Directory of Architects - South Africa 2014 by Directory of Architects - South Africa

DIRECTORY of ARCHITECTS

2014

SOUTH AFRICA

Copper is long-lasting, durable and aesthetically pleasing

Benefits of copper in architecture • DURABLE • CORROSION RESISTANT • LOW THERMAL MOVEMENT • LOW MAINTENANCE • SUSTAINABLE There are nearly 300 different anti-microbial Copper alloys spanning a wide range of colours to complement any design.

Copper’s unique character and durability will complement any style of building, traditional or modern. Architectural copper has evolved from a weather barrier and exterior design element into indoor building environments where it is changing the way commercial and residential interiors are decorated. Copper ranks highly as a sustainable material. Benefits include durability, long life, recyclability, whilst energy and thermal efficient. Copper does not require cleaning or maintenance. It is particularly suited for areas that are difficult or dangerous to access after installation. Architects often look to architectural copper for continuity in design elements. For example, a copper roofing system may be designed with copper flashings, weatherings, vents, gutters, and downpipes. With the growing use of vertical cladding, vertical and roofing surfaces can run into each other so that complete continuity of material and performance is maintained.

Copper has earned its respected place in architecture!

Specify anti-microbial copper in design creating the safest environment for your clients The recognised anti-microbial efficacy of copper has resulted in an increased interest for its use to protect touch surfaces against infectious microbes in internal and exteriors of buildings. In fact, any touch surface can be upgraded with anti-microbial copper alloys, helping to protect public health and improve hygiene.

kills 99% of harmful germs

Studies have repeatedly shown that the use of copper as a surface material in key public places and food preparation areas will substantially restrict and reduce the spread of harmful infections.

stops infection from spreading

Better still, copper retains its bacteria-killing effectiveness even when mixed with other metals such as nickel and tin. That has helped ease aesthetic concerns, as many of the current anti-bacterial copper products are alloys of a lighter colour and a finish closer to that of stainless steel. The innate ability of copper to kill microbes will have profound implications in several industries as it becomes widely adopted.

avoid cross contamination

most effective touch surface anti-microbial surfaces are safer safest touch surface

Did you know that copper has anti-microbial properties?

Antimicrobial Copper

Copper Development Association Africa Copper Alliance

Tel +27 11 824 3916 Fax +27 86 644 4382 Email info@copperalliance.org.za www.copperalliance.org.za

Cape Town Ground Floor, Block 2A Tyger Terraces, 2 DJ Wood Way Belville Phone: +27 (0) 21 948 1877 Fax: +27 (0) 21 948 3455

East London 1st Floor, Pilot Mill House The Quarry, Selborne East London Phone: +27 (0) 43 721 0033 Fax: +27 (0) 43 721 0038

Durban - Westville Block A, 1 on Langford 1 Langford Road Westville Phone: +27 (0) 861 326 652 Fax: +27 (0) 31 266 0751

Johannesburg - Melrose Arch Unit 3, Ground Floor 3 Melrose Boulevard Melrose Arch Phone: +27 (0) 861 652 643 Fax: +27 (0) 11 684 1436

DIRECTORY of ARCHITECTS

2014

SOUTH AFRICA

The Directory of Architects - South Africa is published by REYGAN MEDIA 212B Upper Buitengracht Street, Cape Town 8001 Tel: +27 (0)21 422 4445 Fax: 086 617 8452 Email: marketing@reygan.co.za

Database/Research Jess Morgan Advertising Sales Michelle Reid Zahida Mahomed Heloise Trautman Design and Layout Redd West Design Co Administration Zenith Bester Publisher A.C. Reynolds Production Coordinator A.C. Reynolds Editorial Coordinator Carl Reynolds Cover Photograph Sow Geneva - Stephan Antoni Olmesdahl Truen Architects (SAOTA), Photograph courtesy SAIA. See Page 64.

Whilst every care has been taken to ensure the accuracy of the information contained in this directory, the publisher does not guarantee the entirety or accuracy of its contents and cannot be held liable for any errors. ÂŠ Reygan Media 2013 All rights are reserved; no part of this publication may be reproduced or transmitted in any way without prior written consent being obtained from the publisher.

DIRECTORY of ARCHITECTS

2014

SOUTH AFRICA

CONTENTS Publisherâ&#x20AC;&#x2122;s Letter

Landscape Architecture _ Ecological Consciousness

Touching the Earth Lightly_ The Space In-Between

Global Art Affairs Foundation_ Arata Isozaki

Kitchen Specialists Association

Institute of Interior Design Professions

Corobrik - SAIA_ Awards for Excellence

Industry Contacts

Suppliers

DIRECTORY of ARCHITECTS

2014

SOUTH AFRICA

CONTENTS Eastern Cape Free State Gauteng Kwazulu Natal Limpopo Mpumalanga North West Northern Cape Western Cape

Interior Designers

bulthaup b2 A new perspective on kitchens and space. Never before has a kitchen been so compact.

Living Kitchens (Pty) Ltd Media Quarter Cnr. Somerset Road & De Smidt Street De Waterkant, Cape Town, 8005 Tel. +27 (0)21 419 5445 info@bulthaup.co.za

More via QR code or at www.livingkitchens.bulthaup.com

MESSAGE FROM THE PUBLISHER Can the World Design Capital designation for Cape Town really deliver on the promise so eagerly awaited? Obviously there will be direct impact in the form of Signature events such as an International Design Exhibition, International Design Policy Conference and an International Design Gala, to name a few. While this may be great for tourism numbers, very little can be found about the positive economic spin off experienced by past host Cities. Indeed, thus far, there has been only one applicant for host city in 2016! However, far from being negative about the WDC, I am of the opinion that we have already experienced phenomenal benefit! In the last year we have seen an impressive 450 projects (selected from over 1200) being designated as official projects of the World Design Capital Calendar. The sheer amount of creative energy, collaboration and inspiration that has been generated already, makes this an unprecedented success in my eyes. Participants and visitors alike, can look forward to fantastic solutions to unique challenges faced by our society and I can’t wait to see how these ideas spread across the globe. This will be an important milestone on a journey to position Cape Town as a global innovator in socially transformative design. Beginning next year we are embarking on a programme of engaging with our members, advertisers and readers on a more direct basis through a series of events. ‘Design Ideals’ will be focused on bringing you more of what you need in a relaxed atmosphere with ample opportunity to network and learn about your contemporaries. I look forward to meeting you there. Please keep an eye on the site www. directoryofdesign.co.za as well as social media channels for details. Please remember to offer any feedback on our various platforms. These directories are yours and serve to ease the flow of commerce and ideas in the Design industries. All the best for 2014, it’s going to be great!

Carl Reynolds Publisher

Reygan Media 15

Vision for an inner city ‘Eco-Park’ in Johannesburg’s CBD (Newtown Landscape Architects)

Landscape Architecture Ecological Consciousness Graham A. Young PrLArch Senior Lecturer, Department of Architecture, University of Pretoria Principal, Newtown Landscape Architects cc 16

Introduction

If we are to create a sustainable world â&#x20AC;&#x201C; one in which we are accountable to the needs of all future generations and all living creatures â&#x20AC;&#x201C; we must recognize that our present forms of agriculture, architecture, engineering, and technology are deeply flawed. To create a sustainable world, we must transform these practices. We must infuse the design of products, buildings and landscapes with a rich and detailed understanding of ecology.1 17

Landscape architect, Ian McHarg discusses survival on earth and how we should plan and design for “better fitting” environments. To illustrate his point he relates the story of an astronaut in his capsule. “An aquarium lines the walls of the capsule, containing algae and decomposers. It is a closed system and works like this. Sunlight falls upon the algae, which use carbon dioxide, water, air, and light to fix carbon, and then expel oxygen. The astronaut breathes air, consumes oxygen, and exhales carbon dioxide, which the algae absorb. Thus, there is a closed cycle of oxygen and carbon dioxide. The astronaut drinks, then pees into the aquarium; water condenses on the outside and is collected by the astronaut - a closed cycle of water. The astronaut hungers, he collects some algae and eats. In due time he defecates into the medium where live the decomposers that reduce the waste into nutrients employed by algae, which grow, and which the astronaut eats. Here is a closed cycle of food. There is one inputlight; one export - heat. Oxygen, carbon dioxide, water, food, wastes, and nutrients go ‘round and ‘round”.2

