DESIGN>MAGAZINE No 18 by DESIGN>

No.18

“Architec

“And just as we acquaint ourselves w

functions, so we must become familiar wi

of our day. No cultural activity is possibl

spiri

“Architecture, of all the a

but the

“All architecture is shelter, all grea

contains, cuddles, exalts, or stimulates th

cture is the work of nations” – John Ruskin

with materials, just as we must understand

ith the psychological and spiritual factors

le otherwise; for we are dependent on the

it of our time.” – Ludwig Mies van der Rohe

arts, is the one which acts the most slowly,

e most surely, on the soul” – Ernest Dimnet

at architecture is the design of space that

he persons in that space.” – Philip Johnson

www.bowman.co.za

CONTENTS 16 > World Architecture Festival honours the best of the best

66 > Architecture.ZA2010: Event + City

88 > BBA: Diversity at its best

95 > BAI increases its global footprint

110 > Excellence by design: Boogertman + Partners

124 > In conversation with Elmo Swart: It's all about the essence

136 > Born into architecture: Francois Marais Architects

146 > Osmond Lange: 80 years in the making

158 > Sebideng Brewery â&#x20AC;&#x201C; Transitions in an African landscape

169 > Driven by diversity: PGA Architects in focus

177 > Studio 3 Architects International

3-D

below images directly parallel to your face, but be sure to view it from a distance

an 70cm without zooming in. 2. Be sure to hold your head at a perfect horizontal

PRECIOSA ax your eyes and stare at the two black dots below the images. 4.189 > Now skew your

lighting decorates futuristic without changing focus until you see four dots. 5. Keep skewing your eyes until Yas Hotel in Abu Dhabi e dots overlap. 6. Keeping that gaze fixed, raise your eyes to view the 3-D image.

196 > The deep image

204 > Brian Steinhobel: Smart industrial design

212 > The 32nd annual Loerie awards 230 > PG Bison 1.618 Awards

EURO RSCG 4847/E

There’s a new place for creative minds. With our database of thousands of professionals and positions from architecture to web design, you’ll discover just the job to inspire you or the ideal bright spark for your company. Upload your CV or search today and find all your creative resources in one place. How’s that for an idea? Visit pnet.co.za

11 >

FOREWORD Frank Lloyd Wright once said that “A great architect

which don’t get the publicity that the stadiums

is not made by way of a brain nearly so much as he

and Gautrain have received. Yet, in this special edi-

is made by way of a cultivated, enriched heart.”

tion of DESIGN>MAGAZINE, we feature several other recent developments that have just as much

This 18th edition of DESIGN>MAGAZINE is dedicated

right for recognition.

to design excellence – specifically in the field of architecture – and reflects Wright’s belief of designing

The wonders and blunders of what you see in this

from the heart rather from the brain. These are also

edition is what we have to live with, and we take some

the foundations on which DESIGN>MAGAZINE’s

of these under close scrutiny.

media partnerships with the World Architecture Festival and Architecture.ZA2010 are based .

Our challenge is to get the message across to corporates to take a little more cognisance when planning

It goes without saying that the world has witnessed

and commissioning their new headquarters and to

an architectural boom over the past few years. Lead-

get the same message across to consumers to ex-

ing up to the 2010 FIFA World Cup, South Africans

pect more. It’s the consumers that have to look at

particularly experienced this with massive infra-

the buildings from the outside all day long, while

structure developments happening in all nine prov-

the people working in them don’t get that privilege

inces, and for many it felt like we were living on a

and therefore can’t really comment.

massive construction site. Most developments related to the World Cup were well-publicised and

It is pertinent to note that the architects that are

particularly prominent was Boogertman + Partners’

driving ‘good design’ – design that is founded in the

design of Soccer City which was awarded for its archi-

heart of society rather than its brain – are also the

tectural brilliance in the Sport Category at the re-

architects that are conscious of the brands that

cently held World Architecture Festival (WAF) in

they represent, the environment, the users of

Barcelona.

structures and the citizens of the spaces where these are located.

South Africa, like most other countries, is an architectural wonderland of great, good, mediocre, bad and ‘break that building down’ developments, most of

Cameron Bramley, Publisher

G re en THE FUTURE IS MADE OF SAINT-GOBAIN ^

Saint-Gobain Construction Products offers a complete through-the-wall energy efficient construction system solution that meets the requirements of SANS 10400XA and SANS 204

Customer Contact Centre: 0860 27 28 29

13 >

CREDITS PUBLISHER >

CREATIVE DIRECTOR >

Cameron Bramley

Jacques Lange

cameron@designmagazine.co.za DESIGN & LAYOUT > GROUP EDITOR >

Bluprint Design

Jacques Lange jacquesL@iafrica.com

COVER PHOTOGRAPHY > Leon Krige for BOOGERTMAN + PARTNERS

CONTRIBUTORS > Lois Aitchison, Craig Atkins, Jennie Fourie, Francois

PUBLISHED BY >

Marais, Colleen Petrie, Stacey Rowan, Richard Stone

DESIGN>MAGAZINE T: +27(0) 82 882 8124

SALES TEAM >

F: +27 (0) 86 678 8448

Geri Adolphe, François Fassler, Rachel Harper,

E: design.arrow.magazine@gmail.com

Chenesai Madzvamuse, Jeff Malan

W: www.designmagazine.co.za Blog: www.designmagazine.co.za/wordpress/

PRODUCTION >

Twitter: http://twitter.com/DESIGNarrow

ISSN 1814-7240

Michelle Swart

Number 18, November 2010

DISCLAIMER: No material may be reproduced in part or whole without the express permission of the publisher. No responsibility will be accepted for unsolicited material. The publisher accepts no liability of whatsoever nature arising out of or in connection with the contents of this publication. The publisher does not give any warranty as to the completeness or accuracy of its contents. The views and opinions expressed in DESIGN>MAGAZINE are not necessarily those of the publisher, its endorsers, sponsors or contributors.

14 >

Endorsers

Media partnerships

16 >

WORLD ARCHITECTURE FESTIVAL HONOURS THE BEST OF THE BEST

By Jacques Lange

17 >

For three days in early November the world’s archi-

architects: Peter Rich Architects (Johannesburg) in

tecture aficionados waited in suspense as the

2009 for the Mapungubwe Interpretation Centre

World Architecture Festival (WAF) unhurriedly an-

in South Africa; and Irish practice, Grafton Archi-

nounced the 25 category winners of its 2010 awards.

tects (Dublin) in 2008 for the Luigi Bocconi Univer-

As in the past two years since the WAF awards’ in-

sity, Milan. However, this year they chose MAXXI,

ception, the competition was fierce and the panel

National Museum of XXI Century Arts, designed by

of 66 jurors – comprised of architects, allied pro-

Zaha Hadid Architects.

fessionals, clients and critics – had the grueling task of selecting the best of the best from 512 en-

The award is well-deserved, since Zaha Hadid

tries and 236 short-listed finalists.

(project leader on MAXXI) is one of the most prominent and innovative living architects in the

Finally, the jury was honed down to a panel of four

world. It is not surprising that her surname means

(the super-jury) who had the unadmirable respon-

‘rejoicing’ and ‘sharp’. Testimony to this is that she

sibility of selecting the World Building of the Year

became the first female recipient of the Pritzker

award from all the category winners. The 2010

Architecture Prize in 2004 – architecture's equiva-

super-jury comprised of Arata Isozaki, Barry Bergdoll,

lent of the Nobel Prize – as well as receiving

Enrique Norten, Hanif Kara and Kathryn Gustafson.

around 50 other prestigious awards since 2005.

In the previous two years, the super-juries opted to

Hadid has a truly unique way of interpreting space,

award the top accolade to lesser-known international

form and light but her true genius comes to the

19 >

MAXXI, National Museum of XXI Century Arts, Rome, Italy, designed by Zaha Hadid Architects. Photos: Iwan Baan, Helene Binet, Roland Halbe.

fore when she addresses complex and amorphous

that an architect had designed for his mother, to a

sites such as that of MAXXI. The WAF jury said that

park in Shanghai, to our winner. It strikes us how

MAXXI “is the outcome of a serendipitous mar-

quickly good ideas move around the world.”

riage between a complex site, a sympathetic programme and the demands of a building type which

Other winners of the top five accolades awarded

allows for sculptural interpretive spaces.”

by the super-jury were: The Arc (Palestinian Occupied Territory), designed by Suisman Urban Design

Speaking at the awards ceremony, Paul Finch, con-

(USA), who won the award for Future Project of

tent director of WAF, said that the judges de-

the Year; ANZ Centre, Melbourne, designed by

scribed MAXXI as ‘a volume that takes its place in

HASSELL (Australia), who won the award for Inte-

a very happy way in the volume of the city. It is like

riors Fit Out of the Year; V&A Medieval & Renais-

an unwound Guggenheim, with ribbons of connec-

sance Galleries (London), designed by MUMA

tive space. It is a building that will still be talked

(United Kingdom), who won Structural Design of

about in the history of architecture in 50 years

the Year; and Robin Bankert, Michael Murphy,

time.”

Caroline Shannon and Joseph Wilfong from University of Harvard for the Campus Catalyst Project

Finch continued to also praise the diversity of other

(set in Port au Prince, Haiti), who won the AECOM

buildings that were competing for the 2010 World

+ URBAN SOS Transformations student competition.

Building of the Year award. “We saw a great set of contrasts in architecture, from an individual house

20 >

2010 CATEGORY WINNERS: COMPLETED BUILDINGS CIVIC AND COMMUNITY

The final category winner was City of Justice, located in Barcelona, Spain. According to the designers, David Chipperfield Architects (United Kingdom), Barcelona’s new law courts complex breaks down the 240 000 m2 programme into nine buildings, four of which are linked by a continuous four-storey

Twelve finalists competed in this category, including: An Gaeláras – Cultúrlann Uí Chanáin (O'Donnell + Tuomey), Churchill Community Hub (Suters Architects), City of Justice (David Chipperfield Architects & b720 Arquitectos), Halden Prison (Erik Møller Arkitekter & HLM Arkitektur AS), Herstedlund Community Centre (Dorte Mandrup Arkitekter), Ipswich Justice Precinct (Cox Rayner Architects & ABM Architects),

high concourse building. Previously, the various legal departments of the governments of Barcelona and l’Hospitalet were scattered in 17 buildings across the two neighboring cities, with functional frustrations for both users and employees. The new conjoined City of Justice

Mirage Dancehall (Kjellgren Kaminsky Architecture),

aims to improve efficiency and allows working

St Martin-in-the-Fields (Eric Parry Architects), Surry

spaces to adapt and absorb the constant transfor-

Hills Library and Community Centre (Francis-Jones

mation of the judicial body as well as provide re-

Morehen Thorp), The Supreme Court of New Zealand

serve space for future growth.

(Warren and Mahoney), Tripoli Congress Center (tabanlioglu architects) and Yesil Vadi Mosque (Ad-

The site was previously occupied by military bar-

nan Kazmaoglu MAM Architectural Research Center).

racks and is located adjacent to both Gran Via, a

major access route into the centre of Barcelona from the south, and Carrilet, an artery leading to l’Hospitalet. The position provides optimum acces-

City of Justice, Barcelona, Spain, designed by David Chipperfield Architects. Photos: Christian Richters.

sibility to the city and major metropolitan routes on both public and private transport. The principal proposition of the project breaks down the massive programme into a series of separate but inter-

buildings comprise a judicial services building for

related blocks on a public plaza, giving a spatial

l’Hospitalet, a forensic sciences building, and two

composition that attempts to break the rigid and

commercial buildings with retail facilities at

monolithic image of justice.

ground floor.

A group of four large judicial buildings are situated

The WAF judges said: “The City of Justice cleverly

around the perimeter of a linking concourse build-

uses the urban relationship with the dense con-

ing. They generally contain courtrooms at ground

text and urban views from Gran Via axis, combined

floor and a further three floors. All of these floors

with the subtlety of the compromise between the

are accessed directly from the concourse building,

functional and the formal definition of the com-

which acts as a filter. The concourse building also

plex. The volumetric complexity and the composi-

gathers people at the start and completion of their

tion of the different buildings in different colours

judicial visit within a central public room, which over-

and heights, relate to a unique palette of windows/

looks the exterior plaza. Four other independent

voids and façade solutions.”

