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The VR ONE UPCYLING PROJECT

In 2021, during a meeting in Old Town Mombasa, We discovered the impending demolition of a historic house owned by the Anglican Church of Kenya. The house, which predated the Anglican Cathedral built in 1898, had once served as a place of worship before the cathedral's construction. Recognizing its historical significance, I was determined to preserve its legacy.

A visit to the National Museums of Kenya at Fort Jesus Museum revealed that the structure had never been gazetted as a historical monument. Without this designation, the National Museums had no authority to prevent its demolition, leaving its fate in the hands of the Anglican Church of Kenya, Mombasa Diocese, which planned to replace it with new developments.

 

Upon understanding the situation, Karen Village endeavored to fund the careful recovery of the historical building to salvage valuable materials. Over the course of a month, a specialized team meticulously extracted the historic elements, including Basel Missionary tiles dated 1865, teak wood pillars, flooring, roofing materials, doors, windows, staircases, and coral stones.

These salvaged materials were then transported to Karen Village, Nairobi, marking the beginning of the VR One Upcycling Project.

​HISTORY OF THE BISHOP HOUSE / TEMPORARY ENGLISH CHURCH

Islam's arrival on the Swahili Coast predates Vasco da Gama’s visit in 1498. Mombasa had long been a Muslim town, and under Portuguese-Christian occupation, churches were established but did not endure. The resurgence of Christianity in the region began in 1844 with the arrival of Ludwig Krapf, a German Lutheran missionary sent by the Church Missionary Society (CMS) in London.

Initially struggling to make conversions on the island, Krapf moved inland to reach communities less influenced by Islam. His vision included a future with African bishops and clergy leading the Protestant Church. The British abolitionist movement later established a freed slave settlement in 1875 on the mainland north of Mombasa, where Emmanuel Church in Frere Town became the first Christian church in central Swahili land.

With the increasing number of European Christians in Mombasa, a solution was needed for worship without disrupting the Muslim majority. Between 1838 and 1870, a temporary English church was constructed to accommodate this growing community. This structure later became the Bishop’s Court before being sold to CMS and converted into a private residence following the completion of the Anglican Cathedral in 1898.

Historical documents trace the CMS property boundaries, placing the Bishop House within this area. The house was home to early bishops, including Peel, who, by 1900, advocated for relocating the bishop’s residence to Mombasa due to the city’s growing importance. Eventually, the Diocese maintained two episcopal residences: Bishop’s Court in Mombasa and Bishop’s Bourne in Nairobi.

NOTABLE CONSTRUCTION MATERIALS AND DESIGN ELEMENTS SALVAGED

ROOF TILES

The original roof tiles were Mangalore roofing tiles manufactured by Basel Mission Tile Works in 1865.

 

Basel Mission Tile Works, founded in 1860 by German missionary Georg Plebst, pioneered tile manufacturing in India. The durability of these tiles made them the preferred choice for British colonial government buildings, and they were widely exported to East Africa. Over time, additional tiles from other Mangalore manufacturers and local sources in Mombasa were added to the Bishop House.

Salvaged tiles Included:

  • The Commonwealth Trust Ltd (est. 1860)

  • P. Nanhushetty Tile Works (est. 1914)

  • Oriental Tile Works

  • King George Tiles (est. 1905)

  • B. Thimmappa Raithi Tile Works (est. 1895)

  • Candiant & Elena Milano Tile Works

  • Coast Brick & Tile Works, Mombasa

WOOD

The Bishop House predominantly featured teak wood for pillars, doors, windows, staircases, roofing, and flooring, complemented by minimal use of mature cedar poles.

Teak, one of the most valuable timbers, was highly sought after for its durability, stability, and resistance to tropical climates. Indian teak was shipped from India and Nepal to Mombasa, where it was used in construction, furniture, and shipbuilding. The Bishop House’s teakwood elements were still in exceptional condition at the time of salvage.

CORAL STONE, LIME PLASTER, MUD, AND METAL STRIPS

The ground floor featured massive coral stone boulders supported by thick columns and lime/cement plaster. The upper walls were a combination of stone, mud, and metal strips, finished with lime plaster. While these walls did not survive transport, a significant number of coral stones were successfully relocated to Nairobi.

UNIQUE ARCHITECTURAL FEATURES

The Bishop House showcased a fusion of Islamic and Christian architectural influences.

  • Saracenic Design: The structure incorporated Arabic arch shapes commonly found in Islamic architecture, visible in its exterior fountain, entryways, and interior walls.

  • Wooden Staircases and Balconies: The house had two uniquely crafted staircases—one external and one internal—connecting to a wooden balcony supported by carved wooden pillars.

  • Other Unique Features:

    • A revolving window at the stairwell wall.

    • Inverted T-shaped wooden roof supports with aged nails as historical evidence.

THE UPCYCLING OF THE BISHOP'S HOUSE INTO THE VR ONE BUILDING

 

The upcycling project, aimed to preserve history and share the story of Christianity’s journey in Mombasa. It highlights the peaceful coexistence of faiths, the evolution of global trade, and the endurance of cultural heritage.

Key restoration elements include:

  • Wooden flooring restored from the original house.

  • Salvaged wooden pillars repurposed as structural supports.

  • Original windows installed in a contemporary setting.

  • Basel Mission roof tiles integrated into a feature wall for interactive engagement.

  • Retention of large, inverted T-shaped roof anchors with historical metalwork.

  • Incorporation of carved wooden panels, antique East African furniture, Lamu-style doors, and clam shell sinks.

​​​​​Additionally, artworks have been conceptualized from wood offcuts, exploring themes of faith, society, and self-reflection:​

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