This is a simple model, but all the essentials are there for a perfect fit. This is the way nature works; each part has its place and contributes to the health of the whole. “Surely it is better to understand the natural processes, and act accordingly”, McHarg contends, “than to subjugate nature”.3 He argues for a search for fit environments and refers to Lawrence J. Henderson’s assertion that there is a necessity for all organisms to find the fittest available environment, adapt it and the self to accomplish better fitting. If we assume that sustainability incorporates the survival of the human race, we can be confident that both present and future generations will need the vital life support functions of a healthy environment. These functions are called ‘critical natural capital’, and they cannot be substituted by human capital. So if we are to achieve a better fit, we must first be sure that the resource consumption and waste generation associated with patterns of urban development do not threaten critical natural capital because current patterns are clearly not sustainable.4 Ecological design is a way to understand how to achieve ‘a better fit’.

Ecological Consciousness According to Van der Ryn and Cowan5, ecological design embraces conservation, regeneration and stewardship alike. Ecological design occurs in the context of specific places. It grows out of place and responds to the particularities of place: the soils, vegetation, climate, topography and the availability of water. It seeks locally adapted solutions that can replace matter, energy, and waste with design intelligence. Such an approach matches biological diversity and cultural diversity rather than compromising both the way conventional design solutions do. Ecological design brings the natural flows to the foreground. It celebrates the flow of water on the landscape, the fertility of the earth and the beauty of vegetation. It renders the invisible visible. Ultimately, ecological design deepens our sense of place. Ecological design is a way of integrating human purpose with natureâ&#x20AC;&#x2122;s own flows, cycles and patterns. It begins with the richest possible understanding of the ecological context of a given design problem and develops solutions that are consistent with the cultural context. Ecological designers are facilitators and catalysts in the cultural processes underlying sustainability and take a systems approach to design. Systems design is an exceptionally trans-disciplinary process and landscape architecture is one of the disciplines that have a key role to play in the design of our built environment.

Landscape Architecture When asked where landscape architects work, “many people might point out their back door to the garden. It would be more accurate, however, to look out the front door. The landscape is anywhere and everywhere outdoors, and landscape architects are shaping the face of the Earth across cities, towns, and countryside alike. Landscape architecture involves shaping and managing the physical world and the natural systems that we inhabit. Landscape architects do design gardens, but what is critical is that the garden, or any other space, is seen in context. All living things are interdependent and the landscape is where they all come together. Context is social, cultural, environmental and historical, amongst other considerations. Landscape architects are constantly zooming in and out from the details to the big picture to ensure that balance is maintained.”6 Landscape architecture operates at the interface of art and science. The art provides a vision for a landscape and the science includes an understanding of the social and natural systems, including geology, soils, plants, topography, hydrology, climate and ecology. “The [landscape architects] challenge is to awaken the rich potential that resides within this overlap of disciplines through a reinvigoration of the connection between beauty and the environment … such that our landscapes can be beautiful and sustainable”.7

Because landscape architects design the setting for the built environment itâ&#x20AC;&#x2122;s not unsurprising then, that a new consciousness has crept into the design of landscapes - an awareness of the fragile environment and sensitivity to the natural environment and its ecological limits. No longer can landscapes be made in a void, but rather they must relate and respond to their surroundings. Sustainable landscape design therefore requires holistic, ecologically based strategies to create landscapes that do not alter or impair but instead help repair and restore existing site conditions. Site systems such as plant communities, soils, and hydrology must be respected as patterns and processes of the living world. These strategies apply to all landscapes, no matter how small or how urban.

Vision for an inner city ‘Eco-Park’ in Johannesburg’s CBD (Newtown Landscape Architects)

This new consciousness suggests an approach that is somewhat different from conventional design. Birkland suggests that “what is required is a move from traditional ‘remedial’ approaches to preventative ‘systems design’ solutions that restore the ecology, foster human health and prioritise universal well-being over private wealth accumulation. Designers in all fields and walks of life have a crucial role to play in this transformation. It is now possible to design products, buildings, and landscapes that purify the air and water, generate electricity, treat sewage and produce food. Instead of applying generalised analyses, goals, criteria, techniques and indicators to any situation (as did ‘modernism’ in architecture) the design of appropriate case-specific, problem solving tools should form a fundamental part of the design process.” 8 23

Ecological Design Useful in understanding sustainable ecologically-based landscape design are the “Valdez Principles for Site Design,” developed by Andropogon Associates. 9 These strategies are especially important to correctly integrate the built environment into its setting (the landscape).

Recognition of Context. No site can be understood and evaluated without looking outward to the site context. Before planning and designing a project, fundamental questions must be asked in light of its impact on the larger community.

Treatment of Landscapes as Interdependent and Interconnected. Conventional development often increases fragmentation of the landscape. The small remaining islands of natural landscape are typically surrounded by a fabric of development that diminishes their ability to support a variety of plant communities and habitats. This situation must be reversed. Larger whole systems must be created by reconnecting fragmented landscapes and establishing contiguous networks with other natural systems both within a site and beyond its boundaries.

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Integration of the Native Landscape with Development. Even the most developed landscapes, where every trace of nature seems to have been obliterated, are not self-contained. These areas should be redesigned to support some component of the natural landscape to provide critical connections to adjacent habitats.

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Promotion of Biodiversity. The environment is experiencing extinction of both plant and animal species. Sustaining even a fraction of the diversity known today will be very difficult. Development itself affords a tremendous opportunity to emphasize the establishment of biodiversity on a site. Site design must be directed to protect local plant and animal communities, and new landscape plantings must deliberately re-establish diverse natural habitats in organic patterns that reflect the processes of the site.

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Reuse of Already Disturbed Areas. Despite the declining availability of relatively unspoiled land and the wasteful way sites are conventionally developed, existing built areas are being abandoned and new development located on remaining rural and natural areas. This cycle must be reversed. Previously disturbed areas must be re-inhabited and restored, especially urban landscapes.

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Making a Habit of Restoration. Where the landscape fabric is damaged, it must be repaired and/or restored. As most of the ecosystems are increasingly disturbed, every development project should have a restoration component. When site disturbance is uncontrolled, ecological deterioration accelerates, and natural systems diminish in diversity and complexity. Effective restoration requires recognition of the interdependence of all site factors and must include repair of all site systems - soil, water, vegetation, and wildlife.

The above strategies serve as guidelines in landscape design and challenge the design for appropriate development. Emerging from these strategies are site-adaptive considerations, which are critical to achieving sustainable landscape design.10 Natural Characteristics. The greatest challenge in achieving sustainable landscape design is to realize that much can be learned from nature. When nature is incorporated into designs, spaces can be more comfortable, interesting, efficient and beautiful. It is important to understand natural systems and the way they interrelate in order to work within these constraints with the least amount of environmental impact. Like nature, design should not be static but always evolving and adapting to interact more intimately with its surroundings.

Wind - The major advantage of wind in landscape development is its cooling aspect. For example, trade winds in our sub-tropical environments often come from the northeast to the southeast quadrant, orientation of structures, and outdoor gathering places to take advantage of this cooling wind movement, or “natural” air conditioning. Native cultures understand this technique quite well, and local structures reflect these principles. Of course the other consideration is to ensure that structures or outdoor gathering spaces are protected from cold and / or strong prevailing winds.

Sun - Where sun is abundant, it is imperative to provide shade for human comfort and safety in activity areas (e.g. pathways, patios). The most economical and practical way is to use natural vegetation, slope aspects, or introduced shade structures.