22 >

MAXXI, National Museum of XXI Century Arts, Rome, Italy, designed by Zaha Hadid Architects. Photos: Iwan Baan, Helene Binet, Roland Halbe.

CULTURE

MAXXI, National Museum of XXI Century Arts, Rome, Italy won both the Culture Category and

As in previous years, the Culture Category was

the World Building of the Year.

fiercely competitive with 14 finalists, including: Ashmolean (Rick Mather Architects), Dhoby Ghaut

According to designers, Zaha Hadid Architects

Green (SCDA Architects Pte. Ltd.), Freedom Park //

(United Kingdom), the site on which the new centre

hapo Museum (GAPP Architects/Urban Designers,

for contemporary arts is located, addresses the

Mashabane Rose Associates, MMA Architects),

question of its urban context by maintaining an in-

Grand Canal Theatre (Studio Daniel Libeskind), La

dexicality of its former life as army barracks. They

Llotja Theatre and Congress Centre (Mecanoo in

say that this is in no way an attempt at topological

collaboration with Labb arquitectura), Lyon House-

pastiche, but instead continues the low-level urban

museum (Lyons), MAXXI, National Museum of XXI

texture set against the higher-level blocks on the

Century Arts (Zaha Hadid Architects), Medieval &

surrounding sides of the site. In this way, MAXXI is

Renaissance Galleries (MUMA), Midtåsen Skulptur-

more like an ‘urban graft’, a second skin to the site.

park (Lund Hagem Arkitekter), Moderna Museet

At times, it affiliates with the ground to become

Malmö (Tham & Videgård Arkitekter ), Museo De

new ground, yet also ascends and coalesces to be-

La Memoria Y Los Derechos Humanos (Estudio

come ‘massivity’ where needed.

America), SSM Concert Hall (NSMH), The Winspear Opera House (Foster + Partners) and Woods of

Zaha Hadid stated: "I see the MAXXI as an immer-

Net (Tezuka Architects).

sive urban environment for the exchange of ideas, feeding the cultural vitality of the city. It's no longer just a museum, but an urban cultural centre where

23 >

a dense texture of interior and exterior spaces

The architects explain: “Our proposal offers a quasi-

have been intertwined and superimposed over

urban field, a ‘world’ to dive into rather than a build-

one another. It's an intriguing mixture of galleries,

ing as a signature object. The campus is organised

irrigating a large urban field with linear display

and navigated on the basis of directional drifts

surfaces."

and the distribution of densities rather than key points. This is indicative of the character of the

The entire building has an urban character: prefig-

centre as a whole: porous, immersive, a field space.

uring upon a directional route connecting the Riv-

An inferred mass is subverted by vectors of circula-

er to Via Guido Reni, MAXXI encompasses both

tion. The external as well as internal circulation

movement patterns extant and desired, contained

follows the overall drift of the geometry. Vertical

within and outside. This vector defines the primary

and oblique circulation elements are located at ar-

entry route into the building. By intertwining the

eas of confluence, interference and turbulence.”

circulation with the urban context, the building shares a public dimension with the city, overlap-

The WAF jury found that the Culture Category cre-

ping threadlike paths and open space. In addition

ated juxtapositions that were difficult to recon-

to the circulatory relationship, the architectural

cile. They concluded: “MAXXI, National Museum of

elements are also geometrically aligned with the

XXI Century Arts was found to be a mature work

urban grids that join at the site. In thus, partly de-

emerging out of a highly original process.”

riving its orientation and physiognomy from the context and further assimilates itself to the specific conditions of the site.

24 >

DISPLAY Six finalists competed in this category, including: Adelaide Zoo Entrance Precinct (HASSELL), Danish Pavilion – Shanghai World Expo 2010 (BIG), Eleanor and Wilson Greatbatch Pavilion (Toshiko Mori Architect PLLC), Fortaleza Hall and The Commons, SC Johnson (Foster + Partners), Hyundai Pavilion (Spadoni & Associados Arquitetura) and Spanish Pavilion – Shanghai World Expo 2010 (Miralles Tagliabue Embt). The winner was Spanish Pavilion – Shanghai World Expo, China, designed by Miralles Tagliabue Embt, Spain. Benedetta Tagliabue (lead architect) directed a Spanish Pavilion – Shanghai World Expo, China, designed by Miralles Tagliabue Embt. Photos: Ronald Holbe, Miralles-Tagliabue EMBT.

structurally innovative and narratively ingenious project that combined a modern steel frame (spanning 25 km) covered with glass and traditionally

25 >

woven wicker panels on the exterior façade. The

The jury felt the 2010 WAF Display Category was

Pavilion covers 7 624 m2, and is situated on a 6 000 m2

not only about showcasing objects, but more

stand at the Shanghai World Expo Park.

about telling stories, and many of the nominees were more like exquisite small museums. The cat-

The 8 200 differently coloured wicker panels (tinted

egory also featured two of the pavilions from the

by boiling) are arranged in a mosaic-like manner to

Shanghai World Expo, where architecture itself is

form a series of Chinese characters that makes ref-

supposed to tell the story of a country. The judges

erence to natural elements such as ri (sun) and yue

said: “The Spanish Pavilion is as much a piece of art

(moon) – two fundamental concepts in oriental

as it is architecture. The idea of taking wicker, even

philosophy of how the functioning of the world is

not perhaps solely a Spanish material, shows what

reliant upon a duality. Tagliabue incorporated

architecture can do when expos like this send ar-

these elements in the poetical reading of the con-

chitects off doing the unthinkable. It stands out as

nection between China and Spain, expressing a

a building, and a story, that the visitors to the

message of a strong relationship to be had in fu-

event will remember. The container of the exhibi-

ture. The symbols are not always visible, but are

tion becomes an ephemeral poetic and strongly

conveyed through the brilliance experienced every

memorable image of the creativity of Spain. The

moment of the day and the gentle rippling of the

connection of the Chinese visitors to the craft of

façade as visitors approach the pavilion.

wicker-making encourages a level of simpatico with Spanish craftspeople of past times.”

26 >

Brain and Mind Research Institute (BMRI) – Youth Mental Health Building, Australia, designed by BVN Architecture. Photos: John Gollings.

HEALTH Six finalists competed in this category, including:

The winner was Brain and Mind Research Institute (BMRI) – Youth Mental Health Building, Australia, designed by BVN Architecture, Australia.

Amaj Darman (Kourosh Rafiey), Brain and Mind Research Institute – Youth Mental Health Building (BVN Architecture), CircleBath Hospital (Foster + Partners), Hospital CUF (MVentura & Associados), Waterford Health Park (dhbArchitects) and West Vancouver Community Centre (Hughes Condon Marler Architects).

The BMRI is part of the Faculty of Medicine of The University of Sydney and focuses on research into mental health and clinical issues relating to the brain. The BMRI building consists of two floors of consulting and patient interaction and two floors of research laboratories and forms part of a satellite campus of the university located in a light industrial area formerly known for clothing trade. This gritty urban area is respected for its heritage streetscapes and the specific site of the BMRI has a heritage-listed façade, which required retention. The organisation of the building places the two research floors above and the clinical floors below

27 >

allowing an upper level bridge connection to further

to the laboratories throughout the day, resulting

research laboratories in two adjoining buildings.

in very low energy consumption.

This configuration fitted neatly with the requirement to retain the two-storey heritage façade al-

The jury was impressed by the diversity of finalists

lowing the street composition to be expressed by

in the Health Category which ranged from small

the placement of the laboratories in a clearly ar-

medical centres to full-scale hospital buildings as

ticulated ‘new’ glass box effectively on top of the

well as the diversity of location and context – from

old façade, with the more tactile ‘people spaces’

a state of the art private hospital in the UK to an

accommodated within the realm of the older com-

equipment-testing laboratory in Iran. “The final

ponent.

decision reached by the jury was unanimous. We found this project by BVN Architecture to be an

The further requirement to step the building to-

outstanding piece of architecture in many ways –

wards the north to ensure sun penetration to

simplicity of design, response to site and brief, ap-

neighbouring houses enabled the new glass box to

proach to external appearance and materials, and

‘slide’ over the older building creating a large scale

carefully considered internal spaces.”

composition with smaller scale detailed elements at the conjunction of the forms. The ‘box’ is clad with translucent glass planks ensuring diffuse daylight

28 >

HOLIDAY

WOHA’s design explores the potential of fusion

Five finalists competed in this category, including:

design. The design combines the delights of tradi-

Alila Villas Soori (SCDA Architects Pte. Ltd.), Alila

tional Balinese architecture and rural landscapes

Villas Uluwatu, Bali Indonesia (WOHA), Banjaar

with modern dynamic treatment of space and

Tola Kanha National Park (Sanjay Prakash & Associ-

form, yet it avoids stereotypical images of Bali or

ates Pvt Ltd), Hotel for Telefónica Company (Batlle

generic resorts. The unique design language is in-

& Roig Architects) and The Gibson Hotel (Scott Tallon

spired by the local farmer’s terraces of loosely

Walker Architects).

piled limestone boulders rather than the typical

between vernacular architecture with modernist

steep pitched pavilions that would have blocked The Alila Villas Uluwatu, designed by WOHA, Singa-

the views on the gentle slopes, and which are not

pore, came up tops because of its ecologically sus-

local to the area. The terraced, low-pitched roofs

tainable master planning. Located on the dry sa-

are clad in Balinese volcanic pumice rock, which is

vannah landscape of the Bukit Peninsular on the

a natural insulating material and can also support

dramatic southern cliffs of the Indonesian island

local ferns and succulents. These terraced roofs

of Bali, it comprises of a 50-suite hotel with 35

blend with the landscape, keeping the original

residential villas.

wide-open panoramas that make the site unique.

29 >

The hotel rooms are designed as â&#x20AC;&#x2DC;inhabited gardensâ&#x20AC;&#x2122; rather than interiors. The garden walls delineate the spaces in which sleeping, eating, lounging and bathing occur. Every hotel villa has a pool with a cabana overlooking the sea and the hillside villas are designed as pavilions linked by bridges across water gardens, tucked into the hillside as terraces. The master plan respects the contours of the site to avoid cutting and fill, and all large trees were either maintained or transplanted. A nursery was established to propagate only native plants for the landscaping; all building materials were sourced locally, including stone and sustainable timbers; and local craftsmen were employed to make the interior furniture and accessories.

Alila Villas Uluwatu, Bali, Indonesia, designed by WOHA. Photos: Patrick Bingham-Hall, Tim Griffith,

30 >

The development was designed from the start to

and fauna. Through showcasing local skills, materi-

exceed Green Globe 21 requirements. An environ-

als and vernacular elements, it confirms the local

mental consultant drafted an environmental plan

peopleâ&#x20AC;&#x2122;s opinion that they live in a marvelous

from the design stage onwards. The contractor

place that should be cherished and maintained.

committed to an environmental quality plan for the construction phase, and the hotel operator

The judges felt that the project sensitively dealt

also committed to environmental practices for the

with its environmental context and said: â&#x20AC;&#x153;Alila Vil-

running of the hotel in future.

las observed that the architect went the extra mile to ensure that as little damage was done to the

The development is an appropriate next step in

environment as possible. At the same time, no

resorts where luxury does not mean excessive

compromise was seen in terms of the design,

consumption, but instead delight and enjoyment

which was of the highest quality. The design of the

of the natural beauty and a sense of place. The

pavilions made it possible to recycle all the timber

development is gentle and embraces the landscape

used in the project to protect the forests. The ref-

which is located in an impoverished, dry, rural area,

erences to Scarpa and Mies in the detailing were

and thereby replacing marginal agriculture with

also greatly appreciated.â&#x20AC;?

tourism that generates substantial employment and income for local people. It maintains local flora

31 >

HOUSE Fifteen finalists competed in this highly competitive category which traditionally offers some of the most ingenious design solutions. This year’s finalists were: A Forest for a Moon Dazzler (Benjamin Garcia Saxe Architect), Bahia house (Studio MK27), Boolarong and Kinkabool (BVN Architecture), Framed House (CHANG Architects), Great Barrier Island House (Crosson Clarke Carnachan Architects Auckland Ltd), House 23.2 (Omer Arbel Office), Letterbox House Alila Villas Uluwatu, Bali, Indonesia, designed by WOHA. Photos: Patrick Bingham-Hall, Tim Griffith,

(McBride Charles Ryan), Lookout tower house (PLUG architecture), Manacás House (Gustavo Penna Arquiteto & Associados), Own House, Office and wife's Dental Surgery (Skinotechniki), Pitched

A Forest for a Moon Dazzler, Guanacaste, Costa Rica, designed by Benjamin Garcia Saxe. Photo: Andres Garcia Lachner.

