under gr aduat e por t f ol i o 2007/ 2009
cal vi nst abl es
I am a 25 year old South African, born in Cape Town on the 11th of July 1985. I completed my Bachelor of Architectural Studies (BAS) at the end of 2009, graduating from the University of Cape Town (UCT). My efforts at UCT have been focused around developing my own brand of concept driven design, technical detail resolution and presentation techniques. While these aspects are important BAS prerequisites, I find that the melding of theoretical, contextual and philosophical ideas as a design approach has been the most beneficial aspect to my undergraduate experience as it ensures considered and relevant outcomes. Persuing my passion for design in a structured and supportive environment has produced projects that I feel best represent me as a young architect, designer and photographer, some of which are presented in this portfolio.
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selected undergraduate projects
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index page 2007 - 2009
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technical drawing / model building / photography / photoshop
02 weeks 2007 BAS I
01 / Beach changing hut
34o 7’ 40” S 18o 26’ 54” E
Design a small beach changing hut in Cape Towns False Bay. Typified by harsh winds and powerful ocean born storms, any Cape Town beach structure presents unique design challenges.
Triplex / Chipboard 350 x 268 x 398mm 1:10
Primary focus became finding an appropirate solution for getting light into the structure while maintaining privacy and freedom from expensive or fragile materials.
technical drawing / autoCAD / REVIT / photoshop
05 weeks 2007 BAS I
02 / Night club
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* Situated in a residential part of Cape Town’s historical Bo Kaap district, the club needed to focus itself internally. Visual and acoustic isolation from neighbouring buildings enforced the need for a public programmatic offering from the project in order to ensure contextual integration.
Street level surfaces were ceised as opportunities for public interaction with the building.
While internal spaces remain isoalted, allowing patrons to express their nocturnal alter egos.
By day the building offers a music store and musical studio venue while the structure surrenders itself at street levels as a public space where recreational activities are encouraged.
At night the building hands itself over to the miscreants as the night and strip clubs come to life.
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technical drawing / photography / photoshop / sketchup
04 weeks 2007 BAS I
03 / Elemental house
Design a 60m2 dwelling on the slopes of Table Mountain overlooking Camps Bay and the Atlantic ocean
The site lies squeezed between mountain and sea within a dramatic topographical setting.
Translating these elemental forces, the structure attempts to maximise both site and programmatic opportunities.
Optimising views provided by the site lead to a formal response that focused on capturing all moods of the day.
rest
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photography / model building
01 weeks 2008 BAS II
04 / Public park
Design a park for any recreational activity on a theoretical site, with one street facing boundary.
By nature, skateboarding is an individual, exploratory sport. Everyday objects and landscapes are turned into endless playgrounds where the only limit is your imagination. Following on from this, it was decided to provide a dynamc and unique landscape that could challenge this immaginative process.
Finding inspiration in the ocean and skateboardings parent sport, surfing, the park attempts touch on the ever changing platform that the sea provides for its riders. Translating this into static form would mean freedom from prescribed routes or runs, thereby freeing up the space and offering riders infinite opportunities.
Taking advantage of concretes inherent liquid qualities, the park seeks to express the dynamic and fluid nature of the immaginative process. A contrast is established against the ‘boxed’ site further defining the park as a space for recreation.
technical drawing / model building / photography / photoshop
05 weeks 2008 BAS II
05 / Library
Design a public library for the small farming community of Clanwilliam in its town center.
32o 13’ 0 S 18o 55’ 0 E
Located in the Cederberg mountains,Clanwilliam lies in a valley resulting in relative seclusion and an extreme summer climate. Many citrus and rooibos farms are located in the valley and depend heavily on Clanwilliam Dam for water.
Severe summer temperatures impact heavily on living conditions. Locally sourced stone proves an effective means of putting into effect the notion of thermal massing as is demonstrated by many existing homes in the town.
Experiencing a prominant class divide between the ‘have’s’ and ‘have nots’, Clanwilliam stands as a microcosm of apartheid planning in South Africa. The scale of Clanwilliam itself means that while separation exists, all groups stay in close proximity of eachother, with public buildings seeing patronage across all demographics.
By promoting individual thought as a means of curving stereotyping, the library sets out to dissolve group activity and allow for unexpected social interactions and self-reflection to facilitate social mixing.
Relying heavily on the manner of movement through the library, these ideas depended on a unique planning solution to ensure an effective scheme.