Rainfall - Many settings must import water, which substantially increases energy use and operating costs, and makes conservation of water important. Rainfall should be captured for a variety of uses (e.g., drinking, bathing, irrigation) and this water reused for secondary purposes (e.g., flushing toilets, washing clothes). Stormwater or excess runoff from developed areas should be channelled and discharged in ways that allow for groundwater recharge instead of soil erosion. Minimizing disturbance to soils and vegetation and keeping development away from natural drainage ways protects the environment as well as structures within it.

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Topography - Slopes do not have to be an insurmountable site constraint if innovative design solutions and sound construction techniques are applied. Topography can potentially provide vertical separation and more privacy for individual structures. Changes in topography can also enhance and vary the way a visitor experiences the site by changing intimacy or familiarity. Again, protection of soil and vegetation are critical concerns in high slope areas, and elevated walkways and point footings for structures are appropriate design solutions to this problem.

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Geology and Soils - Designing with geologic features such as rock outcrops can enhance the sense of place. For example, integrating rocks into the design of a deck or boardwalk brings the visitor in direct contact with the resource and the uniqueness of a place. Soil disturbances should be kept to a minimum to avoid erosion of fragile t soils and discourage growth of exotic plants. If limited soil disturbance must take place, a continuous cover over disturbed soils with erosion control netting should always be maintained.

Aquatic Ecosystems - Development near aquatic areas must be based on an extensive understanding of sensitive resources and processes. In most cases, development should be set back from the aquatic zone and protective measures taken to address indirect environmental impacts. Particularly sensitive habitats such as beaches should be identified and protected from any disturbance.

Vegetation - Exotic plant materials, while possibly interesting and beautiful, are not amenable to maintaining healthy indigenous ecosystems. Sensitive indigenous plant species need to be identified and protected. Existing vegetation should be maintained to encourage biodiversity and to protect the nutrients held in the biomass of indigenous vegetation. Indigenous planting should be incorporated into all new developments. Vegetation can enhance privacy, be used to create “natural rooms,” and be a primary source of shade. Plants also contribute to the visual integrity or natural fit of a new development in a natural setting. In some cases, plants

can provide opportunities for food production and other useful products on a sustainable basis. 路

Wildlife - Sensitive habitat areas should always be avoided. Encouraging wildlife to remain in the area. This can be achieved by maintaining as much original habitat as possible.

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Visual Character - Natural vistas should be used in design whenever possible. Open up the design to take advantage of beautify vistas and to screen visual intrusions.

Cultural Context. Local archaeology, history, and people are the existing matrix into which designed public landscapes must fit. Sustainable principles seek balance between existing cultural patterns with new development. Developing an understanding of local culture and seeking their input in the development processes can make the difference between acceptance and failure.

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Archaeology - A complete archaeological survey prior to development is imperative to preserving resources. Once resources are located, they can be incorporated into designs as an educational or interpretive tool. If discovered during construction activities, work should be stopped and the site re-evaluated. Sacred sites must be respected and protected.

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History - Cultural history should be reinforced through design by investigating and then interpreting vernacular design vocabulary. Where appropriate local design elements and architectural character should be analysed and employed to establish an architectural theme for new development.

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Indigenous Living Cultures - Cultural traditions should be encouraged and nurtured. A forum should be provided for local foods, music, art and crafts, lifestyles, dress, and architecture, as well as a means to supplement local incomes (if acceptable). Traditional harvesting of resource products should be permitted to reinforce the value of maintaining the resource.

Indigenous planting design at //hapo, Freedom Park (NBGM Landscape Architects)

Conclusion Increased ecological knowledge is at the core of sustainable landscape design. When taking an ecological approach to landscape design, components defer to the character of the landscape they occupy so that the experience of the landscape will be paramount and restoration of the land can take place. Instead of only human functional needs driving the design, site components respond to the spatial character, climate, topography, soils, and vegetation as well as the existing cultural context, to achieve “places that are less intrusive yet more rewarding, less fashionable yet more enduring”11 … and they are beautiful and sustainable! However, a word of caution is needed when we consider the notion of ‘sustainability’. The word has been on just about everyone’s lips – including corporate lips – and this should signal a warning. The concept has “achieved a degree of meaninglessness, with LEED certification [or any of the new rating systems] today anointed as the only worthy design criterion. I am troubled”, Treib continues, “By any design addressed to a single goal or parameter (including purely aesthetic acts removed from functional or social purpose). Might not a better approach be to adopt the adverb ‘sustainably’ to describe how we should design, rather than posing the noun ‘sustainability’ as a single goal? Or, to put it a different way, to use an ecological consciousness to guide the way we design for a greater purpose? “12

References 1. 2. 3. 4. 5. 6. 7. 8.

Van der Ryn, S. and Cowan, 1996. S. Ecological Design. Island Press, Washington, D.C McHarg, I. 1996. A Quest for Life, John Wiley and Sons Inc., New York. pp 242 McHarg, I. 1996. A Quest for Life, John Wiley and Sons Inc., New York. pp 248 Owens, S: ‘Can land use planning produce the ecological city?’ Town and Country Planning, 1994, Vol. 63 No. 6, pp170-173 Van der Ryn, S. and Cowan, 1996. S. Ecological Design. Island Press, Washington, D.C Waterman, T. 2009. The Fudementals of Landscape Architecture. AVA Publishing, Lausanne, Switzerland. pp 8 Kate Cullity in: Richardson, T. 2011. Futurescapes. Thames and Hudson, London. pp11 Birkeland, J. 2002. Design for Sustainability. Earthscan Publications Ltd. London. pp 1 - 2

Sadly, we often stop at the level of indigenous planting, green roof or wetland design, rather than considering these ‘living systems’ as a means for achieving an aesthetic level beyond the merely functional or ‘sustainable’. “The photographer Edward Weston once wrote that one should photograph a thing ‘not for what it is, but for what else it is’. Achieving that ‘what else’ is what makes landscape design an art. Without such aspirations, we operate only at the level of environmental plumbing. Plumbers are needed of course, but so too are artists. Rather than considering the situation as an either/or, I prefer to think of it as a both/and, with the ultimate goal being to elevate pragmatics to the level of poetics.”13 On 10 September 1990, Ian McHarg received the National Medal of Art from President Bush. Included in Bush’s remarks was, according to McHarg “an astonishing and totally unexpected statement: ‘Let us hope that in the next century the finest accomplishment of art will be the restoration of the land.’ The ecological view and the skills of landscape architecture and ecological planning must contribute leadership for this restoration – it is, indeed, a quest for life.”1 This article was first published in The Green Building Handbook, Volume 4, 2012.

9. 10. 11. 12. 13. 14.

United States Department of the Interior, 1993. Guiding Principles of Sustainable Design, U.S. Government Printing Office. pp 41 United States Department of the Interior, 1993. Guiding Principles of Sustainable Design, U.S. Government Printing Office. pp 48 - 50 Marc Treib in: Richardson, T. 2011. Futurescapes. 1ST ed. Thames & Hudson, London. pp15 Marc Treib in: Richardson, T. 2011. Futurescapes. 1ST ed. Thames & Hudson, London. pp13 Marc Treib in: Richardson, T. 2011. Futurescapes. 1ST ed. Thames & Hudson, London. pp14 McHarg, I. 1996. A Quest for Life, John Wiley and Sons Inc., New York. pp 375

“The Space In-BeTween…” – an opportunity for urban food gardening in Cape Town. A collaboration between the Methodist Church and Touching the Earth Lightly ™ Cities are full. Space is at a premium. A garage space in the city sells for R3million. We cannot build “out”, so we build “up”, creating highrise buildings, constantly seek more space. Space to live, to work, to consume. In this “space-seeking” process, we have done two things - created “dead and lost spaces” and severed our umbilical cord with the earth beneath the asphalt and cement, beneath our feet. We don’t grow our own food. We trust and pay others to that for us. We have even given them the seeds. We go to shops when we are hungry. We exchange the soil under our feet for the money in our wallet. We work, we buy, we eat and we repeat the cycle. We have forgotten were food comes from. We import it into our city with trucks. We have forgotten were water comes from. We turn on taps, we open bottles, we close taps and we throw the bottles away. We presume the city is “full” - that roads and buildings have defined the use of all spaces, delineated the areas of natural life and boundaries for creative thought. Like a self-imposed “group areas act” that we must abide by.