Roof House (Chenchow Little), Rock House (Jarmund/Vigsnæs AS Architects MNAL), Te Kaitaka – Lake Wanaka Retreat (Stevens Lawson Architects),

32 >

The Golden Box (K2LD Architects) and Townhouse

“Torn apart by the city, she has moved to the for-

Landskrona (Elding Oscarson).

est in search for a home. She has found the moon and the sun and they dazzle her every day. She has

The winner was A Forest for a Moon Dazzler, located

found beauty in her own cycle of living and her

in Guanacaste, Costa Rica, designed by London-based

presence in this world. She no longer needs others

architect, Benjamin Garcia Saxe. The project tells

to compare and measure her happiness. My mom

the tender personal story of the architect’s quest

began to construct the place for her dwelling with

to build a dream home for his mother in a forest

scrap wood and plastic bags. She placed her bed

where she is able to spiritually connect with him

on a corner where she could have a direct view of

across great distances by having a view of the moon.

the moon whilst going to sleep. She has told me that that watching the moon reminds her of me.”

Saxe explains: “My mom and I never had a place [which] we could call home. We met on the streets,

“Perhaps because of her memory of the city, she is

always dreaming of a place [where] we could be

afraid that someone will come to disturb her soli-

together. She stayed in the city in order to find

tude. She has asked me to complete her dream of

comfort in my closeness. I never stopped dream-

living safely in the forest, but I know she believes

ing of a place where she could find happiness.”

this is a way for us to always be together.”

33 >

“Inspired by her routine I have given her an inter-

said: “The architect addressed the practical and

nal protected forest of bamboo. At night the cone-

emotional needs of his mother’s security by creat-

like surface of her new home opens to the moon

ing a home for her to occupy alone, while also sat-

and reminds her that it is me who is holding it in

isfying his inventive curiosity with a new form of

space as she goes calmly to sleep.”

bamboo – Moucharabieh screens that respond to movement and light. In his narrative there was sin-

The simple layout features a bedroom on one end,

cerity in how the character and needs of the client

a kitchen on the other and an internal courtyard/

related to the final architectural outcome.”

garden in between with a bordering wooden deck. It is constructed with simple materials including concrete, a steel structure, bamboo and burlap walls and doors, a tin roof, glass and wooden floors. The 2010 WAF jury immediately sensed that this project was a potential winner and were left in no doubt after the architect’s presentation. The judges

A Forest for a Moon Dazzler, Guanacaste, Costa Rica, designed by Benjamin Garcia Saxe. Photos: Andres Garcia Lachner, Benjamin Garcia Saxe.

34 >

HOUSING ( INCLUDING MIXED -USE)

Soaring at 50-storeys, The Pinnacle @ Duxton rede-

Sixteen finalists competed in this highly competi-

tural typology. The project addresses pragmatic,

tive category, including: 401 St Kilda Road (Elen-

financial, social issues, and responds sensitively to

berg Fraser), Andersen Garden (schmidt hammer

a myriad of planning constraints. It boldly demon-

lassen architects), Barking Central (Allford Hall

strates a sustainable and liveable urban high-rise

Monaghan Morris), BOTANNIA (MKPL Architects

high-density living and initiates an innovative typol-

Pte Ltd.), Burj Khalifa (Skidmore, Owings & Merrill

ogy of public communal spaces that are metaphor-

LLP), Lake Dragon Residential Development (Ron-

ically reclaimed from the air.

fines high-rise high-density living and challenges the conventions of public housing as an architec-

ald Lu & Partners) One Madison Park (CetraRuddy), OneKL (SCDA Architects Pte. Ltd.), Pinnacle @

The constraints of an irregular-shaped and tight

Duxton (ARC Studio Architecture + Urbanism),

site of 2.5 hectares in the prime central business

Santa MarĂa (Hierve-DiseĂąeria), The Ivy (BVN Archi-

district area required an efficient and clear block

tecture), The Wave Henning (Larsen Architects),

layout that addressed the length of the westerly-

Timberyard Social Housing (O'Donnell + Tuomey),

facing site. In response, seven tower blocks hous-

Vanak Garden Residential Complex (METAPHOR),

ing 1 848 apartment units are placed in the most

Villas Fasano (Isay Weinfeld) and Wohnen am Park

open and porous way, creating urban windows

(PPAG architects).

that frame the city skyline. With this solution, the layout eliminates overlooking between units; op-

The winner was The Pinnacle @ Duxton, Singapore,

timises views, connection, air and light flow; mini-

mises western exposure to reduce solar heat gain;

Singapore.

and includes the conservation of historical trees.

35 >

A large forecourt for the towers was created, maintaining visual connectivity with the existing Tanjong Pagar Community Club, which is a major community

The Pinnacle @ Duxton, Singapore, designed by ARC Studio Architecture + Urbanism, Singapore. Photos: ARC, ArieLCandy, Sam Chong, Jinghui.

node for this neighbourhood. Within the development, residents enjoy the con-

existing urban network while forming a green lung

venience of shops, a food court, an education cen-

for the city. Layers of tree screens border the site

tre and a childcare centre, and two residents’ com-

and pathways to provide varying degrees of opac-

mittee centres. Beyond the development, residents

ity and privacy, softening the massiveness of the

are served by two train stations which will link them

towers, creating a human scale. Multiple layers of

to the island-wide mass rapid transit system; bus

pathways, connections, and landscape bands are

stops at the development’s doorstep and a bus in-

created, providing residents with the options to

terchange depot; amenities like a police complex,

either take a fast and convenient way home, or a

hospital, restaurants, pubs, cafes, and shops – all

slow and relaxing path for recreation.

within a 10-minute walking-radius. Exploiting the inherent sustainability of the high-density high-

On the 26th and 50th storey, 12 continuous Sky Gar-

rise housing model, The Pinnacle @ Duxton cre-

dens weave through the seven tower blocks, form-

ates a walkable and diverse community, and pro-

ing a simple yet powerful sculptural skyline that

vides a connected, convenient and compact model

creates a strong identity for the project. The Sky

of sustainable urbanism.

Gardens function as an extension of the living environment for residents, forming almost one hec-

The new architectural surface is a lush environ-

tare of new land. Children’s playgrounds, an outdoor

mental deck that connects strategically with the

fitness gym for the elderly, landscape furniture

36 >

resembling beach deck chairs and outdoor sofa sets were designed to provide diverse, creative and unusual spaces for community interaction. The WAF judges were interested in the way that the winning project presented innovative solutions to architectural design in an over-populated city. The judges said: â&#x20AC;&#x153;The integration of the public spaces in the higher levels of the towers presents possible scenarios for future programs such as schools, health, sports all taking advantage of the high-density project. Moving life from a continuous realm that takes you up to a 20th or higher floor is a new approach to solving the problems of contemporary society in metropolitan areas, giving us a trace of new ways of interlocking programmes for high-density developments.â&#x20AC;?

The Pinnacle @ Duxton, Singapore, designed by ARC Studio Architecture + Urbanism, Singapore. Photos: ARC, ArieLCandy, Sam Chong, Jinghui.

Shanghai Houtan Park, China, designed by Turenscape. Photos: Kongjian Yu.

37 >

LANDSCAPE

Shanghaiâ&#x20AC;&#x2122;s Huangpu riverfront. The site is a narrow

Six finalists competed in this category, including:

tures remaining and was largely used as a landfill

Big Rock jetty (Edward Szewczyk and Associates

and lay-down yard for industrial materials. The

Architects), Dhoby Ghaut Green (SCDA Architects

challenges included the restoration of the degrad-

Pte. Ltd.), Environmental recovery of the river Llo-

ed environment, particularly the highly polluted

bregat in the comarca of Baix Lllobregat (Batlle &

water of the Huangpu River; improving flood con-

Roig Architects), Hariri Memorial Garden (Vladimir

trol (the river has a 2.1 m daily tidal fluctuation);

Djurovic Landscape Architecture), Marina Point

and dealing with the complex shape of the site

Yacht Club (Cox Rayner Architects CA Architects)

which is 1.7 km in length but averaging only 30-80 m

and Shanghai Houtan Park (Turenscape).

in width.

The winner was Shanghai Houtan Park, China, de-

The regenerative design strategy transformed the

signed by Turenscape, China.

site into a living system that offers comprehensive

linear 14-hectare band, had few industrial struc-

ecological services including food production, Built on a brownfield of a former industrial site (pre-

flood control, water treatment, and habitat crea-

viously owned by a steel factory and a shipyard),

tion combined in an educational and aesthetic

Houtan Park is a regenerative living landscape on

manner.

38 >

Through the center of the park, a linear construct-

recreation, education, and research. The terrace

ed wetland was designed to create a reinvigorated

design of the wetland alleviates the elevation dif-

waterfront that acts as a ‘living machine’ that

ference between the city and the river, safely re-

treats contaminated water. Cascades and terraces

connecting people to the water’s edge. Addition-

are used to oxygenate the nutrient rich water, re-

ally, the existing concrete floodwall was replaced

move and retain nutrients and reduce suspended

by a more habitat friendly riprap.

sediments while creating pleasant water features. Different species of wetland plants were selected

Inspired by the fields of Chinese agricultural land-

for their properties to absorb different pollutants.

scape, terraces were created to break down the

Field-testing indicates that 2 400 cubic meters per

3-5 m elevation change from the water’s edge to

day of water can be treated from Lower Grade V (the

the road, and to slow the runoff directed to the

lowest grade on a scale of I-V) quality to Grade III

stream in the constructed wetland. Crops and wet-

(for non-potable use).

land plants were selected to create an urban farm allowing people to witness seasonal changes: the

The wetland also acts as a floodable buffer. The

golden blossoms in the spring, splendid sunflow-

meandering valley along the wetland creates a se-

ers in the summer, fragrance of the ripened rice in

ries of visual interest and refuge within the bust-

the fall and green clover in the winter.

ling world exposition site with opportunities for

39 >

An ecologically recovered landscape, urban agriculture and industrial spirit are the three major layers of the park, woven together through a network of paths where visitors are educated about green infrastructure within a lushly restored recreational area. This network ensures seamless connections between the park and its surroundings, encourages access within the site. The judges selected Shanghai Houtan Park as unanimous winner, among a very high-quality group of projects, for its masterful use of design strategies to transform the polluted waterfront into a living system. The judges said: â&#x20AC;&#x153;Shanghai Houtan Park is an inspiring high-performance, but low-maintenance design that could be applied to many polluted waterfronts worldwide.â&#x20AC;?

Shanghai Houtan Park, China, designed by Turenscape. Photos: Kongjian Yu.

40 >

LEARNING

The winner was School of the Arts, Singapore, designed by WOHA, Singapore.

Fourteen finalists competed in this category, including: All Saints Primary School (Candalepas As-

This project entails a specialist high school that

sociates), AUT Lecture Theatres & Conference Cen-

forms part of Singaporeâ&#x20AC;&#x2122;s national strategy to fo-

tre (RTA Studio), Bridge School (Li Xiaodong Atelier),

cus on the arts. The school is located in the heart

Classroom Prototype (Eleena Jamil Architect), Duoc

of the civic core, at the gateway to the Arts and

MaipĂş (Sabbagh Arquitectos), Elementary School

Entertainment District. It is flanked on either side

Dender (Compagnie-O. architecten), Faculty of Law,

by 20th century heritage buildings, while high-rise

Library and Teaching Complex, University of Sydney

retail and office buildings form a backdrop. The

(Francis-Jones Morehen Thorp), Fitzroy High School

school is unique in that it combines a high-density

(McBride Charles Ryan), Green Lighthouse (Chris-

inner-city school with a professional performing

tensen & CO Architects), Michaelschool (Onix),

arts venue.