Architecturally, the project aims to do this by promoting interaction on an individual level through the use of subtle structural ques and programmatic articulation.
Triplex / Cardboard 500mm x 420mm 1:100
model building / photography / photoshop / REVIT
06 weeks 2008 BAS II
06 / Hotel
Taking from the transitory and nomadic nature of hotel living, the project investigates migratory behaviour and its relevance with regard to the site’s popularity as a tourist destination as a departure point for an appropriate architectural response.
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33o 55’ S / 18o 29’ E Long Street Cape Town RSA
Expressing the migration of ideas and bodies as a built form found its most appropriate representation through its own self-expression. The building would allow movements within it to create their own dynamic by allowing them to augment the appearance of the building itself.
The migration of Modernism and the ‘International Style’
Scale 1:10
With reference to Philip Johnsons AT&T Building
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troduction
“there exists today a modern style as original, as consistent, as logical, and as widely distributed as any in the past”’ Not since the Orders of the Ancients had an architectural trend veraciously and been so widely accepted as in the case of Modern With the emerging of a new world here in lay an answer to all mans “Modernism in planning and architecture spoke for the people and their is it then that Modernism began to lose its way, “drifting away from the world it had hoped to improve” ?
spread so architecture. built needs, interests” . So how of everyday life, which
Through the comparison of two buildings of similar typography, both designed with the involvement of architect Philip Johnson but under differing trends, this essay aims to investigate and uncover the rebirth of contextual sensitivity, awareness and validity as pronounced by architects emerging from under the wings of Modern architecture into the guise of a post-Modern movement, and the eventual demise of Modernism as an ‘international style’ by the hands of the very architects who sang its praises. Original context In order to fully unpack the eventual de-popularizing of Modern architecture it is important to first understand how it is that it came about and to what problem it aimed to provide a solution. As a result of the industrial revolution of the 19th century, the developments made in materials such as steel and concrete and the subsequent advances in engineering it became merely a matter of course that architecture was to undergo a radical change through the inclusion of its sister professions advances. It was this marrying of engineering practice and architectural design that led to a new breed of designer, one whose approach was scientific and rational as apposed to derivative. Consideration of function, economics and efficiency became commonplace as apposed to the regurgitative concerns of existing architectural offices. This new approach led to original forms and new moments in space that sought to appease a new society, one where architecture was an economic and political tool that could be used to “improve the world through the design of buildings and urban planning” 7. The movement struggled however to find popular acclaim in a pre-war Europe and remained in the hands of a select few architects of the time who sought to develop and refine these new ideas. It was in this time that The International Congress of Modern Architecture (CIAM) was founded (1928) and convened in the interest of formalizing the architectural principles of the Modern Movement into language that could be applied without much deviation to any project across time and place. Architects such as Le Corbusier, Gropius and Mies pushed for a set of architectural principles that were driven rationally rather than stylistically. The argument that design could be justified purely by its existence in another time and context no longer stood. “What do you mean you don’t like my tower? There it is in Wren.” 3 The new emphasis on function and providing for specific needs as apposed to the imitation of previous projects by famous architects meant the adoption of a new attitude from architects the world over that would see the architectural fraternity invigorated like never before. Schools such as the Bauhaus started to spread the teachings of Modernisms and splintered off into there own leagues such as the De Stijl. It was this invigoration that began to lead to the interest of international architects in the teachings of the Modern and its eventual spread across continents.
The ‘international style’ While the Modern movement had firmly laid its foundations in the minds of many influential European minds thanks to architects such as Le Corbusier, Walter Gropius and Mies Van Der Rohe, its effects were being noticed the world over. It is within this international interest that unique relationships were to be formed on the unifying hope for a Movement in architecture that could speak to its time. It is on the relationship forged between the American architect Philip Johnson and German architect Mies Van Der Rohe that Modernism began to find its place in an emerging America. Having graduated from Harvard, Philip Johnson was on a trip to Berlin when he met with Mies. On his return to America, “Johnson was a confirmed enthusiast for the new architecture he had seen” . To such an extent that he, along with the critic Henry Russell Hitchcock, compiled a book on the subject titled, ‘the international style: architecture since 1922’. “As Hitchcock pointed out in our book ‘The International Style’, it was the first style since the Gothic to be developed on the basis of a new interpretation of structure, the Renaissance being only a surface change”. Johnson sought to bring to America the idea of Modernism, not as it had been set out by the CIAM, as a logical answer to economic or social issues but rather as a ‘style’ that could be applied and used as a “frame of potential growth…developed with the recognition of underlying principles” Johnson set out his own rules for an international style; the first being: “architecture as volume rather that mass, second: regularity rather than axial symmetry” .