We ignore the spaces between fence and wall, between the wall and gutter, between window and window-sill and the spaces on the hundreds of rooftops that lie empty, barren and uninhabited inside our city. The spaces left by traditional architecture and town planning. We have to challenge this notion. These “in-between spaces” are opportunities for growing food, and they present themselves all around our city, every day, like cracks in the cement pavement, where plants grow anyway. We can re-discover and define a meaningful purpose for these spaces. By doing this, we can affect change in small and meaningful ways. Empty rooftop spaces represent our cities farmlands. Rooftop spaces are “vertical area growing spaces” were we can create vertical growing food security systems. Low-tech vertical gardening methods, combined with the opportunity of high unemployment and homelessness in Cape Town, present meaningful opportunities for creating “green jobs”. Its “talk” that can actually mean something - for a change.

We can also have fun doing this. Change does not have to be a message driven by guilt. Change is driven by people with a message of hope, of creativity and colour. I believe that Cape Town’s city-bowl people are these people…Therefore it should be possible to liberate these “non-spaces” and define their purpose. There is a rebel element here, an element of the non-conformist and there is an element of righteous undertaking. These are all allies, and speak to the spirit of the free-thinker, the socially minded designer, the urban activist. We know that water comes from the clouds, not from a tap. We know that food comes from the ground, not from a shop in the city. And we know that nature offers us these gifts free, every day. Yet we deny ourselves the simple opportunities of celebrating this every day. Why is this so? Are we too busy working? Have we become enslaved to the notion of “buying” goodness? Have we forgotten the difference between the price of something and the value of something?

The collaboration between the Methodist Church and Touching the Earth Lightly seeks to explore the notion of “the in-between spaces” combined with “the free gifts of nature we receive everyday” (think wind, rain and sunlight) by creating a “shop window” of portable, edible fruits and vegetables grown on-site, in milk crates, for local consumption, in the “in-between” space between the Church’s wall and its fence line. Inside this space, a variety of vegetables and fruits will be grown in milk-crates. Here, they will be stored, displayed and distributed further. Issues of safety will be addressed. The conversation thus becomes a “verb” and the “take-home message” is captured in the simplicity of being able to do just that – taking home a milk-crate filled with soil and healthy vegetables. In so doing, it hopes to highlight the importance of food security in cities and suggest opportunities for furthering this in simple and meaningful ways.

Written By Stephen Lamb, founder, Touching the Earth Lightly ™

e is not a tangible form existing in front of us, ather something that occurs to us when we a space and notice its existence” - Arata Isozaki

SPACE . EXISTENCE is the theme of the next exhibition obal Art Affairs Foundation is currently organising g the 2014 Venice Architecture Biennale. The Global Art Affairs Foundation is a Dutch non-profit organization that

ore information: www.globalartaffairs.org aims to heighten the awareness about the more philosophical themes

in contemporary art, in particular: Time – Space – Existence, and make these subjects more accessible to a wider international audience. In order to achieve this goal, we organize exhibitions, symposia and we publish. Art and architecture exhibitions are organized during the Venice Biennale at Palazzo Bembo, Palazzo Mora, Palazzo Michiel and Palazzo Rossini.

In order to draw attention towards and to promote specific individuals or projects, the non-profit organization GlobalArtAffairs Foundation (GAAF) awards every year an artist(s) or architect(s) for his/her/their outstanding concept and execution thereof. We will award the GlobalArtAffairs Foundation Prize each time to an artist(s) or architect(s) who is dedicated to his/her/their concept over a longer period of time and whereby this concept and the execution thereof is in our opinion of significant meaning for mankind. The awarded architect of the 2012 Edition of the GAA-Foundation Prize is Arata Isozaki. In 2012 he presented the exhibition ZHONGYUAN, Administrative Committee of Zhengdong New District + Arata Isozaki, as part of the 13th Venice Architecture Biennale at Palazzo Bembo, within the exhibition â&#x20AC;&#x153;Traces of Centuries & Future Stepsâ&#x20AC;?. 41

ARATA ISOZAKI by Karlyn De Jongh, Sarah Gold & Valeria Romagnini

The architecture of Arata Isozaki (1931, Oita City, Japan) is influenced by the Metabolism school. His building structures show a mannerism, borrowing from a spectrum of architectural influences. Isozaki’s architecture mainly stresses collaboration and cooperation. Sarah Gold: In an interview many years ago, you have stated that in Japan you are probably not seen as a typical architect but as an ‘art oriented type of architect’. Looking at your oeuvre it seems you have been always an artist and architect in one; collaborating with other artists and creating not only architecture but also artworks (in the classical sense). How would you describe yourself? Arata Isozaki: I personally define myself as an “Artist-Architect”. As an Architect, I was close to the Metabolism Group movement. As an Artist, I was associated with various writers and art critics of the art industry in such movements as Neo-Dadaism, which evolved into concepts such as “color” and “environment”, and eventually came into fruition in the form of Omatsuri Hiroba (Festival Square) at the World Expo in 1970. Since I was conceptualizing architecture and cities in the context of art, it only made sense to complement architecture with art. In Incubation Process (Fuka katei) (1962) I stated that “the future city is a ruin.” I juxtaposed a series of images of future cities called Joint Core System with the ruins of ancient Greek cities. The inspiration to depict a city as an image of unintentional discontinuation came from art works such as Jackson Pollock’s action painting and John Cage’s Chance Operation. A problem I was tackling at the time was uncertainty and undecidability.

“Process Planning” theory (1963) is a text that I added to the first blueprint of the former Oita Prefectural Library (now Oita Arts Plaza). It is about solidifying an image of a building that stretches and shrinks like a carbonbased life form. In other words, it was an attempt to find a solution to resolving undecidability, in a situation where a decision must be made despite the lack of a goal (Telos). After surveying the worldwide eruption of radicalism in the late 60s in Dismantling Architecture, I further realized the importance of eradicating a goal (Telos) when I later was working on the Mirage City project (1994). Valeria Romagnini: With the urban planning for the Central Business District sub-center for the Zhengdong New District, China, you made a design in order to create a city which works as a closed urban space, independent from its surroundings, and then you compared it to Venice. Can you explain how it is possible to conceive a city which can be independent from its surrounding? What do you mean by the concept of the autonomy of the city? AI: During the second half of the 60s, I was predominantly engaged with concepts of “color” within architecture, namely the effects of timeless light, whereas in. In the 70s, I took a metaphysical position towards everything I approached, just like Atsushi Miyagawa who critiqued critiques, for example, the Projective Transformation of √2 is one method to this approach. This is a method that I have incorporated over the years, where the artist himself, is not allowed to actually touch anything. The problem is designed in a way to enable the form itself to self-develop, without an artist having to actually do anything. In that sense, it relies on participation from the audience, or in this case, the local residents. Instead