School of the Arts, Singapore (WOHA), Shining Stars Bintaro Kindergarten (djuhara + djuhara), The

The primary design strategy creates two visually

Diana Center at Barnard College (Weiss/Manfredi

connected horizontal strata: a space for public

Architecture/Landscape/Urbanism) and Trinity

communication below and a space for safe, con-

Long Room Hub (McCullough Mulvin Architects).

trolled interaction above. This strategy solves the dual objectives of porosity and communication

41 >

with the public and the wider arts community on

allowing the public to see the activities and pro-

the one hand, and a secure and safe learning envi-

ductions of the school. To enhance the vibrancy of

ronment on the other. The two parts are symboli-

the city, commercial spaces are provided along the

cally called the Backdrop and the Blank Canvas.

external covered walkway and a large civic amphitheatre.

The Backdrop is the podium that contains a concert hall, drama theatre, black box theatre and

The Blank Canvas is the secure school area and is

several small informal performing spaces. Against

conceived of as a simple, flexible space where the

this backdrop, the school communicates with the

school can create their own environment. The met-

public realm in a variety of ways. The formal per-

aphor suggests the open possibilities and focuses

formance spaces host professional and student

on the educational content rather than the archi-

productions, allowing students to both observe

tectural frame. Three long rectangular 6-storey

and participate in both performance and back-

blocks span across the Backdrop podium. This level

stage and support activities. The informal spaces

is controlled through a single point of access (the

in between the performance spaces are designed

lift core and the escalator), yet is visually connected

around an urban short-cut, maintaining a busy in-

from all the circulation spaces to the public areas

formal pedestrian route that used to cut across the

below. This environment is simple, practical, bright,

empty site leading from the underground train sta-

and airy and is designed for maximum flexibility

tion at Dhoby Ghaut. Along this route are display

and sustainability.

areas and informal performance and gallery areas, School of the Arts, Singapore, designed by WOHA. Photos: Patrick Bingham-Hall.

42 >

Classrooms and studios within these blocks are

The rooftop is designed as a large recreation park

designed for natural ventilation and are well-pro-

in the sky, complete with a running track and

portioned and cross-ventilated, with dynamic vis-

shady trees. It allows the students to take full ad-

ual and physical links between blocks. Classrooms

vantage of the views afforded by the Arts School’s

are designed in 9x9 m modules with operable end

unique positioning within the Civic District, and

walls so that room sizes can be flexible for future

provides a substantial play area in the built-up

needs. The green façades provide environmental

neighbourhood.

filters which cut out glare and dust, keeps the rooms cool, and in combination with the acoustic ceilings – absorbs traffic noise.

School of the Arts, Singapore, designed by WOHA. Photos: Patrick Bingham-Hall.

43 >

NEW AND OLD

Pte Ltd), Renoma Department Store revitalisation and extension (Mackow Pracownia Projektowa),

Sixteen finalists competed in this highly compet-

Romanian Railway Freight Company Hedquarters

itive category, including: A-House (Holgaard

(Andreescu&Gaivoronschi), Taastrup Theatre

arkitekter), Canberra Glassworks (Tanner Archi-

(COBE), The Village at Sanlitun – South (The Oval

tects), DDB Office (Erginoğlu & Çalışlar Architects),

Partnership Limited), The Waterhouse at South

E N Z I (PPAG architects), East Hampton Town Hall

Bund (Neri&Hu Design and Research Office) and

(Robert A.M. Stern Architects), Medieval & Renais-

Zagreb Dance Centre (3LHD architects).

sance Galleries (MUMA), Munkegård School (Dorte Mandrup Arkitekter), Oxford Circus (Atkins), Pad-

The winner was DDB Office, Istanbul, designed by

dington Reservoir Gardens (Tonkin Zulaikha Greer),

Erginoğlu & Çalışlar Architects, Turkey.

People's Association Headquaters (Architects 61

DDB Office, Istanbul, Turkey, designed by Erginoğlu & Çalışlar Architects. Photos: Cemal Emden.

44 >

An extensive restoration and revitalisation project

A secondary structure in glass and steel was cre-

was undertaken to allow the advertising agency

ated without touching the original stone walls and

group Medina Turgul DDB to move into a salt re-

respecting the feeling of airy emptiness of the

pository they had rented. This 170 year-old build-

original space and all the electromechanical instal-

ing had formerly been owned by TEKEL (Turkish

lation was designed to go through the consolidat-

State Liquor and Tobacco Monopoly) and is located

ed roof trusses.

in the run-down, once industrial district of Kasımpaşa, Istanbul.

In order to protect the original texture of the building, all the pointings of the stone walls were

The restoration challenge entailed maximising

washed and consolidated with tailor made solu-

functionality while retaining the original character

tions that were formulated after initial chemical

of the structure. Containing five separate, but re-

analyses and all ruined and damaged parts of the

lated, specialist companies, with shared backroom

walls were carefully restored.

operations, the floor plan had to allow for each unit to exist in its own space, while also being eas-

The result is a building that is well-suited to a

ily connected to colleagues in sister units. The so-

modern creative business, with various styles of

lution was to build a series of connecting mezza-

meeting spaces from casual to formal, easy inter-

nine floors integrating the different spaces and

unit connectivity and the sensation of individual

greatly increasing the workable floor space. This

‘thinking space’ all around.

was done without cluttering or in any way structurally harming the powerful nature of the exist-

The judges thought that all the projects in this

ing space, with its thick stone walls and 10 m-high

WAF category represented a remarkably creative

galleries. The different departments and company

range of approaches to the problem of introduc-

units’ workspaces were designed around these

ing new work in an existing context. They chose

galleries.

the DDB Office as the winner because it did more

45 >

than any other project to initiate change. The judges said: “The architects were able to express their

OFFICE (INCLUDING MIXED-USE)

ideas for the re-use of four dilapidated stone

Seventeen finalists competed in this fiercely com-

buildings close to the Bosphorus to the client and

petitive category, including: Arrau building (Sab-

tempted them from the safety of the business dis-

bagh Arquitectos), Artist Colony (China Architec-

trict to this run-down quarter. This is the kind of

ture Design Reasearch Group), City Business Centre

regeneration that provides a successful exemplar

(Andreescu&Gaivoronschi), Danfoss Head Office

for others to follow. The changing history of the

(schmidt hammer lassen architects), GMS Grande

buildings has been preserved and nothing has

Palladium (MALIK ARCHITECTURE), Jeonbuk Region

been compromised. The project represents a ge-

LH Corporation Headquarters | Walking Man (DA

netic implant which will produce the seeds for

Group), Marble Company Headquarters (Michael

change of an entire area.”

Photiadis Associate Architects), Middelfart Savings Bank (3XN), NHN Green Factory (Samoo Architects & Engineers, NBBJ), NOVIstipic (upi-2m), Research & Development Building (Erginoglu&Calislar), Ropemaker Place (Arup Associates), Shop & Trade – Office Building (Kokkinou Kourkoulas Architects & Associates), Skellefteå Kraft Head Quarters (General Architecture), Studio Altieri New Head-

DDB Office, Istanbul, Turkey, designed by Erginoğlu & Çalışlar Architects. Photos: Cemal Emden. Vali Asr Commercial Office Building, Iran, designed by Kelvan. Photos: Kelvan, Parham Taghioff.

quartes (Studio Altieri Spa), Transoceanica Headquarters (+ arquitectos) and Vali Asr Commercial Office Building (KELVAN). The winner was Vali Asr Commercial Office Building, Iran, designed by Kelvan, Iran.

46 >

Vali Asr Commercial Office Building is located on

The architects intended to reflect the motion and

a rectangular site which has approximately 15 m of

dynamism of the location on the faรงade as well as

frontage along the west side of Vali Asr Avenue

to reflect the internal dynamism outwards. They

between the Fatemi and Zartosht junctions, which

achieved this by using minimal materials, mainly

is part of the retail, entertainment and cultural

longitudinally cut white Brazilian marble with

hub of Tehran. Neighbouring buildings to the site

slash-like features surrounding openings which

include an old six-storey building to the north and

are meant to symbolise motion.

a single-storey ruin to the south. However, municipal codes dictated that the new structure could

The same applies to the spatial organisation of the

not exceed two floors above ground level.

interior where surfaces and different spaces transfigure and connect into each other to facilitate the

The two-storey commercial office building, located

overall theme of motion.

in a busy retail district in Tehran, was finished with a contrast of black and white longitudinally cut

Interior floors are clad in black Nadjafabad marble

stones of Brazilian marble.

which dramatically contrast with the almost grainless

47 >

white marble used on many of the walls. This juxtaposition of materials enhances the spatial perceptions of the building and further contributes to the overall sense of dynamism which the architects aimed to create. The 2010 WAF jury said: “This small, highly refined project provides a sophisticated response to its urban context, and a surprising and intelligently crafted treatment of its principal material – marble – on both external and internal façades. This is jewel of a building within an intense urban environment.”

Vali Asr Commercial Office Building, Iran, designed by Kelvan. Photos: Kelvan, Parham Taghioff.

48 >

PRODUCTION, ENERGY & RECYCLING

City, which is situated in close proximity to agricul-

Four finalists competed in this category, including:

Being the first and only seed production unit in

City North Substation (Architects Johannsen + As-

the country, the plant found its unique identity

sociates, Kann Finch Group â&#x20AC;&#x201C; Project & Design Ar-

through the revelation of machinery aesthetics.

chitect), Harlequin 1 BSkyB (Arup Associates),

The concept design of the campus is set up to

Marof Winery (Studio Kalamar) and Yevlakh Seed

make and break the relationship between the ma-

Industry Campus (TOCA).

chinery and the structure itself. The boundary be-

tural districts of Azerbaijan.

tween the machine and the structure are purposeThe winner was Yevlakh Seed Industry Campus,

fully blurred and the entire plant is designed as

Azerbaijan, designed by TOCA, Turkey.

integrated parts of a single machine. Every move of the product through the plant defines the archi-

Yevlakh Seed Industry Campus is a high-tech seed

tectural form of that space and constitutes the

growth plant built on a 70 000 m2 area in Yevlakh

layout for the site plan. The factory is divided into

49 >

Yevlakh Seed Industry Campus, Azerbaijan, designed by TOCA. Photos: Sergen Sehitoglu.

four sections: seed processing, packaging, storage

This innovative and intelligent WAF category-win-

and categorisation areas.

ning project was designed by a very young architectural practice. The judges said: â&#x20AC;&#x153;It is a unique

Units are located on the scheme which is most

project that works as a machine and its form em-

suitable for the production process. Incoming raw

phasises the machinery, [and] the plan is clear. The

materials are put into production at the point de-

use of strong provocative colours has symbolic

signed as a logistics centre and are then moved

meaning and provides a unique character related

towards other units to be processed and each

to the function of the building. Additionally, the

movement is an expression of architectural form.

reinterpretation of the shed form is a very strong strategy.â&#x20AC;?

The facility, which could be three factories with vertical flow scheme in different functions, is designed to constitute a horizontal production band and each building is thought to be intermediate stations of the band.

50 >

SHOPPING

Yamaha is Japan’s leading general musical instrument manufacturer. To express the essence of

Nine finalists competed in this category, including:

Yamaha’s brand and materialise its architectural

Camper Shop (Miralles Tagliabue Embt), iluma Singa-

design at Ginza, an area in which a number of lead-

pore (WOHA featuring realities:united), Japanese

ing brand shops are based.

restaurant (Barré Lambot Architectes), Pendorya Shopping Mall (Erginoglu&Calislar), Pola Ginza

The core themes of the building exude the feel of

Building (Nikken Sekkei Ltd. and Yasuda Atelier),

sound and music and the union of tradition and in-

Sportalm Flagshipstore Vienna (Baar-Baarenfels

novation. The building’s conceptual image reflects

Architekten), The Village at Sanlitun – North (The

a woodwind instrument that is placed inside a glass

Oval Partnership Limited), Vivaci Guarda (Promon-

showcase and the three connected atrium spaces

torio Architects) and Yamaha Ginza (Nikken Sekkei).

facing the streets are finished with curve-moulded wood that reminds one of woodwind instruments.

