For generations of Kenyans, David Mutiso’s name was inseparable from the Kenyatta International Convention Centre (KICC), the cylindrical tower that he designed and that still anchors Nairobi’s skyline.
For more than 50 years, the KICC has provided television backdrops, adorned conference posters and tourist postcards, and served as a visual shorthand for the country itself.
Mutiso enjoyed the building’s fame but often poked fun at its mythology. Always asked about its inspiration, he would sometimes say, with a mischievous glint, that the tower was based on a donkey’s anatomy – a deliberate puncturing of the solemnity that often surrounds monumental architecture.
As Kenya’s first indigenous architect, Mutiso was in a class of his own. And when he died recently, aged 93, a concrete chapter – solid and unmistakably his – was closed.
Born on 10 July 1932, Mutiso grew up in rural Kenya, moving through various primary schools in Manyatta and Mwala before winning a place at the prestigious Alliance High School, where he studied from 1949 to 1952.
Education, in the rigid hierarchies of colonial Kenya, was one of the few ladders available to a bright African boy. He climbed it steadily, but the profession he wanted most seemed firmly out of reach.
The Kenyatta International Convention Centre in Nairobi.
Photo credit: File | Nation Media Group
When I first met Mutiso in 2013, a loose circle of architects and Nairobi history buffs had come together to try to name 50 iconic buildings in the city. That search for a canon drew in all sorts of characters: Aref Adamali, Alan Donovan, Emma Miloyo, Janfrans van der Eerden, Kariuki Kamaru, Timothy Vaulkhard and Gathecha Waweru – a small, passionate jury of people who cared deeply about Nairobi’s built form.
It was in the middle of that exercise, over coffee, that Mutiso told the story he always reserved for anyone who asked what had drawn him into architecture. He went back to his days at Alliance, to an ordinary school holiday when he visited an uncle who worked as a cook for a white architect. Standing by the hearth, he watched his uncle light a fire with tightly rolled sheets of paper.
Curious, the teenage Mutiso reached into the pile and rescued one from the flames. It was not a kitchen scrap, but a drawing – an architectural blueprint, signed in confident script by Architect Imray Ross. In that moment, “architect” stopped being a distant, foreign word. It became a living profession, a job that produced the elegant, precise lines now unrolling in his hands.
Back at Alliance, he carried this discovery to his headmaster, the formidable educator Carey Francis, and announced that he wanted to be an architect. Francis did what he could: he introduced the boy to European architects in Nairobi, hoping they might guide him.
The meetings were anything but encouraging. They told him, bluntly, that architecture had no future for Africans. Who would he design for, they asked, when “Africans lived in mud huts”? It was a cruel education in the hierarchies of the time.
The remarks did not extinguish his ambition. But they forced him into a detour. After his O-Levels, with the path to architecture apparently blocked, Mutiso joined Makerere University in 1953 to pursue a Bachelor of Science degree in Mathematics, Biology, Chemistry, and Physics.
It was a rigorous course, but not the one he truly wanted. When he returned to Kenya, he took a post as a draughtsman with the City Council of Nairobi, edging closer to his dream by handling drawings and plans, even if he was not yet the one signing them.
He did not waste the opportunity. By day, he worked for the City Council; in the evenings, he attended technical college classes to refine his skills. Then opportunity arrived in the form of a colonial government announcement: bursaries for Makerere alumni to study abroad. Mutiso applied. On the interview panel sat his old headmaster, Carey Francis – a small piece of personal history folded into a larger one. He won a full scholarship.
In 1954, he left for the University of Sheffield to study architecture in earnest. There he found what had been denied him at home: formal training, access to studios and a place in a profession that had previously insisted it was not for people like him.
He graduated in 1959, joined the Royal Institute of British Architects (Riba) in 1960, and deepened his skills through apprenticeships with J. Womersley, City Architect of the Sheffield Corporation, Professor Quaroni in Italy, and later with Richard Hughes back in Kenya. The boy who was once told that Africans lived in mud huts was now a fully qualified architect in the heart of the British establishment.
The Kenyatta International Convention Centre in Nairobi. A contractor is yet to be paid Sh350 million three years after renovations.