of a top-down structure, the form is developed through an indefinable network. This is a method that has been attempted by many people since, but at the time in the 70s, I was attempting to give a solid formula to the indefinability of a self-creating art form. One places a piece of technology with an inherit system embedded, and without involving an artist, you leave the site. Eventually, a form is generated automatically over time. I experimented with this concept at the Omatsuri Hiroba (Festival Plaza) during the Japan World Exposition in 1970. The question of whether design is expression or control rose during this time period. “Control” could nowadays possibly be defined as “governing”. In the case of a city, how would one govern a city? This issue is closely related to events such as: the campaign against the Japan-US security treaty in the 60s, naked Neo-Dada dancing, various “happenings” on the streets, Hi-Red Center, the “Thousand-Yen Bill Incident”, red and black tents in Shinjuku, and the occupation of Yasuda Auditorium at Tokyo University. All of these incidents happened in the 60s, especially during the first 2-3 years of that decade. The relationship between architecture and control is especially salient in the “anti-war folk guerrilla incident” that occurred at Shinjuku West-Exit Square in 1969. The gathering of the “Folk Guerilla” collided with riot police, in which the legality of the occupation was overruled by application of Road Traffic Law that interpreted the gathering as an illegal occupation. This incident is also well known as it leads to the renaming of West-Exit Square to West-Exit Passageway overnight. It is undeniable that Expo ’70 was the starting point of crowd control developed in Japan. Up until then, I had had experience in city design, but the 300-hectare area involved absolutely all aspects of design. The infrastructure included multiple mechanical contraptions that were potentially dangerous, ranging from the multipurpose underground utility conduits to moving walkways. The magnitude was nothing short of planning an entire city. At the same time, I was constantly thinking about how to break the various boundaries that occur when a city is planned. In that sense, I commend Dada Kan who ran through the Expo naked. What balls he had, literally. The security (i.e.: boundaries) was extremely high. That makes his actions admirable. There was also someone who managed to climb up the Tower of the Sun (Taiyo no Tou). Most people would criticize the design of the tower for enabling this. Regardless, it is incredible that this person slipped through the barriers and climbed the tower. It is about breaking the law. That is in itself, a performance.

VR: We could say that the city is a living organism and as you mentioned a city is a process of change. Many big decisions have been taken and many different influences through architecture have contributed to build the world as we know it. Living in Venice, I am every day confronted with the history of buildings, houses that were built over 500 years ago. What does Time mean for you in relation to the space you create? AI: The finalized notion of space in Spaces Within Dark (Yamino Kuukan), in Japan for example, begins first with an existence of bright spaces. Then the spaces are forcefully connected together, and eventually become dark. In architectural space, the contrast does not simply consist of light and dark, but all is encompassed and eventually disappears as if it were mist. It gradates into an ultimate form of darkness. The words Signifier (French: Signifiant) and Signified (French: Signifié) defined by Saussure, which were not used at the time, dictate the issue of “what signifies” and “what is signified”, in which the Signifier separates itself, and the Signified becomes “darkness”. The Signifier dissipates into “nothingness”. The parallel is “Darkness” and “Nothingness”. In the middle exists the “real” world. In other words, it is not a conflict between “nothingness” and the “real”. “Nothingness” is “Virtuality”, and “Real” is “Reality”. Subsequently, “Darkness” is interpreted as so-called “actuality”. Basically, this implies that space is not a tangible form existing in front of us, but rather something that occurs to us when we enter a space and notice its existence. In that sense, I question as to whether we have misinterpreted a very basic principle in this modern era by attempting to define time and space by giving it form and weight. This is something that I have contemplated over the years. During the 20th century, this notion has gradually become refined—referred to as hermeneutics or anthropology—and eventually was philosophically understood as representation and meaning (such as is Signifier and Signified). However, at the time, this differentiation did not exist. Franz Kafka’s The Castle and Junichiro Tanizaki’s In Praise of Shadows (In’ei Raisan) are familiar literary references that embody this form of experiencing space. Backtracking in time, I personally hope that my text Coordinates, Twilight and Hallucinations (Zahyo hakumei to genkaku) (1965) would be revisited and reevaluated. In 1963 I visited New York City. I wrote about the difference I perceived in the space compared to any other city I had visited before. Despite the lack of color, the city itself dissipates

into the light via the glass—a space that dissipates in its entirety like mist. In that sense, Coordinates, Twilight and Hallucinations ties itself to The Castle and In Praise of Shadows. Karlyn De Jongh: The Greek philosopher Protagoras once said: “Man is the measure of all things.” In your architecture, you deal with people from all over the world, who are physically but also culturally very different. In a global world, can you still take ‘man’ as the measure? AI: When a new city space grows into a metropolitan space, especially the type of spatiotemporal city development that is seen on the coastal regions in North America, it is not possible to grasp what is happening with the modern day notions in which time maintains its continuation on a straight axis. Space spreads homogeneously and light spreads properly. Within the city space, various symbols scatter without weight or size. By recognizing this fact, a person is able to move around in a city. It is simple semiology, which is a question about the signs seen in current cities, or a question of cognition. This kind of change has made

obsolete the existing notions of “Time” and “Space” that began with Bauhaus, which had been referred to in modern architecture and modern design. These two words can no longer be used. Furthermore, one cannot go in the direction of weight or gravity. Despite that fact, a structure emerges equipped with its own system. This has emerged as the role of the Architect and Artist, in which a question is presented as to how a city can be built without the previously prevalent notion of time and space, which is as if a city itself is such a hypothesis. That being said, zapping through the remote control of a television is like looking at a building. Say we have a preconceived image of a piece of architecture, but what we see changes drastically when we move where we stand. It is as if it is a continuous switch of perception, and continuation of image does not exist. It is a form of “monad” where all become particles and time is instantly irrelevant. In order to explain this image, I discovered that comparing it to “zapping the remote control of a television” is relatively easier to use as a metaphor.

KDJ: Already in 1962 you spoke about decay. Lee Ufan told me: “Man is always trying to ensure that human-made things exist, or ‘live on’ forever. But, nature always works to break them down and return them to their original elements. Thus we could say nature and humans are fighting.” This “disappearing of things” seems to be connected to the understanding of ‘infinity’ in Japan. In your work, you probably deal with nature all the time. How do you see this relation between man-made objects and nature? Do you strive for infinity? If so, how do you understand infinity? AI: My impression of the year 1968, is that of being involved in social disturbance—being pushed around by waves not knowing what we were drifting towards. However in the 70s, I had the impression that color was being lost, or decolorized all of a sudden. At that moment, everything fantastical disappeared once again. In the 60s, anything technical or high tech was still considered partially fantastical. At that time there was the psychedelic and drug culture, and a movement to connect everything toward illusions. That suddenly all disappeared in the 70s. Drug culture was reduced to merely one dropping out of society or a movement of returning to nature. Hippies became nothing more than the way they dressed. Architecture was no exception, and all expression became bleak. Even fine arts became predominantly overridden by minimalism and conceptualism. Briefly during the early 70s in Japan, the Mono ha emerged. Various works and artists such as Arte Povera in Italy, “Support/Surface” in France, Joseph Beuys in Germany, and Richard Serra in the US, all had roots in the rejection of illusionism, and embraced ideas which were supported by various notions such as the laws of nature, and the presence of matter or space correspondence. They shared common ground regarding the rejection of illusionism.

Personally, I believe that the Mono ha movement, to an extent, was driven by a rebound effect. Saying “no more” to art forms that utilized technology. For example, calling for people to “plough soil”—that was the result, which would be fine if it were merely a primitive form of expression. But I believe it is more of a rebound effect. In 1985, I was involved in designing The Palladium. This was an old opera house built in 1926 that was being converted into a disco. At the time I mainly designed cultural facilities such as art galleries and libraries, so people wondered why I decided to work on something that was so commercial. I didn’t particularly understand why myself, but I gave it a thought and this was the conclusion: When I was contacted about working on this project, the first thing that caught my interest was when they explained to me that this was not like a typical disco club or cabaret club you would find in Japan, but that the objective was to create a disco that enables the audience to have an altered-space experience. Instead of an altered-space experience induced by the effects of marijuana or cocaine, the theme was more literal. With lights flashing simultaneously with the music, the challenge was to test the extent to which the image of the vintage space could be altered with technology and modern media. Architecture is inherently limited to creating a static contour. However, the essence lies in the various contraptions that are installed within that contour. When it is time for the contraptions to be installed, light and sound designers work together with the sole focus of figuring out how to most effectively shower the human five senses with a combination of images, lights and sounds.

