ 226,380.

$ 226,380

5.2 Clerk of Works and staff The Clerk of Works supervises the construction and acts between the Project Manager and the contractors. The Clerk of Works and staff are contracted by the client when construction starts, and will function for the whole construction time and the aftercare phase, in total 2.5 years. The secretary and the cost specialist work part-time (50%), the others full time.

Clerk of Works and staff

Salary in $

Clerk of Works 102,900 Assistant

80,850 Secretariat 30,625 Cost specialist 34,300 Mechanical/electrical supervisor 68,600 Construction supervisor 68,600

Total 385,875

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Fee Design Team and interior architect

working weeks/year 49 construction time in years 2.5 construction time in weeks 123

Clerk of Works Assistant Secretariat Cost specialist Mechanical/electrical supervisor Construction supervisor Total

hours/week fee/hour 40 40 20 20 40 40

21 16.5 12.5 14 14 14

200

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5.3 Design Team and interior architect The fee of the Architect and the Design Team is contracted on the basis of a percentage of the construction costs (9,5% percent). These costs are divided over the different phases of the construction: • preliminary design phase (16%); • final design phase (22%); • construction preparation phase - specification phase (32%) - tender phase (3%) • realization phase (12%) • supervision and management (12%) • delivery and aftercare (3%) These percentages result in the fees per phase shown in the table below:

($)

Preliminary design phase 825,900 Final design phase 1,135,500 Construction preparation phase • Specification phase 1,651,700 • Tender phase 154,800 Realization phase 619,400 Supervision and management 619,400 Delivery and aftercare 154,900 Total Design Team 5,161,600 Interior architect 80,000 Total

5,241,600

5.4 Additional advisors For additional advisors $ 250,000 is budgeted. These could be advisors that help to acquire permits, lawyers, technical specialists for second opinions, etc. Any use of this budget needs to be approved by the client.

6. Design and build galleries The Architect will design, and the building contractors will build the galleries in the shell-state. The museum designers and contractors will build the exhibitions, as well as the necessary semi-permanent walls, and routes into these large spaces. The budget available for these galleries and the planetarium differ per gallery, as is shown in the table below.

Galleries (design and build)

area (m2)

$/m2

$

Planetarium

Orientation hall

Evolution game room Treasure rooms

Research rooms

800 600 600 1,200 6,000

5000 4000 4000 4000 3000

4,000,000 2,400,000 2,400,000 4,800,000 18,000,000

Total

9,200

31,600,000

7. Inventory For the interior furniture, desks, cupboards, and other inventory are needed. In the museum and planetarium, these inventories are part of the museum design and build contract. But for the other public spaces as well as for the offices a budget for these items need to be added.

Main hall Information desk Seating areas Waste bins Screens with visitor information E-ticket poles ATM Miscellaneous Cash register entrance Built-in cupboard wall Sofas and chairs

Auditorium (incl. tech. room) Basic furniture AV equipment

Costs ($)

20,000 2,500 2,000 5,000 2,500 5,000 15,000 20,000 2,500 2,500

15,000 80,000

Catheder Wardrobe

Restaurant Complete basic furniture, storage, office caterer, etc.

Free-flow system Dishwasher kitchen Restaurant furnishing Cooking kitchen appliances

Shop (incl. office and storage) Basic furniture Cash register Extra lighting Extra display cases Basic furniture storage Basic furniture office

Reception schools Beamer and audio installation Miscellaneous Grandstand reception groups

Workshop spaces and education Technical appliances

Furniture

Offices Workplaces (75 pieces at 3000 each) AV equipment Copiers

Other storage

500 30,000

2,500 25,000 30,000 80,000 70,000

25,000 4,500 10,000 10,000 1,500 1,000

3,000 4,000 7,500

50,000 10,000

225,000 60,000 30,000 10,000

Total 861,500

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8. Contingencies The contingencies for the construction are set at 7.5% of the construction budget.

The insurances needed are the CAR (Construction All Risk) and Personal Liability.

The CAR insures the client against damages in the construction process. The client can obtain this insurance, or the contractor can.

The costs are also based on a percentage of the construction budget (1.5 per mille).

The Personal Liability is set at 1.4 per mille of the total investment.

A budget for legal fees has been added, as some litigation always seems to be part of the construction process.

Insurance Construction All Risk Personal Liability Legal fees

basis ($) 54,332,500 100,795,380 100,000

$ 81,500 141,100

Total 322,600

9. Organization starting costs The Ngaren organization will have to make a start before the doors are opened to the public. That is true for most of the organization, but not everyone has to start at the same time. In the organization report is indicated who or which groups should start when. Some will have to start a year in advance, some half a year and some three months. Some need just a couple of days of training before they can start. On average, we estimate that the members of the organization should start between 3 and 6 months before opening. Therefore, we budget that part of the annual salary budget ($ 600,000) as organizational starting costs.

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