The winner was Yamaha Ginza, Japan, designed by

The façade is composed of a diagonal grid express-

Nikken Sekkei Ltd, Japan.

ing the fluidity of music, and the differently tinted

Yamaha Ginza, Ginza, Japan, designed by Nikken Sekkei Ltd. Photos: Nikken Sekkei Ltd.

51 >

sheets of gold-leaf laminated glass scattered in a

the street. With spaces inside and outside, the

random pattern symbolise brass instruments.

building possess visual and spatial relationship to each other, and the architecture is designed to

The building is a super-complex composed of vari-

resonate with the streets of Ginza.

ous sound-related facilities including shops, a hall and music schools stacked together. With its so-

The 2010 WAF adjudicators reviewed a tremen-

phisticated, most advanced vibration and sound

dous variety of projects in terms of scale, complex-

insulation structure, each space is interconnected

ity and overall challenges, ranging from shop fit

and yet keeps its own, acoustically quite environ-

outs to major shopping centres in this category.

ment. The three atrium spaces are each designed

They concluded that â&#x20AC;&#x153;The Yamaha Ginza Building

with its own theme and are open to the streets of

is a breathtaking presentation, which represents

Ginza through the translucent screen decorated

the highest levels of sophistication in terms of re-

with gold dusts. At the first floor, the atmosphere

sponse to program, scale of ambition, refinement

of the street is drawn inside. At the upper floor,

of detailing and engagement with the surrounding

the activity inside the building is shown outside to

physical context.â&#x20AC;?

52 >

SPORT Seven finalists competed in this category, including: Aviva Stadium (POPULOUS), Cowboys Stadium (HKS, Inc.), Hoyo 19 Club de Golf Altozano (Parque Humano/Jorge Covarrubias + Benjamin Henze ), Northland Event Centre (Copeland Associates Architects), Soccer City (Boogertman + Partners, South Africa, in association with Populous, United Kingdom), Sports centre (Batlle & Roig Architects) and The Satellite (White arkitekter AB). The winner was Soccer City (also called ‘The Melting Pot’), Johannesburg, South Africa, designed by

City National Stadium makes a strong and memo-

Boogertman+Partners, South Africa in association

rable connection with its place in history, the game

with Populous, United Kingdom. See page 114 for

and the future of this area. The imagery of the

a detailed project description.

calabash, or pot design, which recalls the centre of life in the family is taken on as a strong encircling

The judges commented how each of the shortlisted

imagery. It is a genuine example of a building

projects had to, as a matter of course, satisfy the

forming deep and lasting roots in its culture and

immense technical requirements demanded by

gives a new exciting future to an otherwise run-

world sporting bodies to hold international, region-

down area, becoming instantly recognisable as the

al and local events. The judges said: “The Soccer

face of the South African World Cup.”

53 >

Soccer City, Johannesburg, South Africa, designed by Boogertman+Partners in association with Populous. Photos: Leon Krige.

54 >

TRANSPORT

The brief required the Helix Bridge to be canopied

Three finalists competed in this category, including:

notion of a tubular cross-section, which allows the

Epping to Chatswood Rail Link (HASSELL), Sabiha

canopy and deck to be integrated, evolved from

Gokcen Airport New Terminal Building (Tekeli-Sisa

this requirement. The design team found that a

Architectural Partnership) and The Helix Bridge

double spiral structure would utilise up to five

(Cox Rayner Architects, Architects 61).

times less steel than a conventional box girder

for shade and shelter in the tropical climate. The

bridge, and equally became excited about the prosThe winner was The Helix Bridge, Singapore, de-

pect of such a structure making an iconic statement

signed by Cox Rayner Architects, Australia + Archi-

about Singapore as a ‘green’, walking city.

tects 61 Pte, Singapore. Having selected the design in a 36-entry internaThe Helix Bridge is one of the few bridges in the

tional design competition, Singapore’s Urban Rede-

world to be named after its structure. In addition to

velopment Authority decided that it should be con-

its uniqueness of structure and form, it is designed

structed entirely in stainless steel. This decision

to respond to its particular setting at the opening

enabled the tubes, struts and ties to be finely craft-

of the Singapore River to Marina Bay, a large inner

ed, the multiple connection joints being designed

harbour on which much of the city is now focused.

to appear organic. These details, and the helix form

55 >

overall, led to the bridge being popularly compared

capacity of 100 or so people, that extend out on

to the DNA molecule, with its connotations of ‘life-

the bay side to create ‘ring side’ viewing for water

giving’ and ‘sustainability’.

events. These decks reinforce the design intent of the bridge to optimise pedestrian experience of

The intrigue of the structure is derived from its abil-

the bridge as new urban place as well as of its role

ity to curve in plan and section while maintaining

as a vital connector between Singapore’s major ex-

continuity of its dual spiral over the 280 m length.

isting and emerging urban precincts.

This achievement was the result of a process of highly sophisticated 3D computer modelling,

The 2010 WAF judges felt that The Helix Bridge was

through which the proportions and connections

a strong winner due to the uniqueness of its weav-

were progressively refined. To accentuate the rib-

ing of structure and form. The judges said: “The

bons of structure, LED lighting is incorporated

structure, which is derived from its ability to curve

along both spirals and in ground lighting embedded

in plan and section due to its helical form, will be-

to highlight the combination of glazed and perfo-

come an important addition to the pedestrian ex-

rated steel canopy segments.

perience in Singapore both in daytime and at night. The scale for the pedestrian is very important with

The final pieces of the design are a series of ovular-

viewing pods integrated in the solution, providing

shaped cantilevered viewing ‘pods’, each with a

opportunities for informal gatherings.”

The Helix Bridge, Singapore, designed by Cox Rayner Architects, Australia, and Architects 61 Pte, Singapore. Photos: Christopher Frederick Jone.

56 >

FUTURE PROJECTS â&#x20AC;&#x201C; CATEGORY WINNERS

The Competition Entries Category winner was Dance and Music Centre, Netherlands, designed by Aedas, Hong Kong.

The Commercial Category winner was Offices' 63, Gurgaon, India, designed by Sanjay Puri Architects,

The Dance and Music Center in The Hague presents

India.

a significant opportunity to improve the civic and social quality of both its city as well as the facili-

Located in a rapidly urbanising new commercial

ties it houses. It will be located on Spuiplein, an

centre, the design of this project creates office

important, albeit underutilised urban square and

spaces that are individual in identity with interior &

one of the projectâ&#x20AC;&#x2122;s challenges is to improve activity

exterior integration. Five wings of office spaces lo-

of this urban space. The facility itself contains its own

cated next to each other along the southern side of

range of uses from the semi-public components of

the 6.05 acre plot gradually diminish in height from

retail and box office facilities, transitioning to the

the south-west corner to the south-east corner.

performance venue foyers and finally to the five venues themselves.

Offices' 63 is a building that generates open spaces at both the community and at the individual

Adding even more richness to the program, the

level whilst being designed in context to its sur-

Center will also house the highly respected Resi-

roundings; the city's climate and its heritage in a

dentie Orkest and the Nederlands Dans Theater.

sculptural manifestation of form with individual

Further infused into this mixture is the Royal Con-

identities to each space within.

servatory, which includes four individual schools

57 >

â&#x20AC;&#x201C; three focused on music and the other on dance. The design weaves a semi-public path through the entire facility revealing the inner workings of what goes into these performances, as well as how these artists develop. It is not only about the venues but also the studios, rehearsal rooms, classrooms and even the lounges. The Centreâ&#x20AC;&#x2122;s requirements exceeded what the limited site area could accommodate for and the facilities are therefore stacked on top of each other. The vitality of the center is interdependent with how the public and semi-public components of the project engage the facility. These three zones become the major organisational and focal volumes in the project.

Offices' 63, Gurgaon, India, designed by Sanjay Puri Architects. Dance and Music Centre, Netherlands, designed by Aedas.

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The Cultural Category winner was Concert Hall, Torun,

will be clad with exposed brick that reflects the

Poland, designed by Menis Arquitectos, Spain.

façades of the town’s historic centre, while the exterior will be covered with very pale concrete (al-

Torun is a small Polish town with a well-preserved

most white). The façade reinterprets the tradition

historic centre, protected by UNESCO. The site for

of handmade brick while establishing a parallel be-

the concert hall sits on the edge of the town, bor-

tween the tectonics of the city and the strategic

dering a redevelopment in an area next to the old

location of the site. The play of colors, red and

wall which was converted into a park. The park

white, emphasises this dichotomy between herit-

now runs along the center like a giant green bow

age suggested by the use of brick and modern

and houses a contemporary art center and build-

technology and new urban developments.

ings with some architectural value. The interior structure is designed to be flexible, The city required further development of the area

allowing the 1 000 and 300 seat adjoining audito-

including an auditorium (Concert Hall), hotel and a

riums to be opened up for large-scale events and

conference center. Because of the delicate heritage

also provides the possibility of opening the con-

environment, and the need to maintain the percep-

cert hall to the outside through the stage. This

tion of the park as a large open space, the height of

complements the openness and permeability of

the Concert Hall had to be kept as low as possible.

the building, which allows users to pass through it

The building’s design will create a fusion of old

towards the square, creating a total continuity

and new through the use of materials. The interior

with the surrounding public space.

Concert Hall, Torun, Poland, designed by Menis Arquitectos.

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The Education Category winner was Sabah Al-Salem

learning spaces that are juxtaposed against a free-

University Kuwait University City, College of

form, undulating boardwalk enclosing a variety of

Education, Kuwait City, Kuwait designed by Perkins

a posteriori learning support spaces (lounges, group

+ Will, USA.

study niches and computer stations) that are carved through the length and height of the structures,

The goals for the Sabah Al-Salem University City

connecting all floors and functions. The interplay of

College of Education project includes the creation

solid and void between the mass of the buildings

of a strong, individual identity for the College

and the meandering of The Boardwalk define the

within the university’s master plan; a student-cen-

architectural identity of the College and the belief

tered learning environment that would foster a

that classroom-based learning must, in the 21st Cen-

community of learning; and a highly sustainable

tury, be complemented by an equally vital learning

design with daylight to all classrooms, offices and

support environment in which learning continues

main circulation spaces. Kuwait’s large swings in

beyond the doors of the classroom.

temperature and relative humidity challenged the design team to find innovative ways to balance

Accessed from The Boardwalk, a series of large in-

community and comfort with low energy use and

ternal garden courtyards – oases – function as ma-

environmental sensitivity.

jor amenity nodes (cafeteria, library, lobby, and auditorium) for the college, filled with daylight

The design solution creates two five-storey rectangu-

and sheathed in greenery, all visible from the

lar buildings containing modular, repetitive a priori

learning spaces that surround and overlook them.

Sabah Al-Salem University Kuwait University City, College of Education, Kuwait City, Kuwait, designed by Perkins+Will.

60 >

Kuwait Children's Hospital, Kuwait City, Kuwait, designed by AGi Architects SL.

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The Health Category winner was Kuwait Children's

The building is approached through a climate-

Hospital, Kuwait City, Kuwait, designed by AGi Ar-

controlled plaza, which is a continuation of the

chitects SL, Spain.

exterior landscape, bringing in pedestrians. The elevated position of the plaza helps in giving a

The proposed design for the Kuwait Childrenâ&#x20AC;&#x2122;s Hos-

sense of power to the children over the street

pital (KCH) is conceived as a landmark that responds

level as they enter the hospital. This Plaza is

to climate and culture, and re-interprets these val-

roofed by a vaulted coloured structure and large

ues in a mid-rise building. Like a fortress, it creates

openings bring in natural light and relate visually

an exterior monolithic image that seeks protection

to the roof garden.

from the harsh climate, and a softer interior oasis tailored to the childrenâ&#x20AC;&#x2122;s use. The architects proposed a cheerful and colourful building that stands out from the deteriorated surroundings and is easily recognisable by children.