However, when I began thinking about experiences in such settings, I encountered some problems. It was already clear that nature was disappearing from cities. The same could be said about mountains, rivers and forests. Furthermore, religious facilities traditionally served as a sanctuary to the people. For example, it had always been tradition to go to a church to be in touch with God, but that custom was being lost. Because of such shifts, it has become more and more difficult to encounter another person or a thing, or even ideally something divine, when living the every day city life. I am very certain about this fact. That was when I thought I may be able to create a space that provides a simulated experience of that something divine, regardless to how artificial or fake that actually may be. That, I thought, was what a disco could be. VR: Visiting you in Tokyo last January, impressed me very much. I am now 26 and Iâ&#x20AC;&#x2122;m trying to understand as much as possible about concepts like Time Space and Existence. Once you were 26 and must have been discovering the same topics. You are now 82, what should I learn about Existence? AI: After the burst of the economic bubble in Japan in 1990, I noticed that Post-Modernism as a topic was mentioned less and less. Today, you seldom hear about it. The same thing happened 25 years ago. Modernism was under full-scale attack, and after the cultural revolution in 1968, it was never mentioned by anyone. The fact that the generation who studied architecture during the oddly quite years of the early 70s produced a large number of architectural historians, may be further proof of the rebound effect that affected that time period.

To place these events in the context of different eras, one can refer to two events that happened in Japan in 1995: The Great Hanshin Earthquake and the sarin gas attack on the Tokyo subway. This was exactly 50 years after the end of the Second World War. In place of Post-Modernism, Information Technology and Globalization were the hot topics. These were followed by the Superflat movement. PostModernism did not only reverse time, but shuffled it in its entirety, and saved it all in a database by utilizing information technology. In short, time was broken into pieces, saved in a non-chronological manner, and readily available to be summoned at will. During this era, space also became subject to shuffling. The world which consisted of boundaries, where the waning of racially homogeneous nations, disappearance of national borders, extending boundaries, and complex systems were separate entities co-existing in a space with its own order, was converted into code and saved on a database. In other words, the time and space that the year 1995 consisted of has been separated from the system that it belonged to, shuffled, and converted into an intangible form of digital code. Therefore, a large shift in the entity seems to occur every 25 years. Would one call this a law, or simply repetition? In reality, it is simply an unexpected change. The truth is, the ages that we live in are subject to shifting. It is a phase shifting out of place, and by transitioning smoothly into a new phase it results in a sort of a catastrophe. In that sense, I believe that the current era is very likely to shift once again. The manner in which this shift occurs is not logical, and happens without you noticing it. The only time you realize it has happened is when you start to notice that people around you are talking about different things.

...still waiting?

You donâ&#x20AC;&#x2122;t need to be! If you are installing a kitchen be certain your contractor is a KSA member. This will ensure peace of mind and an independent forum for any legitimate complaint.

MEMBER Gauteng 0861 542 572 Western Cape 082 787 8806 KwaZulu-Natal: 031 761 2034

email info@ksa.co.za | web www.ksa.co.za

KITchen SpecIalISTS aSSocIaTIon (KSa) Thousands of people have kitchen installations completed successfully. How do they do it? The answer is proper planning â&#x20AC;&#x201C; know what you want, what you can afford and use a member of the Kitchen Specialists Association (KSA).

What is the KSA? An important role of the KSA is protecting the rights of the consumer. Members provide the highest quality products by ensuring that the best materials are used within your price range. Consumers have peace of mind and certainty that outstanding service before, during and after installation is given. Whatever the requirement or budget, the KSA has a member capable of fulfilling the brief. The KSA can only offer you, the consumer, assistance and protection if you choose to work with a KSA member. As a non-profit organisation the KSAâ&#x20AC;&#x2122;s mission and vision is to create a professional and stable trading environment in which the industry can prosper and consumers can enjoy complete peace of mind. The KSA aims to be a national organization, representing the countries reputable kitchen manufacturers and associated product suppliers with the purpose of offering the public peace of mind. The KSA also works to facilitate solution driven resolutions between members and consumers in areas of dispute.

Why use a KSA member? The KSA has a strict code of ethics to which all members subscribe. Membership is not easily awarded and memberâ&#x20AC;&#x2122;s references are screened. Members must have been trading for a minimum of three years, have a stable credit history and be in good standing within the industry. All members must also agree to abide by any ruling handed down by the KSA or risk suspension or expulsion from the association. It is an industry standard for kitchen companies to request a 50% deposit on signing of the contract, a further 40% on delivery of carcasses to site and the final 10% on completion of the work. The KSA holding account offers a safe place for disputed funds, deposits and final payments. It can be utilized at any time on the mutual agreement of both parties at no cost to the consumer. Application forms to utilize the account as well as information on how the account works can be downloaded off the KSA website. In the unfortunate event of a dispute arising between yourself and a KSA member the incident can be reported to the KSA by downloading the dispute registration forms off the website. The KSA undertakes to assist with any legitimate complaint that falls within the kitchens installation and guarantee period. The KSA mediation service aims to provide a fair and equitable resolution to your problem. As an industry body the KSA provide advice and guidance and are always happy to assist you with questions or concerns you may have as you embark on purchasing a new kitchen.

Everything you need to know before starting a renovation The majority of problems we see at the KSA (Kitchen Specialists Association) can often be traced back to clientâ&#x20AC;&#x2122;s not being fully informed about what the process of installing a new kitchen involves. All too often clientâ&#x20AC;&#x2122;s have misconceptions about the cost, time line, preparations and payment. Before you even start talking to kitchen companies you need to have a good understanding of what you want and how much you are prepared to pay. Start by doing your homework as to what aesthetics you like and what would work with the rest of your home. There are a multitude of finishes out there and you need to have an idea of whether you are looking for modern clean lines, country or traditional styling. Assemble a few pictures from magazines to give the kitchen company some insight into your tastes and style. The next step is to set a budget. Most people underestimate just how much a new kitchen costs. Bear in mind that it is recommended that 1/3 of the value of your home is invested in the kitchen and bathrooms. It is important to ensure your budget is realistic. The larger the kitchen the more it will cost. If you want to work with timber, granite, solid surfacing or engineered stone the cost will be higher than if you are looking at working with wrap, melamine and Formica. The next step is to look at the basics that already exist in your kitchen and whether or not they need changing. Installing a new kitchen is a

good time to look at upgrading your appliances, plumbing, electrics and lighting. If your appliances need an upgrade, have an idea of what you want before approaching a kitchen company and have the necessary specifications of size and installation for them. When looking to appoint a kitchen company we suggest you talk to three reputable companies. Look to protect yourself by ensuring the company you appoint is listed with an industry association like the KSA. This will mean that the necessary background checks have been done on the company and that should anything go wrong you have recourse through the industry association. Ensure you give the kitchen company an idea of your budget and the aesthetics you are looking for. Most people are reluctant to give a budget in fear of the kitchen company fitting their quote to the budget. Without an idea of what you are prepared to spend the kitchen company canâ&#x20AC;&#x2122;t see if your budget will cover the style of kitchen you want. What they can do once they have your budget is to achieve the look you want with materials that will fit your budget. It can be a good idea to ask the company to do two quotes, one using the whole budget with all the bells and whistles and another more conservative coming in under budget. This way you can pick and choose those special extras you like from the expensive quote, add then to the conservative quote and end up with a happy medium. Allow each kitchen company to do their own measurements and design. Donâ&#x20AC;&#x2122;t take one design from company to company. Each

company will have their own interpretation of your needs, your space and your budget. With three different options you will be able to choose the company that has best understood you and your space. Most kitchen companies will charge you a fee for their drawings. This is usually refundable if you sign with them. It is standard in the kitchen industry to have a payment structure of 50% deposit, due on signing of the contract, 40% on delivery of the carcasses to site and the final 10% on completion. It is your responsibility to ensure the old kitchen is removed before the kitchen company comes to site. Before your new installation begins you should ensure all structural, plumbing and electrical changes have been made. If gas or water lines need to be laid under the floor to reach an island unit this should also have been done. A kitchen installation does not happen overnight and if you are having granite, timber, engineered stone or solid surface tops you should allow four weeks from the carcasses being delivered to site for the time line. It is important to note that should you, as the client, delay installation or make changes once the kitchen company are on site this will add to the four week time line as well as to the cost. In conclusion, protect yourself and your investment by working with an association registered company and have realistic expectations of cost and timeline.

