Sacred space behind the dry grass
Muzibu Azala Mpanga - the central roof of the Kasubi Tombs - is not only an architectural work, but also considered a "door" leading to the invisible world of the kings.
The main road leading to Kasubi ends in front of a giant straw-covered architecture, looking like an inverted basket. There are no clear doors. Only shoes neatly placed outside suggest that there is an entrance.
Peeling off the dry grass, people step into a quiet and cool space, completely separated from the equatorial heat outside. The ceiling is woven in two layers of reeds and grass, keeping the temperature stable. The space inside is vast but the light is gentle, creating a feeling of both closeness and sacredness.
On both sides of the entrance, women sit on grass mats - they are often called "the widowers of the king". These are descendants of the Buganda royal family, taking turns on duty every month. Their job is not only to welcome pilgrims but also to maintain rituals, taking care of the spiritual life of the kings who are said to still be present behind the curtain.
In the center are 4 photos, symbolizing the 4 kings buried here. Behind is a large curtain made of bark fabric - a traditional material created by crushing the bark of a native sung tree. For visitors, it is a characteristic decorative detail. But for the Buganda people, that curtain is the absolute boundary.
They believe that the kings did not die. When leaving this world, they entered a sacred invisible forest, continuing to exist and communicate with the living through the sorcerers. Therefore, behind the curtain is not only a burial place, but a sacred space - where only those in charge are allowed access.
In Buganda tradition, the king's palace after his death would become a resting place - covered and reserved only for relatives. The heir would build a new palace, causing the center of power to shift over time. When the British set foot in the area in the late 19th century, they expanded the city around a royal landscape that had existed before.
Kasubi is therefore both a part of history and a part of the present of Kampala - a sacred space located right in the heart of modern urban areas.
From ashes to the journey of "restoring heritage
In 2010, a fire almost completely burned down the main structure of the mausoleum. The structure was built in 1882 under King Mutesa I, with a scale of more than 30 meters and entirely made of organic materials such as wood, grass and bark fabric. When the fire broke out, there was almost no chance of salvation.
The cause of the fire has never been officially announced, but the shock it caused is very great. For the Buganda people, Kasubi is not only an architectural work but also a symbol of cultural identity, community cohesion and even history of fighting against colonialism. This loss sparked protests, even riots.
After the disaster, the question is not only how to rebuild the structure, but how to restore a living heritage - where every detail is associated with belief and ritual.
It took more than a decade for the recovery process to reach the completion stage. Architect Jonathan Nsubuga - in charge of the project - said that the term "reconstruction" is not enough.
In my research and based on cultural norms, we put forward the concept of heritage restoration, not reconstruction. Because for the past 15 years, what I have done is restore the destroyed heritage" - he said.
The biggest challenge is not in materials, but in people. Many traditional construction techniques have faced the risk of fading away. Artisans who know how to erect thatched roofs, weave grass ring structures or handle bark fabric are increasingly fewer. The project is forced to both construct and train the successor team.
Inside the building, the roof is supported by large wooden columns and 52 concentric circles woven of grass. Each circle represents a lineage in the Buganda kingdom - an architectural detail of profound social significance. Each lineage has its own role, not only in life but also in building and maintaining this heritage.
This creates a strict regulation system: Each stage is only undertaken by a clan. Outsiders are not allowed to interfere. If an elder dies without passing on the skill, that task can be interrupted indefinitely.
Even Nsubuga, even as chief architect, could not cross these boundaries.
Many elements here are invisible, you can't see them" - he said and added: "My job is to create a space for the souls to be present and blend into our thoughts. Therefore, I always consider Muzibu Azala Mpanga not just a house. It is a container, like a ship, storing the souls of the kings.
Balance between tradition and modernity
To restore Kasubi's spiritual space, technical elements alone are not enough. Nsubuga must turn to those who hold the traditional treasure of knowledge - including sorcerers believed to be able to connect with past kings, especially Kabaka Kintu.
Establishing this relationship was not easy. It took many years to build trust, before he received specific instructions on rituals and how to implement each detail in the recovery process.
In parallel with that is pressure from international organizations. Kasubi is a UNESCO-recognized heritage, meaning that all restoration activities must comply with strict conservation standards. In addition, the type of bark fabric used in the project has also been recognized by UNESCO as an Intangible Cultural Heritage.
This makes the project a continuous balancing process: Between belief and science, between indigenous traditions and modern management systems. Nsubuga, in his role, must become a bridge between those two worlds.
Currently, the mausoleum has reopened, although the official opening ceremony has not yet taken place. A traditional ceremony will be held, in which the grass covering the entrance is cut off - marking the official "opening" of the sacred space.
Pilgrims have returned. They come to pray, ask for blessings or simply express respect. More tourists also come, listening to stories about Kasubi's history and meaning through tour guides.
Outside the tomb area, life is more vibrant: filming videos, dancing and celebrating. That space reflects a reality: Heritage is not silent, but always living with the community.
Kasubi today is not just a building rebuilt after the disaster. It is proof of the resilience of a community - where heritage is not only in material things, but also in beliefs, memories and how people preserve them.
A British colleague once asked Nsubuga: How many architects can say that they are doing a project to "shape a nation"? He replied: "Not many".
Perhaps, the most special thing about Kasubi is not the architectural shape or scale of the building. But in the fact that, after all, it still continues to exist as an "invisible door" - where the past and present meet, and where a community finds itself in the flow of time.