Within these Johnson hoped to create an architecture free from dogmatism and went on to say that, “none of us architects want to feel we are working in straight jackets. But it is nevertheless the duty of the historian to point out styles as they occur in history” , a comment that seemed to contradict the very essence of the Modernist approach, yet at the same time tried to encapsulate the true nature of the architect that was to apply its principles. Johnson “maintained and widened his connection with modern architects in Europe” by organizing exhibitions at the Museum of Modern Art in New York many topics, one of which being, ‘The birth of the American Skyscraper’ held in 1933. It was through Johnson’s enthusiastic support of European Modernism that architects like Mies began to enjoy a reputation within America as a pioneer of Modern architecture and found an outlet for the pressures being applied back in Nazi Germany. It was this reputation and alliance with Johnson that helped Mies get the commission to design the Seagram building in New York City. The International Style and the Seagram building Johnson notes the skyscraper as “far and away the most important architectural achievement of America” and in partnership with Mies, a truly Modernist building was designed. The building embodies Modernism and the International Style through its many revealing features. The Seagram building is a 38 storey skyscraper set in Midtown Manhattan . The buildings stark, almost austere appearance follows from the Modernist ethos that buildings should be free from ornament and express a functionalist aesthetic. Great lengths were taken by the architects to ensure that the steel structure was exposed on the buildings exterior in order to ensure the buildings loyalty to this aesthetic. Ironically the building used 3.2million pounds of bronze to accentuate the steel structure beneath hidden by concrete as set out by American building regulations. Figure 1: front façade of Seagram building Johnson’s enthusiasm towards the Internationl style was echoed within the Seagram’s loyalty to its aesthetic and functionalist approach. “Steel and concrete skeletons at last become the essence of a new style” Figure 2 external glazing of Seagram building Glass panes are hung from the steel structure in order to maintain transparency and uniformity throughout the structure, an integral principle to the within Modern architecture. An icon in its time, the Seagram building embodied all that was Modern and stood as a gleaming beacon for the triumph that was the International Style. Shifting loyalties By 1960 the iconic Seagram building was commonplace the world over and began to represent an over popularized movement that found itself now devoid of symbolism and cause. Johnson began shifting his attentions away from the aesthetic of the International Style and looked for an appropriate substitute. “The Style has spread and spread and, as will happen, began to decay and decay”
In his 1961 address at The Metropolitan Museum of Art provided a glimpse into the nature of his failing loyalty when he quoted John Burchard and Albert Bush-Brown in saying that “the International Style was a new and unfortunate tag to the movement from which it has not quite been able to escape” . Johnson’s wish to depart from the rigidity of the Modern Movement in advocating the International Style seemed to have eluded him and pushed him eventually to its complete abandonment as an answer for the societies need for an appropriate architecture. A new “radical and critical” culture was growing, one where orthodox Modern architecture was attacked for its “elitism, urban destruction, bureaucracy and simplified language” . Johnson went on to discuss his ‘seven crutches of modern architecture’ in which he commented on the nature of the architectural practice with a candidness that seemed to put the notion of a universal architecture to bed. This new focus in architecture followed on from Modernism not only as the next step in the time line as a post-Modernism but also followed on in a manner of restlessness and new enquiry that had been some time coming, “The international style lasted even longer than Barr or Hitchcock could have foreseen thirty years ago” . This Post-Modernism was seen as “progressive in some quarters…and damned as reactionary and nostalgic in others” . The new ‘style’ sought to address issues that had seemed to be neglected through the ruthless implementation of the International Style as some kind of economic and political tool. Albeit that these were the original intentions behind the Modern-Movement, it became evident that a sensitivity towards a contemporary society was being neglected as a matter of course. Speaking on a post-International Style Johnson remarked that “the intent is strength, originality, and certain crudeness” . This new direction also noted as neo-historicism that became typified by an eclecticism, a mixing of styles and artifacts not seen since before Modernism found its voice. “We have spread off into ways that seem to Pevsner, for example, anti-rationalist, neo-formal, and heaven knows how sinful from a Thirties point of view” While this new focus seemed to be the exact antithesis of its predecessor, Modernism, its roots lay exactly there. This was an enquiry spreading directly from the critical assessment of its surroundings. The close proximity in time between these two, almost, overlapping movements lead to a refined and passionate course of investigation that saw the scrutiny of every aspect of Modern architecture. The very principles upon which Modernism was founded were being re-evaluated through a new investigation into technology, tectonics and context, amongst others. “it is not neo-Baroque, it is not anti-international, it is not anti-Modern, it anti-rational – but in being anti-rational are we not merely following the
is only faintly anti-functionalist. It is also slightly trend of our day?”