Kitchen Specialist’s Assoc cont...

KSA’s Top 7 Hints to Ensure You Stay Sane During Your Kitchen Installation A lot of the complaints we receive from consumers are due to rising stress levels and breakdowns in communication between the parties. Don’t be fooled. Having a new kitchen installed is a stressful, long, untidy and inconvenient process and not everyone can afford to move into a hotel for the duration. Here are our top seven tips to help you keep your sanity during the process: •

Pack up your kitchen meticulously. Use clearly labelled boxes and bubble wrap. This will ensure that when you come to unpack you know where everything should go and damages are minimal. Remember not to pack away the basic essentials you will need while the kitchen is being installed.

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Set up a temporary kitchen in a convenient space where you will not be falling over yourselves. You are still going to need to cook and clean while you have no kitchen. Ensure it is somewhere where you can still operate your kettle, toaster, microwave and some sort of hot plate. You should also allow for the washing of dirty dishes. Camping wash stands can come in very useful.

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Ensure you site is ready for the kitchen company – all electrics and plumbing should be done, flooring complete and the old kitchen removed.

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Be prepared for at least four weeks without a kitchen.

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Avoid making changes once the installation has begun. This will end up increasing the length of time the kitchen company is on site. Remember every change you make goes to the back of the kitchen companies’ manufacturing queue and can add up to another week to your timeline.

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We know it is tempting to watch the kitchen company once they are on the job but don’t. Kitchens are custom made and will need to be adapted on site to deal with unlevel floors and walls and unexpected issues that may arise on site. To you it may seem like they are ‘cutting up and changing’ your kitchen on site but the installers are trained to make these necessary adaptations once the goods are out of the factory.

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Judge your kitchen on the finished product. The kitchen company will ask you to snag the kitchen before they hand over to you. This is when you should be looking for anything you are not happy with not before. Remember that when dealing with a KSA member you get a one year guarantee from date of installation should anything go wrong after you have signed off the kitchen.

Gauteng Tel : 086 5522948 Fax: 086 551 6981 info@ksa.co.za

Cape Town Tel: 082 787 8806 Fax: 086 551 6978 stephanie@ksa.co.za

Kwa-Zulu Natal Tel:031 761 2034 Fax: 086 505 6296 kzn@ksa.co.za

Visit our website: www.ksa.co.za

SouTh afrIcan InSTITuTe of The InTerIor DeSIgn profeSSIonS (IID) The South African Institute of the Interior Design Professions (IID) is the only professional body representing the Interior Design industry in South Africa. It operates nationally with representation in Gauteng, KwaZuluNatal and the Eastern and Western Cape. The Institute is dedicated to establishing, promoting and maintaining expertise, professionalism, sound business practice and high standards throughout the industry. Membership of the IID indicates your status as a qualified, experienced and ethical practicing professional. As the only professional body representing the Interior Design Industry in South Africa, it serves the needs of registered, practicing interior architecture, interior design and interior decorating professionals as well as education institutions and suppliers that provide services to the interior design industry. Joining the IID enhances your interior design career and your business. Being a member of your professional body tells people that youâ&#x20AC;&#x2122;re serious about interior design. It indicates your status as a business professional with valuable industry skills.

The IID continually endeavours to increase the profile of the industry and as such we have recently been approved by The South African Qualifications Authority (SAQA) as a Registered Professional Body, and as such the IID now holds the rights to the following designations as registered on the National Qualifications Framework (NQF): •

Professional Interior Decorator

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Professional Interior Designer

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Professional Senior Interior Designer

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Professional Interior Architect

This effectively means that the public can verify whether their Industry Professional is registered. This allows for peace of mind when employing a member of the IID as the Institutes enforces a strict Code of Conduct which ensures that work is professional and of a high standard. The IID is a Member of IFI, the International Federation of Interior Architects & Designers. The IID is a Voluntary Association Member of SACAP, the South African Council for the Architectural Profession. For further information on the IID please contact the IID National Office on 011 486 0450 or national@iidprofessions.com

With our knowledge and expertise, we are playing a significant role in improving towns and cities by providing highly innovative and customised interior solutions to overcome the challenge of rapid urbanisation... from the inside. Our wide range of plasterboards, plasters, ceiling tiles and associated products are designed and engineered with a view to building solutions for life. Ingenuity and innovation combine to bring you a range of solutions specifically tailored to assist in building better cities. Lafarge... Building Better Cities Contact Lafarge Industries SA (PTY) LTD Lafarge Gypsum Division on 0861 GYPSUM, 011 389 4500, www.lafarge.co.za

IMAGE COURTESY OF OMDEV INTERIORS

Lafarge Plasterboard Solutions for More Beautiful and Durable Cities

Lafarge Plasterboard: Marrying eco-efficiency and aesthetics Compliance with SANS 204 energy efficiency standards, SANS 266 SABS Mark – a product certification which guarantees the product is manufactured in a controlled environment under controlled conditions & will always comply with the requirements of the specification - as well as Lafarge Plasterboard’s listing on eco-specifier, is just part of the company’s ongoing commitment to building better cities. Jean-Paul Croze, Managing Director of Lafarge Gypsum South Africa, says: “All buildings must pass stringent technical standards to attain the necessary regulatory approvals. Lafarge Plasterboard meets these critical specifications, while still offering architects and interior designers creative flexibility, in keeping with our drive to build world class cities.” With “green” building alternatives a priority, Lafarge Gypsum’s research and development continues to produce products that have sustainability attributes and meet vital needs, such as fire and moisture resistance. “Whether used in residential housing, hospitals, schools, offices or hotels, Lafarge understands that every product manufactured is ultimately about people,” Croze says. “Their safety and comfort plays a huge part in our dedication to meeting and even exceeding technical standards with regard to fire resistance, moisture resistance, thermal insulation, acoustic control, or combinations of these features.” Lafarge Gypsum’s plasterboard is produced in a number of standard lengths, widths and thicknesses as well as with a variety of characteristics for different uses. The standard plasterboard range is available in 6.4mm, 12mm and 15mm thicknesses, while the fire check boards and moisture check boards are available in 12,5mm and 15mm. Eco-specifier, the leading global source of sustainable development and lifecycle assessed green product information, requires products to exhibit one or more eco- and health-preferable characteristics. Croze says: “Our listing means Lafarge products – including plasterboard, plasters, vinyl tiles and steel products - have undergone an independent and unbiased assessment and are benchmarked against South African and international standards.” The first local plasterboard manufacturer to produce a 15mm plasterboard, Lafarge Gypsum designed it to offer better resistance to damage in high traffic areas. “It requires less maintenance and carries the weight of wall hangings and racks for merchandising, making it ideal for shop fitting,” says Croze. A network of specialised resellers and hardware stores in South Africa and across the continent distribute Lafarge products to ensure broad access to the Lafarge range. For more information please contact: Ayanda Ndlovu, Marketing and Communications Co-ordinator 011 389 4500/ 082 459 0044 ayanda.ndlovu@lafarge.com 63

Sow Geneva - Stephan Antoni Olmesdahl Truen Architects (SAOTA) with SRA Kossler and Morel Architects 64 Photograph courtesy SAIA.

coroBrIK - SaIa awarD

for

excellence

Photo: UWC Life Sciences (CIA)

Photo: Untamed (CIA)

Photo: Voëlklip (CIA)