Photo credit: File | Nation Media Group
As independence approached, the nationalism that was luring back students from abroad caught up with him. In 1964, after postgraduate studies in the UK, Mutiso joined the Planning Department in the Ministry of Public Works. Kenya needed roads, schools, housing and offices; it also needed professionals who could imagine a built environment that reflected new political realities rather than colonial priorities.
Within a year, he had risen to Superintendent Architect, deputy to the Chief Architect. In 1967, when his superior retired, he was appointed Chief Architect – the first African to hold the job, barely four years after independence.
From that vantage point, he helped steer many of the public projects that shaped the young republic. None would define him more than the complex that rose in downtown Nairobi after a phone call from Tom Mboya in 1968.
Mboya, then Secretary General of the ruling Kanu party, summoned him and said the party needed a headquarters with a council chamber and meeting facilities. Mutiso returned to his drawing board and sketched a modest four-storey block – a political office building, nothing more.
History, and Jomo Kenyatta, had other ideas. Before he could show the drawings to Mboya, Mutiso met the President at State House on unrelated business and mentioned the project. Kenyatta was intrigued. He asked to see the plans and then asked to see them again.
Monday mornings at State House became a ritual: the Chief Architect arrived with revised sketches; the President suggested more ambition. Each time, Mutiso returned with a taller, bolder proposal. A party building evolved into a conference centre, then into a tower and podium complex designed to project Kenya’s modernity to the world.
Mboya, assassinated before construction was complete, never lived to see the building that his original phone call had set in motion rise above the Nairobi skyline.
What emerged was the Kenyatta International Conference Centre, funded by government at a cost of about £4 million , complete with a helipad intended to land tourists in the heart of Nairobi. Mutiso later joked about its earthy inspiration, but he took the work itself seriously, insisting that Kenya deserved buildings that matched its aspirations.
Architect David Mutiso who designed Kenyatta International Convention Center.
Photo credit: Francis Nderitu | Nation Media Group
The authorship of KICC would later become a matter of public dispute. Many accounts have credited the Norwegian architect Karl Henrik Nostvik; blueprints from later phases indeed list Nostvik as designer after he left the Ministry of Works and took on the project through his private practice.
Mutiso, however, never accepted the narrative that erased his role, describing Nostvik as a junior colleague in government who assisted him on the project and then continued as a consultant after his own contract lapsed. To those who questioned his involvement, he had a simple, emphatic reply: “Yes, I did.”
His years in government were marked by another trait that set him apart: an uncompromising stance on integrity. Mutiso was known for refusing bribes and resisting attempts to bend procurement and design decisions to private interests. That made him enemies. By the early 1970s, as patronage networks deepened in the public service, some of those enemies were looking for a way to push him out.
The opportunity came in 1973, after an official trip to Canada and South America to study social housing. His wife accompanied him, a decision that was seized upon on his return. Police and CID officers accused him of corruption, suggesting that taking his spouse on a government-funded trip amounted to misuse of public funds.
For a man who prided himself on professional and personal probity, the allegations were intolerable. After a decade in government and seven years as Chief Architect, he chose to resign rather than endure a campaign he saw as punitive and unjust.
Not long after, he teamed up with Braz Menezes to form Mutiso Menezes International, an office that would produce a stream of influential work across Kenya, including the United Nations accommodation in Gigiri built from 1975 onwards, a campus of offices and shared facilities set across 40 hectares for UN-Habitat, UNESCO, UNICEF and other agencies.
Not far away, the Kenya Technical Teachers College, completed in 1978, showcased his eye for clear geometry. Closer to the lives of ordinary Kenyans, he was deeply involved, together with Braz Menezes, in the master planning and design of Buru Buru, a mass housing estate of around 5,000 units aimed at “middle-income” households who could access mortgages.
Beyond the drafting table, Mutiso was a founding member of the Architectural Association of Kenya (AAK) and its fifth member on the roll – AAK Member Number 005, when the first four were Europeans.
For all his public roles, he remained a private, disciplined man. Away from plans and site meetings, he was a fixture at Karen Country Club, where he played golf once a week and, friends say, rarely missed his round. The game suited him: patient, precise, unforgiving of carelessness.
John Kamau is a PhD candidate in history, University of Toronto. Email: [email protected] @johnkamau1