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West Kowloon Terminus, Hong Kong, designed by Aedas.

63 >

The Infrastructure Category winner was West Kow-

WKT will function more like an international airport

loon Terminus, Hong Kong, designed by Aedas,

than a rail station as Hong Kong Special Administra-

Hong Kong.

tive Region maintains economic and political incentives from P.R.China. Consequently, the facility needs

As a strong indicator in recent years, between Hong

to have both custom and immigration controls for

Kong and mainland China, the West Kowloon Termi-

departing and arriving passengers.

nus (WKT) is both a symbol and a functional representation of how improved relations have become.

The siteâ&#x20AC;&#x2122;s prominence immediately adjacent to the

The high-speed rail terminus station will connect

future West Kowloon Cultural District and next to

Hong Kong to Beijing with the largest rail network

Victoria Harbor required a design which was com-

in the countryâ&#x20AC;&#x2122;s history. Located centrally in Hong

pletely motivated by civic demand. Enriching the

Kong within the cityâ&#x20AC;&#x2122;s existing urban realm, the

challenge was the reality that there would be

430 000 m facility with 15 tracks will be the largest

400 000 m2 of commercial development on top of

below ground terminus station in the world.

the station which would be auctioned off to a devel-

oper in a later date.

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The Masterplanning Category winner was The Arc, Palestinian Occupied Territory, designed by Suisman Urban Design, USA. The Arc project offers a sweeping infrastructure plan for a Palestinian state; it could begin immediately and provide tangible incentives for political resolution by demonstrating the benefits of achieving peace. Following the natural terrain of the West Bank, the Arc corridor provides transportation, water and power to the main Palestinian towns and cities, allowing them to absorb a fastexpanding population and to grow in a sustainable manner. The plan absorbs population growth in the West Bank, while encouraging economic growth in both the West Bank and Gaza. The Arc is part of a rigorous, comprehensive assessment of the Palestinian environment, including governance, internal security, the economy, demography, water, health, housing, transportation and education. The Arc envisions the West Bank as an integrated urban region of independent but connected cities, The Arc, Palestinian Occupied Territory, designed by Suisman Urban Design.

with Gaza as the southernmost urbanised area. The Arcâ&#x20AC;&#x2122;s fundamental feature is an interurban rail line

65 >

linking the main cities of Gaza and the West Bank

1 507 architects from 71 countries came to Barce-

â&#x20AC;&#x201C; including a stop at the international airport. Each

lona to view and learn from the best projects of

rail station, located several miles from existing his-

the preceding 18 months and to help shape the

toric urban centers, would create a focal point for

future of the industry through best practice ex-

new development and would be connected to these

change and collaboration. Put simply, it is architec-

historic centers via a new transit boulevard and an

tural excellence, live. <

advanced form of bus rapid transit. No awards were made in the Experimental projects,

Sources: All images and texts are published with

Landscape and Residential categories for Future

the consent of the copyright holders as they appear

Projects.

on the WAF 2010 website, unless credited otherwise.

DEMOCRATIC PROCESS According to the organisers, WAF is the only annual international event to reward excellence in a fully interactive inclusive live format. Through its unique entry and judging process and its cutting edge seminar and exhibition content, it is simultaneously a celebration of great architecture and an intellectual challenge to a major world profession. No other event offers architects around the world this type of inspiration and stimulation. Last year

66 >

ARCHITECTURE. EVEN

.ZA2010: NT+CITY

67 >

From 21-28 September, Johannesburgâ&#x20AC;&#x2122;s Newtown was galvanised into a hive of architectural activity as the long awaited Architecture.ZA2010 (AZA2010) got underway. The South African Institute of Architects (SAIA) hosted this ambitious, vibrant and pioneering festival across Johannesburg which consisted of a star-studded multi-disciplinary conference, the National Architectural Student Congress, photography and architecture exhibitions, film screenings, poetry readings, city walking tours and live music and drama performances. Around the world, architectural biennales and festivals generate enormous public interest and participation. They raise general awareness about architectural issues and have become income generators for the promotion of architecture and cultural debate. In considering the AZA2010 festival, the organisers state that they had drawn inspiration from the most successful of these, maximising their options to reach the broadest possible audience. The organisers say that AZA2010 developed a life of its own, finding synergy with other events and embracing new ideas and platforms as it grew. From the outset the goal of AZA2010 was to bring architecture back to the people, to celebrate the diverse cultures and rich history of Southern African cities and to offer architects a new way of looking at how their buildings can be a sustainable force for change in society. AZA2010 has succeeded in placing architecture into the consciousness of mainstream awareness in South Africa. Media coverage was extensive and allowed architecture to introduce itself to the South African public as a leading creative, cultural producer. It has also opened a dialogue which now allows a non-intimidating relationship with the architectural profession, which SAIA will continue to build upon in future.

68 >

The AZA2010 Pavilion, designed by Sarah Calburn and Dustin Tusnovics.

OPENING ACTIVITIES A public debate titled The state of housing in SA marked the opening of the festival which took place at the Potato Sheds Auditorium at the Market Theatre complex. Participants in the debate included Butch Steyn (DA spokesperson on Human Settlements), Amira Osman (CSIR), Patrick Magebulah (Federation of the Poor), Diego Ramirez-Lovering (Monash University, Australia), Jackie Dugard (Socio-Economic Rights Institute of SA), Fanuel Motsepe (SAIA President Elect) and Heather Dodd (architect) amongst others. The lively debate focused on the successes and challenges of South Africa’s contemporary housing

structure has been designed by architects Sarah Calburn and Dustin Tusnovics, while a team of women and young men from the Thinasonke informal settlement, on the East Rand, helped with its construction - all of whom belong to the Federation of the Urban Poor. The AZA Pavilion demonstrated the practical use of alternative materials and is an example of innovative thinking around social housing. The pavilion was relocated to Thinasonke and rebuilt as a community centre – the first permanent structure in the settlement.

CONFERENCE

strategy and how it contributes to the national priority of restructuring South African society, in order

The three-day conference that followed was called

to address structural, economic, social and spatial

EVENT+CITY and consisted of keynote plenary ses-

dysfunctionalities.

sions, breakaway panel discussions, lectures and master classes run by the SAIA. The conference

The debate was followed by the official opening of

theme was Reimagining Joburg, which created de-

the AZA Pavilion at Mary Fitzgerald Square. The

bate about Southern Africa’s urban future. Topics

69 >

included sustainability, urban public space and how

order to expose the complexity of our urban cul-

best to use a city’s infrastructure after hosting a

tures, we have taken the broadest possible ap-

global event such as the 2010 World Cup. It also

proach to the formation of this conference. Speak-

probed the role of architecture in the formation of

ers and participants are being drawn from a wide

a ‘world class African city’, as well as the green

range of urban players: from cultural practitioners

agenda.

to development economists, both centre-stage and counter-culture. We aim to intensify awareness of

Programme directors, Sarah Calburn & Rodney

the roles that architecture can play in this complex

Place said that: "Joburg manifests and concentrates

city towards the many possible re-inventions of our

many current global urban conditions – enormous

urban futures.”

disparities of income; rapid transformation under a socialist-leaning government; wealthy capitalist in-

The conference structure comprised of overarching

stitutions operating alongside street traders and

daily themes, with two plenary keynotes that set

self-built squatter settlements and entrenched in-

the stage for two breakaway sessions consisting of

stitutional four-roomed suburbs – the remnants of

five parallel-running panels, which interrogated dif-

a segregated past – within sight of gated communi-

ferent aspects of the themes. Due to the confer-

ties reminiscent of Beverly Hills.

ence format, delegates had the difficult task of choosing between the parallel-running breakaway

“Unlike Sao Paulo or Lagos, Joburg operates at a

sessions. Therefore, the reportage of the confer-

range of manageable scales that makes the strate-

ence reflected in the rest of this article only covers

gic role of architecture particularly interesting, and

certain sessions.

opens Joburg to extraordinary possibility for experimentation and speculation as a global model. In

70 >

MAGMA Arts & Conference Centre, Adeje, Tenerife, Canary Islands, designed by AMP Arquitectos and Fernando Martin Menis.

DAY 1 The first day’s overarching theme was Now and then – Cultures of the city with two sub-themes, Histories: The myths and fictions of Joburg over time and Historicities: Counter-cities. The first international keynote was delivered by luminary Spanish architect, Fernando Menis, whose work is instantly recognisable – grandly sculptural and organic, modern yet ancient, almost always inspired by nature. Perhaps his most famous building is the MAGMA Arts and Convention Centre in Tenerife, made from roughly faced concrete that evokes the local rock textures and volcanic lava formations. In his presentation titled Reason and Emotion, Menis shared his particular concern with socially and environmentally responsible designs that add value to the planet. He believes that “A good project understands nature, works with it and does it no harm.” He also dealt with the importance of loci, context and the way in which architecture can evoke emotion. “Emotion” he said “depends on where you are, what place you are in, for example the weather.” He continued to argue that architects

71 >

need to be sensitive to all contexts and that “Emo-

township housing; from the mythology of stadia to

tion needs to cross over with reason.” He concluded

the queer city.

that: “As architects, our work is like lasagna. Each layer represents a layer of knowledge. When you

Acclaimed local architect and winner of the 2009

eat the lasagna, you eat all the layers together” – in

World Architecture Forum’s World’s Best Building

the South African context he could of course have

of the Year, Peter Rich, acted as chairman of one of

used the bunny chow as an analogy.

the panels with a presentation themed Self-efficiency on building community. He said that: “Cities gener-

Menis’ presentation was followed by breakaway

ally begin as a conglomeration of villages, often

streams that addressed the sub-theme, Histories:

loosing their village quality as they develop. African

The myths and fictions of Joburg over time.

cities however maintain their village quality through their growth largely due to their social and cultural

It has been said that Joburg requires a huge amount

aspects that bind people and communities together”

of ‘insider knowledge’ no matter which side of the

– those living in Joburg will surely attest to the

fence you sit on”, said the programme directors,

truth of this introductory statement.

and the session’s panelists interrogated many pertinent questions, including: “What are the implica-

Rich continued by stating that architecture cap-

tions of this for all kinds of cultural production?

tures “…hidden history, [yet] it is hard to put your

How does history inform the relics of the gold rush

finger on it … There have been remarkable things

town – the underground city – the accelerated city

that have happened in history.” As an example Rich

– the ‘elusive metropolis’? How does architecture

mentioned: “If you look at Johannesburg, there

commemorate a painful past? How has a culture of

were yards and yards of land. Indians owned land in

‘display and concealment’ shaped Joburg? What are

the city during the era of apartheid and they

the roles of preservation in mapping the future?

brought their religions and ‘villages’ into the city.”

Presentations ranged from issues around public

“As architects, we look at the enabling typologies

space to Sophiatown; from African literature to

of a building or area. How do people use buildings?

72 >

The way people use a building, depicts the success

tution. This is where our urban culture was made.

and adaptability of that building. You can see, look-

There was [suddenly] a rectangular space for all of

ing back into history, which buildings were enabling

us.” Serote then went on to pose the question: “Did

and which ones weren’t.”

the architects that built that space, know the people that they were building it for?”