Photo: Ubuntu Centre (ECIA)

Project Index • •

University of the Western Cape Life Sciences (CIA)

71 152

Untamed (CIA)

163 72

DHK ARCHITECTS

DAFFONCHIO AND ASSOCIATES ARCHITECTS

•

Voëlklip (CIA) SAOTA - STEFAN ANTONI OLMESDAHL TRUEN ARCHITECTS

•

Ubuntu Centre (ECIA) FIELD ARCHITECTURE JV JOHN BLAIR ARCHITECTS IN ASSOCIATION WITH NGONYAMA OKPANUM ASSOCIATES & HEWITT-COLEMAN ARCHITECTS

280 73 286 74

coroBrIK - SaIa awarD

for

excellence

Photo: Circa on Jellicoe (GIFA)

Photo: Investec Regional Head Office (KZNIA)

Photo: The Concierge Boutique Hotel (KZNIA)

Photo: New Residence in Groenkloof (PIA)

Project Index • •

Circa on Jellicoe (GIFA)

75 294

Investec Regional Head Office (KZNIA)

300 76

studioMAS ARCHITECTURE AND URBAN DESIGN ELPHICK PROOME ARCHITECTS INC

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The Concierge Boutique Hotel and Freedom Café (KZNIA) DON ALBERT AND PARTNERS WITH ARCHITECTURE FABRIK

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New Residence in Groenkloof for Louw/Delport (PIA) MELLET AND HUMAN ARCHITECTS

304 77 78 370

INDUSTRY CONTACTS PROFESSIONAL BODY Membership Administration: Flora Basson: membership@saia.org.za

SACAP - South African Council for the Architectural Profession P.O.Box 408, BRUMA, 2026 1st Floor Lakeside Place, Oppenheimer Drive, cnr Queen Street, BRUMA Tel : (011) 479 5000 www.sacapsa.com General queries : admin@sacapsa.com

Reception: Boitumelo (Tumi) Phokomise docsales@saia.org.za CPD Administration: Marlene van Nieuwenhuizen cpd@saia.org.za

Registrar: Edwin Lekota registrar@sacapsa.com

SAIAT - South African Institute of Architectural Technologists PO Box 807, BEDFORDVIEW, 2008 5th Floor, Sovereign House Cnr. Sovereign and Mullins Streets BEDFORDVIEW, 2008 Tel: (011) 622 3168 Fax: 086 686 8167 / 011 615 4308 info@saiat.org.za

Registrar PA: paregistrar@sacapsa.com

VOLUNTARY ORGANISATIONS SAIA - South African Institute of Architects

IID - South African Institute of the Interior Design Professions

Private Bag X10063, RANDBURG, 2125 Bouhof (Ground floor), 31 Robin Hood Road, ROBINDALE Tel: (011) 782 1315 Fax: (011) 782 8771 www.saia.org.za General Enquiries: admin@saia.org.za

PO Box 84137, GREENSIDE, 2034 109 Greenway, Greenside, JOHANNESBURG Tel: (011) 486 0450 Fax: 086 651 8375 national@iidprofessions.com

Executive Officer: Su Linning exec@saia.org.za

SAIBD - South African Institute of Building Design

Practice & Education: Bryan Wallis: prac.ed@saia.org.za

PO Box 50182, MUSGRAVE ROAD, 4062 Suite 113 Musgrave Park, 18 Musgrave Road, DURBAN, 4001 Tel: (031) 202 4726 Fax: (031) 202 4726 admin@smallpropadmin.co.za

Promotions & Communication: Zola Kgaka: prom.com@saia.org.za Heritage & Habitat: Diane Arvanitakis her.hab@saia.org.za

SAID - South African Institute of Draughting

Executive Equiries: Office Manager/ Exec PA: Bronwen Forman: p.a@saia.org.za

PO Box 4424, DURBANVILLE, 7551 Tel: (021) 975 5191 Fax: 086 579 1337 SAIDraughting@global.co.za

Accounts: Esther van Tonder accounts@saia.org.za

Industry Contacts cont...

REGIONAL INSTITUTES FSIA Free State Institute of Architects

B-KIA Border Kei Institute of Architects

PO Box 12396, BRANDHOF, 9324 Fichardt House, 40 Elizabeth Street BLOEMFONTEIN, 9301 Tel: (051) 447 4909 Fax: (051) 447 4159 admin.fsia@saia.org.za www.fsia.co.za

PO Box 15314, BEACON BAY, 5205 21 Pell Street, Office #10, Beacon Park, BEACON BAY, 5241 Tel: (043) 748 1156 Fax: (043) 748 2839 bkia@sainet.co.za

GIfA Gauteng Institute for Architecture

CIA Cape Institute for Architecture

PO Box 2094, HOUGHTON, 2041 77 Juta Street, Braamfontein JOHANNESBURG Tel: (011) 403 0954 Fax: (011) 403 0996 gifa@telkomsa.net www.gia.org.za

PO Box 3952, CAPE TOWN, 8000 71 Hout Street, CAPE TOWN, 8001 Tel: (021) 424 7128 Fax: (021) 424 3620 info@cifa.org.za www.cifa.org.za

ECIA Eastern Cape Institute of Architects

KZNIA KwaZulu-Natal Institute for Architecture

PO Box 12266, CENTRAHILL, 6006 21 Alfred Terrace, Central PORT ELIZABETH, 6001 Tel: (041) 585 8037 Fax: (041) 585 9415 ecia@iafrica.com www.ecia.co.za

160 Bulwer Road, GLENWOOD, 4000 160 Bulwer Road, Glenwood, DURBAN 4001 Tel: (031) 201 7590 Fax: (031) 201 7586 admin@kznia.org.za www.kznia.org.za

Industry Contacts cont...

REGIONAL INSTITUTES

LIA Limpopo Institute for Architecture

NWPIA Northwest Province Institute of Architects

PO Box 1585, POLOKWANE, 0700 36 A Rabie Street, POLOKWANE 0699 Tel: (015) 291 5914 Fax: (015) 291 5915 contact@limifa.com www.limifa.com

PO Box 2267, KLERKSDORP, 2570 101 Anderson Street, KLERKSDORP Tel: (018) 462 1912 Fax: (018) 464 1183 (018) 462 9440 belinda@ab4.co.za

MPIA Mpumalanga Institute of Architects

PIA Pretoria Institute for Architecture

PO Box 19587, NELSPRUIT, 1200 Cnr Wilhelm/Ferreira Street, 11 Wilhelm Street, NELSPRUIT, 1201 Tel: (013) 744 1113 Fax: 086 554 4131 admin.mia@saia.org.za www.mpia.co.za

PO Box 35161, MENLO PARK, 0102 341 Brooklyn Road, Cnr Charles Street, Brooklyn, PRETORIA Tel: (012) 346 1051 (012) 346 8438 Fax: (012) 346 1016 www.pia.org.za admin@pia.org.za finance@pia.org.za management@pia.org.za

NCIA Northern Cape Institute of Architects PO Box 195, KIMBERLEY, 8300 9 Dalham Road, KIMBERLEY, 8301 Tel: (053) 832 4371 Fax: (053) 831 2734 johan@telkomsa.net jemushet@yahoo.com

COROBRIK-SAIA AWARD FOR EXCELLENCE DHK ARCHITECTS (CIA) University of the Western Cape Life Sciences Department - Client: UWC

What the Judges had to Say: The UWC Life Sciences building successfully showcases a commitment to sustainable building practice and resource efficiency in the way that it responds to the environment and demonstrates cost effective strategies, placing this building at the forefront of responsible architecture in the country. The architecture is enormously progressive in both what it intended to achieve and how it achieved it. It will set the benchmark for how institutional buildings will be scoped in future. The depth of detail of the blinds to shade the sun and the vegetable garden on the roof is a serious attempt to tread softly to create architecture with a low impact in spaces that are inspiring and in context with the forward/progressive nature of the institution.