Johnson went on to design a number of buildings that departed rather vigorseemed to be an effort in forging a new path for architecture, a comment sort of mirror being held up for everyone to see. One of these buildings serve as their headquarters.
ously from the International Style. Each of which on society and its insensitivity towards itself, a was that designed for the AT&T Company to
Post-Modernism and The building is tion of styles chitectural principles. as point, the building had “a aesthetic rebellion commerce…less architecture logo, less work of art than ment.”
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HISTORY AND THEORY OF ARCHITECTURE IV
All circulatory routes are clearly visible to passers by, allowing for an accessible and transparent user experience.
While employing a visual contrast to its immediate surrounds, the hotel strikes a contextual balance by mirroring its context, allowing it to constantly reflect any movement or changes that may occur within this dynamic part of Cape Town.
At its core, the building provides privacy and quiet for its residents.
photography / photoshop / after effects / illustrator
04 weeks 2009 BAS III
07 / Des Baker competition
Discover a ‘chora(l)’ space within your city and enhance its characteristics through an appropriate intervention.
To understand ‘Chora’, it first had to be defined in its traditional sense. Applying notions and systems found in contemporary life to this understanding would lead to the final intervention.
d an o t t en n ge nm see ta ar s l ro vi was the ecu en it ry, d s al. s hi ith fu an ort d in n w or re ’ p e io ur sac ral ac ct vo o pl era fa the ‘ch y ns nt dl ch e Ma s i go whi th hi eld gh ed, yi rou act th ter in
s wa l n ma ona ble ti ca ', s on di li ds e ti ra xp go nc ac e t ine he ese t pr Th h y dl m. wit of ly go al d l re nt il go of d ere 'w f o e v ce cr re the of o en sa s ri e wa as pr pe th re od le ex to u to ib t in na rs ng e th ht ds nde ta n u a ig ar h ug ins tow ing g m fe. i n e ro Th ven ude a b eri y l gi tit men off yda at eno by ver ph ere s e th hi in
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Through the passage of time, rational thought has given rise to a new understanding of mans environment. 'faith' has been introduced as a mechanism through which man can maintain his contact with the sacred. This leap from the physical to the virtual realm means that, in contemporary terms, the link between the secular and the sacred, the chora(l) space, is one formulated in the mind trough the melding of ones knowledge and environment and that is activated through the imagination.
Imagimation
Environment
Knowledge
Land reclaimation is a by-product of the generic spatial requirements of Modern planning being imposed upon an existing environment that is unable to meet certain criteria, offering an artificial extension to existing realities.
Vehicular traffic and built form define the site, a space quantified by the nomadic r structures of everyday life as dictated by a contemporary society.
rituals and
The result of these conditions is a piece of land devoid of any function, isolated from rationalised inhabitation, thereby facilitating free pedestrian movement within its bounds.
The rupturing of the urban 'highway' model results in the production of a virtual space, a space created in the absence of creation.
Responding to the ebb and flow of the water table, the intervention punctures the virtual site and thereby activates a window to real and imagined histories while affording a clarity to current realities. A palimpsest is revealed to the participant thereby enhancing the ‘choral’ condition.
Anchoring sleeve
Release valve
Pressure coil Intake valve
Hydrolic track
Reacting to CO2 levels, the intervention ‘blossoms’ in the presence of clean air, inducing a heightened state of awareness as to ones effect on their environment.
photography / photoshop / illustrator / autoCAD
03 weeks 2009 BAS III
08 / Cladding system
Design an external cladding system for an existing structure within Cape Town.
Designed for the Salvation Army building, the cladding seeks to add something special to a somewhat sterile building. Inhabitants of this building come from unfortunate curcumstances, upfliftment often comes from the smallest of experiences, in unexpected places...