Rich concluded his presentation by stating: “We architects need to look at the reality and abilities of

“As people moved out of the townships, they were

people to cope. Ninety-six percent of the people in

throwing away their elders that still lived in the

our country are not served by the architectural pro-

townships. Elders, they perish. The houses are cruel

fession. We as a discipline need to form partner-

and dark in townships. Sadness happens when you

ships and facilitate things.”

pick people out of their homes and put them somewhere else. If you pension someone, you build a

Author and poet, Wally Mongane Serote, in his

space for them to go to – they are ‘pensioned’

presentation stated: “There was a time when there

there.”

was a primary [indigenous] African institution. It consisted of babies, children, adults and grandpar-

“As architects, you need to find ways to go back to

ents” – traditionally a circular space, a physical and

the source. You need to find ways to humanise

metaphorical space. Serote then reflected on the

yourself and do it correctly. By giving us this space

creation of urban townships and the effects that it

or spaces, architects become people who deal with

had on the communities that occupied them:

aesthetics and design and therefore they have a

“Someone, back then, decided that these people

great gift.”

need a space where they could act like it’s an insti-

73 >

In response, Rich said: “As architects, we are in-

one in the form of Monte Casino. “This Classicalism

volved in human-space making. Spaces are where

in architecture has prevailed [in the City]. There is a

people meet and are used as a ‘space of gathering’.

persistence of a ‘poet pidgin language’.”

It is the way you ritualise a place. Sometimes archi-

“Here, there is a broader historical trend. Every age

tects make buildings that are too alienating. It is

or generation has appropriated classicalism to it-

because we are being too abstract.”

self. It is a part of a broader classical trend” and “There is an idea that classical architecture is set in

Historian, Federico Freschi took the audience on an

stone in the original class structure.”

alternative thought route by focusing on the persistence of classicism in the architecture of Johan-

Freschi asked: “There are classical elements in ritu-

nesburg. He said that: “The questions of style tell us

als – a temple is classical. What memory and souls

who we are as people and give us substance to our

do these classical buildings hold in the Joburg con-

identity.”

text?” He continued: “With ‘classical’ there is a sense that it has been around forever in a country

“The Johannesburg Art Gallery and the Rand Re-

and yet, that it as new as South Africa. The city of

gents Memorial are two examples of classicalism.

Johannesburg represents an interesting case study;

Since its inception, the City has an unbroken tradi-

it is a reminder to constantly go back to the source.

tion of classical buildings and classical architecture,

There is a desire to belong.”

for example, the old Johannesburg banks, St John’s and Jeppe Boys High School. Johannesburg also

Social historian Luli Callinicos continued to explore

shows traces of neo-classicalism in the Wits Univer-

Freschi’s statement on belonging: “The myth of the

sity and also has a proliferation of Tuscan buildings,

empty Joburg is a question of remembering and

74 >

forgetting. There was struggle for a place in the

within this place. This space seems to be a cruel

city. Joburg is the city of choice. Egoli has the per-

space. This space needs to be appropriated. We

ception of accessible wealth. Most people chose

need to give this space a human quality.”

Joburg as they were also propelled to it.” The second sub-theme of the day, Historicities: “There is also a myth of Joburg having two econo-

Counter-cities, was introduced by a keynote presen-

mies – the rural and the urban. These are both apart

tation delivered by Lindsay Bremner, a former chair

of the same system.”

of architecture at both Tyler School of Art at Temple University, USA, and the School of Architecture

“In the past, there was a negotiation of space and

and Planning at the University of the Witwa-

foundations of an informal settlement. The space

tersrand, Johannesburg. Her work is concerned

in townships encompassed the middle class squeez-

with questions of architecture, culture and geopol-

ing with the unemployed. There was a bonding, a

itics in a globalising world and she has made a sig-

cross-class within the townships,” said Callinicos.

nificant study of Johannesburg in this regard.

Serbian architect and urban researcher, Ivan Kucina

Bremner presents the findings of her current field

acted as commentator in this session and conclud-

of research, The Folded Ocean Project, which she

ed that: “It seems to me that the residence of Jo-

describes as an investigation of “the nebulous ter-

hannesburg are confused. They are confronted in

rain that is the Indian Ocean.” The project entails

such complexities, that they cannot find meaning

a critical mapping of trade and the movements of

75 >

people, nations and cities in the Indian Ocean and how

claim an increasingly privatised public space? And

these define it as a distinct geographic territory.

the constant counter currents of immigration, of speed and position? How do we read alternative vo-

She started her presentation ‘folding’ a map of the

cabularies and does the city breed rebellions be-

region and compared how various cities on its pe-

hind closed doors?

riphery are distributed in a recognisable pattern – Perth collates to Durban, Nairobi to Singapore, and

Presentations ranged from informal communities

so on. This lateral mapping process shows how mar-

in high-rises to pavement economies; from rebel-

itime connections defined – and continues to de-

lion in the suburbs to alien movies; from fashion

fine – culture and how it underpins developmental

gangs to cultural archaeologies.

attitudes in the region. In the breakaway sessions, a diverse mix of architects, urban planners, academics, artists, writers, fashion designers and others interrogated several complex questions including: What would happen if the city, striving for norms, were to become unreadable to those who live there? What Joburg fringes are working against the norm? What about counter-culture and privatisation? Can activism re-

THIS PAGE: Shanghai Main Station District Masterplan, China, designed by Michael Sorkin Studio.

DAY 2 Day two’s overarching theme, Contemporary urban

OPPOSITE PAGE:

currencies, was divided into two sub-themes, Market-

Seven Star Hotel In Tianjin Masterplan, Tianjin,

ing, Imaging and Branding of the city, and Theoretical

China, designed by Michael Sorkin Studio.

positions and experimentation. New York-based Michael Sorkin, one of the most talked-about and outspoken architects working today, presented the first keynote of the day, titled Eutopia now! The projects of Michael Sorkin Studio exist first and foremost on theoretical and experimental levels – they are part invention and part critique – and many of them focus on urban redevelopment schemes. They are grounded in the belief that the city is both the primary source of architecture’s social meanings and its main challenge. Particularly important to the Sorkin Studio is the inquiry into new forms of sustainable, post-technological cities. In his presentation, Sorkin argued for the inextricable connection between design and social engagement and presented a green outlook for urban futures.

77 >

He also stressed the importance of adding an ‘e’ to

The first breakaway sessions focused on the broad

"utopia" and highlighted the urgency for alterna-

sub-theme Marketing, Imaging and Branding of the

tive futures rooted in green, sustainable city plan-

city and panelists addressed questions such as:

ning and architecture that involves all citizens. He

What is the role of branding in the production of a

emphasised that the creation of spaces for urban

world-class city? What are its codes and barriers?

conviviality included not only the greening of pave-

Are we entering a ‘franchised landscape’ of malls,

ments but communal agricultural enterprises "in

outlets and gated developments? What can we

open spaces, dead-end streets and even parking

learn from architectural and cultural innovations

lots" and showed examples of how this is done in

that got their brand strategy right? Are we inter-

parts of New York City such as at Brooklyn Bridge,

ested in the formation of a public culture accessible

Harlem, in parking lots and on top of buildings.

to all or are we a society of differentiation? Presentations range from public art to private transport;

Sorkin lambasted the over-consumption associated

from the regeneration of Braamfontein to the de-

with contemporary ‘franchised landscapes’ such as

velopment of the Gautrain; from urban eco-systems

malls. He also drew comparisons between post-so-

to the future face of townships.

cialist Moscow and post-apartheid Johannesburg, where democracy has entwined with capitalism and

South African architect Henning Rasmuss looked at

produced suffocating effects on the futures of

how architecture reflects Johannesburg’s various

these cities.

stories and he quoted various examples: “The Hillbrow Tower is the city’s architecture. There is an

Sorkin believes that cities need to inspire people

architectural story shown within the Apartheid Mu-

and for him, the solution lies in the creation of "eu-

seum. This museum is part of Johannesburg’s im-

topias" and not in the “spectacle of fantastical cities

age. Architecture tells a story: Johannesburg is a

that make a mockery of democracy and fails to nur-

tough city.”

ture hope and possibility."

78 >

Rasmuss continued: “The Nelson Mandela Statue in

his personal interpretation to the day’s overarching

Nelson Mandela Square in Sandton is an example of

theme, Contemporary urban currencies. He claimed

the way we are messing with the city’s image, it’s

that: “Johannesburg’s currency is situated in tradi-

over-proportioned. But, it is brutally honest and is

tional capitalism” and argued that “It is important

a part of the city’s image.”

to know how these externalities [or transaction spillovers] manifest themselves in cities and how they

Rasmuss believes that “Johannesburg is veld, with

are good drivers of the cities.”

a piece of style within it. As it is a gold town, a town of money, it is ‘bling bling’, with ‘bling’ architecture.

He said that: “Reflexive urbanism is about the stra-

Architecture in this city that does not have ‘bling’ is

tegic and reflexive shaping of the built environ-

missing something.”

ment” because it operates on the principles of cause and effect. He then looked at how to make

He said that “One of the great traditions in Johan-

use of the interaction between two levels: the

nesburg is that we try to do difficult things. We aim

building and its surroundings. “The focus should be

very high. Architecture is not scared. We are about

on the synergies between the buildings and the ar-

‘big balls’ and doing ambitious things in terms of

eas around it and how architecture develops a way

architecture. We try give ourselves big problems

to describe how things really are.”

and then work through them and learn from it.” Van Hasselt believes that “Externalities create exKia van Hasselt, an urban strategy consultant from

tra value to the cities. Social ventures create exter-

The Netherlands, started his presentation by giving

nalities, and externalities create ‘sense networks’.”

79 >

He went on to quote local examples where exter-

come here. Johannesburg is the gateway to Africa.

nalities contributed positively to the development

The existing identity of Johannesburg is the Hill-

of the city “Art spaces and institutions are drivers of

brow Tower and the Coat of Arms.”

reflexivity. For example, the Joburg Art Fair, in March 2010, made spaces more exciting. Another

“The Johannesburg area has grown in the 90s. What

example is Arts on Main in Johannesburg.”

did you call Johannesburg back then? Jozi? Egoli? Johannesburg? No one has defined Johannesburg.”

Local branding guru, Jeremy Sampson, spoke about

He concluded by giving his interpretation of what

the relationship between buildings and brands and

the city’s brand should reflect: “Johannesburg val-

how these impact on people’s perceptions of the

ues go back to the people. Johannesburg is crea-

city. He said “Buildings have brands. Everything has

tive, personal, African, nurturing and dynamic. We

a brand.” Proving his point, Sampson said: “The An-

have a typology.”

glo American building in Johannesburg is the ugliest building, it looks constipated, solid and boring.

Daniel Van Der Merwe, architectural consultant at

It is important to be conscious of the building you

the Cement and Concrete Institute, presented a

work in because it reflects people’s perceptions.”

case study on Yeoville, which is one of the areas of

He argued that a brand and a company are symbi-

Johannesburg with the most obtrusive identities.

otic and that architecture is part of both.

He said: “From an urban point of view, Yeoville invites opportunity. It allows us to look at a city that

Talking about the city, Sampson said “Johannesburg

started as a white suburb and metamorphosised into

has to be branded. It’s about getting people to

something else. This place allows us to question

80 >

what an African city is and what it is about. Yeoville

clues to legality in experimentation? What about

is a process of change.”

design as research; activism as research? How can we test some radical re-imaginings of our urban fu-

“In 1994 there was an influx of people. The spaces

tures?

that we intended to be something specific, have become something else. There is a metamorphosis

Renowned Iranian- born, French architect Nasrine

of space.”

Seraji presented the second keynote address of the day, titled Nothing has really happened until is has

“Nowadays in Yeoville, there are open spaces that

been documented.

are being beautified with murals. You can see how Yeoville is going through an interesting change.” He

Seraji is founder of the Paris-based firm Atelier Ser-

concluded that the area it is in a third wave and

aji Architectes & Associés, which has become a labo-

then posed the question: “Where are we going to

ratory for both practice and research. The studio

go next?”

regularly collaborates with consultants in the fields of landscape design, engineering, graphic design,

The afternoon session dealt with the sub-theme

programming, economics and management.