Calvin Stables
alvation Army Building - Foreshore
Strategy for aesthetic, emotional and economic upliftment:
Tucked away in a corner next to a freeway, the Salvation Aesthetic: site offers much potential in ArmyThe building gets little to terms of growth as the rejuvenation of the foreshore has focused attentions towards noarearecognition from it. the public. This is apparent in the success of other By offering something bold and companies occupying this area. An aesthetic upliftment would allow this building begin to take new ofto the city, the Salvation advantage this evolution. Army could command a presence in Emotional: The inhabitants of this building come from unfortunate curcumstances. Emotional the minds of its passers-by and upfliftment often comes from the smallest of experiences, and that is whatmuch this projectneeded aims inject some energy to offer, an experience different from the everyday, that transforms the which intoan experience the cause for they mundane into the exciting. are fighting. Economic: Tucked away in its corner next to a freeway, the Salvation Army building gets little to know recognition from the public. By offering something exciting and new to the city, the Salvation Army could command a presence in the minds of its passers by and inject some much needed energy into the cause for which they are fighting. Intent: During the day, the stairwell comes alive as light floods in, tinting the space through a spectrum of colours for all inhabitants to enjoy. At night, the lit stairwell eminates light, creating a beacon for all who seek the help of the Salvation Army.
1 Dual layer trnasparent polycarbonate hollow cellular slabs (20/440mm) with coextruded coloured rear face 2 Manufactured stainless steel support (A) 3 5mm steel cable
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4 6/220mm steel angle section fixed to cavity brick wall 5 5mm transparent perspex sheet, bent to shape and adhesive fixed to 6 6 3mm transparent perspex sheet, bent to shape 7 4/35mm steel angle section fixed to 8
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(A)(A) Support Support
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(B)(B) Support Support
During the day, the stairwell comes alive as light floods in, tinting the space through a spectrum of colours for all inhabitants to enjoy. At night, the lit stairwell eminates light, creating a beacon for all who seek the help of the Salvation Army.
textile / photography / photoshop / sketchup / autoCAD
04 months 2009 BAS III
09 / Audio visual institute
As a final project in the BAS programme, students were given the opportunity to select both site and function for a four storey building in Cape Towns Wynberg district along its Main road. A suitable urban development strategy needed to be proposed, around which the building was to be designed.
The intent of this project was to introduce a scheme that could improve spatial and cultural understanding within Wynberg. Notions of knowledge and environment were explored as fundamental aspects in the understanding of ones location in both time and space.
Due to the topography and planning of Cape Town, a number of distinguishable areas of urban development, or nodes, are connected by one dominant route, the Southern Corridor. The importance of the node in urban development and human locational understanding is expressed by Kevin Lynch as a ‘fundamental spatial organizer’. As development and urban densification increases in our city, these nodes will begin bleeding into each other at the threat of losing their identity and reducing legibility within the urban environment. Due to the linear nature of the corridor, lateral development within Wynberg has been explored as a means to retain its definition as a node.
Existing lateral movement was investigated to ensure the effectiveness of the urban strategy
Feeding off existing patterns of usage, the project sets out to harness existing, lateral pedestrian movement by connecting Wynberg’s train station to Maynardville on the opposite end of Main Road.
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Places of interest that lie beyond Main Road therefore become better connected, enhancing legibility and spatial understanding within the area. Existing routes Desired routes New routes
Programme The building sets out to develope the urban strategy further by making effort to enhance cultural and historical understanding within the area through the introduction of a time-based media archive. As the urban strategy attempts to harness physical movement within the area as a means of enhancing spatial understanding, the project focusses on the movement of ideas, concepts and information in an effort to maximise cultural cohesion and understanding.
The intention is focused on developing the heritage and cultural understandings of Cape Town through engaging with the media (both visual and audio) housed in the archives and manipulate them into new and more engaging representations for public consumption. The archive will serve a media center, sound and visual labs with studio facilities, offices and housing for visiting professionals.
The combination of urban, programmatic and formal strategies offered by the project ensure the coupling of knowledge and imagination as a means of enhancing one’s locational understanding within the contemporary urban environment.
Visual and physical connection is established between formerly disconnected entities within Wynberg.
Visual communication within the structure itself is augmented through the application of a copper cladding system.
Levels of transparency are articulated according to programmatic and environmental requirements.
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Residence layout and finishes 1:50
Emergency exit and service connections 1:100
Edge conditions 1:100