Theoretical positions and experimentation under which presenters explored the potential of Johan-

Seraji presented an overview of her professional

nesburg as a ‘continuing experiment’ towards alter-

work. She said: “In Paris there is a huge focus on a

native futures and again dealt with a diversity of

building’s alignment and the use of stone in the

questions: What are the codes and barriers and

construction of buildings. There is no building’s

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without straightness. Buildings are ‘on the line’ –

years through ways like competitions, my teachings

there are no nooks or crannies where unprivileged

and exhibitions” and explained why she believed

people can hide or live. I was resistant and resilient

that architecture exhibitions are important, espe-

to this cultural architecture. I learnt from the

cially the showcasing of projects proposals that

French, not to just say ‘yes’ to doing any type of ar-

never made it to the final tender or construction

chitecture.”

phases: “There is something you can never say if you are a practicing architect. You cannot be critical

In explaining her explorations of the relationship

of those who give us the jobs. We need to be self-

between urbanism and architecture, she posed con-

critical. … Exposing our work as a series opens it up

fronting questions such as: “Architecture is domi-

to criticism and debate. Criticism is an essential in-

nated by what? Power or money? Can urbanism still

terface. … Architecture should once again become

be larger than architecture?” and then responded

a platform for criticality.”

that: “Sometimes infrastructure can become a building” and continued to say that: “Architecture is

Following on Seraji’s keynote, the presentations in

not exclusively responsible for [urban] program-

the breakaway sessions ranged from a film study of

ming. How can we take into account pre-program-

the Newtown flyover; to inner city experiments;

ming of spaces?”

from interventions on heritage sites to lessons from choreography; from public art to earth archi-

Seraji then went on to look at the practice issues and the architect’s position in the creative world. She said: “I have viewed my architecture over the

tecture.

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Renewable City 2040, Merwe-Vierhavens, Rotterdam, The Netherlands, designed by Doepel Strijker Architects.

DAY 3 The third and last day of the conference focused on the theme Post-event cities and the sub-theme, Iconographies and sustainabilities. South African-born, but now Netherlands-based, Duzan Doepel presented the morningâ&#x20AC;&#x2122;s keynote presentation titled Towards resilient cities. Doepel spoke about how sustainable cities should generate at least as much energy as they consume and, on a regional scale, be self-sufficient in the production of food. He also addressed the issues of closing energy, water and waste cycles on building and districts, which he believes holds opportunities for hybrid forms of architecture and urban clusters that could produce more energy, water and food than what buildings consume. Doepel stated that

this surplus could form a source of income for build-

The Truffle, Laxe, Spain,

ings and districts, generating a healthy local econo-

my and increased level of wellbeing. But in Doepelâ&#x20AC;&#x2122;s view, a sustainable cityâ&#x20AC;&#x2122;s design is not merely about balancing flows. As an example, he presented the Merwe and Vierhavens case study in which his practice is investigating how social parameters can be combined with technical parameters to generate a truly sustainable urban area. In this case study a low-energy urban morphology combines the ideals of a healthy, liveable city with high densities and an optimal public transport system. This results in a low-rise, high-density model with adaptive forms of architecture in which public, collective and private realms are subtly connected.

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Following on Doepel’s keynote, the breakout ses-

world to providing housing for the people; from

sions explored critical issues such as: What are the

building stadia to mining water, renewing land-

pressures of local and global iconographies? How

scapes to city buses.

do design and political imperatives forge a lasting relationship? What happens now to the stadia and

Presenters included architects, artists, econo-

the transport infrastructure, the “third landscape”?

mists, sustainability experts, transport experts

Do we need a dose of event resilience? How do di-

and politicians.

verse cultures move towards a single-minded sustainable practice? Presentations from Sandton and

The final keynote was presented on the afternoon

the challenge of the Gautrain to Alexandra and a

of day three, by the Madrid-based Ensamble Studio

sustainable future; from greening the corporate

led by Antón García-Abril and Débora Mesa.

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Ensamble believes that a building only really reveals itself once it is finished. They encourage a constant flow of research and experimentation in projects in which they are involved with at every stage, construction included. They regard their style as “unitary and essential” and as trying to “resolve the complexity of the context with simple gestures”. It is this quest for the essence that inspires them. They use building materials as a means to an end, never as a pre-destined factor.

TOP: Church and Berklee Tower of Music, Valencia, Spain, designed by Ensamble Studio. BOTTOM: Hemeroscopium House, Madrid, Spain, designed by Ensamble Studio.

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JOZI NITE Jozi Nite, which took place on 24 September under the M1 highway in the vicinity of Mary Fitzgerald Square in Newtown, was one of the major highlights of AZA2010. It featured live bands, top deejays, edgy films and a group of fringe traders as well as food and beverage stalls. The night’s activities included a screening of acclaimed performance artist, Steven Cohen’s Chandelier, the innovative Peep Dance and Gents of the City, and performances by Smarteez, Sapeurs, and Oswenkas. The winning short films in the C&CI Moving Space competition was also screened at Jozi Nite. This architectural student design competition promotes discourse around pressing issues of sustainability in architecture.

CONCLUSION AZA2010 concluded with a three-day master class presented by international luminaries Fernando Menis, Antón García-Abril and Débora Mesa Molina and local legends including Peter Rich and Andrew Makin. < All images supplied by AZA2010 unless credited otherwise.

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DIVE

Boston Night Club, Pretoria.

BBA: ERSITY AT ITS BEST

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Barnard & Burger Associated Architects and Interior Designers (BBa), is one of the industryâ&#x20AC;&#x2122;s all-in-one architectural boutique firms. From architectural design; documentation and details for local authority submission; building tenders; complete building project management; financial management of building construction; interior and graphic design, to space and facility planning, BBa does it all, overseeing the entire process before construction whilst offering a complete professional service at its best. Not only is BBa diverse in the many roles it plays within the architectural process, but diversity is also evident in the range of clients within the firmâ&#x20AC;&#x2122;s portfolio, including institutions, commercial firms, industrialists, developers and private homeowners. Established five years ago with the amalgamation of Eugene Barnard (EB Associates) and Ben Burger, the practice has evolved over the decades. With more than 30 years of experience in various partnerships and involved for many years in the fields of CAD, both

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principals have been managing projects, assisting with determining the client brief and and overseeing the entire process before construction, including providing solid advice that is based on thoroughly researched knowledge acquired over the years. This architectural practice is innovative and dedicated to designing and constructing buildings of the highest quality. It is in this process of lateral thinking that the talents, skills and energy of the entire team in the practice are concentrated. Expressions of style, timeless design and added value are the basic principles by which BBa attributes its success and the personalised service lends focus to detail. BBa are backed up by skilled design and technical staff utilising facilities and well-developed electronic support services. All drawings are executed on DATACAD and other related application software. Architecture together with other disciplines and good urban design principles from an environmental perspective provides a harmonious connection between man and the environment. The economic science which it is, allows BBa to provide the end user with a valuable and sustainable project.

sional services and have developed expertise to provide specialised training as well as technical assistance to previously disadvantaged professionals in order to improve their own professionalism. BBa endeavours to build and value long-term relationships with their contractors, other professionals and clients from various backgrounds and then deliver the best possible architectural solutions within the clientsâ&#x20AC;&#x2122; unique budgetary and time frame constraints.

TOP: Bush Lodge, Nylstroom. CENTRE: House Barclay at Stonehurst Mountain Estate, Cape Town. BOTTOM: Hotel in Angola.

BBa have extended the scope of the standard profes-

BOTTOM: House van Dyk, Irene Woods, Centurion.

THIRD ROW: Restaurant concept.

SECOND ROW: Parking garage with advertising.

TOP: House at Serengeti Golf & Wildlife Estate, Gauteng.

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This is really achieved by giving each project special attention and personal involvement by the principals over the entire duration of the project. Each project is treated with the same enthusiasm and professionalism, regardless of the size or budget. On-site supervision ensures that the high quality of design and detail is implemented in the built product. BBa strives to, as much as the client will allow, to also provide environmentally sensitive and energy efficient design solutions. It is these factors, that place BBa has one of the leaders in the small-scale architectural industry, and their large number of satisfied clients can surely vouch for this. <

TOP: House Swart. CENTRE: New faรงade for the Batho Pele Building. BOTTOM: Ranger accommodation, Mozambique.

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BAI INCREASES ITS GLOBAL FOOTPRINT By Lois Aitchison

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Bentel International Associates (BAI) is one of South Africaâ&#x20AC;&#x2122;s foremost commercial architecture

BAI IN AFRICA

practices. The company is widely respected for its

BAI has gained vast experience in Africa with projects

innovative yet functional designs across a wide

completed and under development in Nigeria,

range of sectors. Its portfolio includes major retail

Ghana, Cameroon, Angola, the DRC and countries

centres, mixed-use and infrastructural develop-

bordering South Africa. BAI understands the com-

ments, railway stations, airport terminals, and of-

plexities of working in Africa and with its 1 billion

fice, hotel and apartment buildings in predomi-

population (including 100 million consumers) re-

nantly Southern Africa, West and Central Africa,

siding in 67 cities, the continent will continue to

the Middle East and India.

offer substantial development opportunities in the future.

BAI strives to deliver integrated, broad-based solutions for a variety of complex design and planning

The companyâ&#x20AC;&#x2122;s successes in Africa are due to its

projects for both public and private sector clients.

integrity, its exceptionally co-operative attitude,

With a portfolio of prestigious and complex projects,

excellent service and the ability to consider, under-

the company has won numerous local awards and

stand and appreciate the aesthetics, diversity and

is increasingly recognised internationally.

cultural differences in the various countries in which it operates.

Despite a challenging global financial climate, BAI continues its growth trajectory as an international

BAI has been operating in sub-Saharan Africa for

practice and has recognised the enormous growth

the last 50 years and has also gained extensive ex-

potential in the fast-evolving built environments

perience in countries located north of South Africa.

in Africa where there is an increasing need for

Highlights include the design of the highly ac-

world-class retail and other facilities.

claimed Lagos Palms in Nigeria and Accra Mall in Ghana. The company is currently involved with two major retail and mixed-use developments in Lusaka, Zambia â&#x20AC;&#x201C; the Manda Hill refurbishment and the mixed-use Levy Business Park. Lagos Palms, the first world-class shopping and entertainment centre in Nigeria, opened in 2006. The subsequent success of this pioneering retail venture, which provided Nigerians with their first 21st century shopping and entertainment experience, prompted a $60-million extension that in

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future will form part of a proposed mixed-use de-

refurbishment of the shopping centre commenced

velopment in the surrounding precinct.

in 2010 and is expected to be completed by 2011. The structural changes include changing the pre-

The retail GLA will be extended by 20 000 m²,

existing 20 000 m² external strip shopping facility

which will make the Palms the largest shopping

to an internal mall by means of the addition of a

centre of its kind in Nigeria. The proposed exten-

two-level 15 000 m² component in the central area

sion of the centre is proposed for 2011, with the

between the two anchors. A large food court ex-

proposed mixed-use components including two of-

tends into a new external component and piazza.

fice towers, an apartment block, a state-of-the-art

The re-design and upgrade of the existing façade

gym and a waterway link planned for construction

includes a grand colonnade that runs the full

thereafter.

length of the front facade. The colonnade will become the threshold and design feature for the

The original design of the Palms also incorporated

whole centre.

the centre’s own water purification plant, a sewer treatment plant, an efficient central air-condition-

The 94 000 m² Levy Business Park project com-

ing system and an energy backup with a 2900 KVA

menced construction in September 2010 in the

generating plant.

Zambian capital of Lusaka. Designed by BAI in a joint venture with The Design Workshop, a Lusaka-

Accra Mall, Ghana (2007) is the first retail project

based architectural practice, the mixed-use

of its kind and scale in Ghana. BAI designed a state-

$200-million (ZAR1.5bn) project will be a major

of-the-art retail environment to cater for the

mixed-use development consisting of retail, office

emergent middle class in Ghana, where people

and hotel nodes. The project is still under construc-

were not familiar with large-scale shopping malls

tion and will be completed in 2011.

and there was a general lack of resources in the region. The design demanded user-friendly func-

BAI continues to be enthusiastic about the chal-

tionality, good orientation and energy efficiency.

lenges that working in Africa and elsewhere offers,

Internal features include top quality finishes, open

and looks forward to continuing to effectively con-

skylights that introduce natural light into the in-

tribute to the realisation of the goals and require-

ternal spaces, a water treatment facility and a

ments of international developers, investors and

structural design that meets earthquake zone re-

end users. The company, with its impressive port-

quirements.

folio of completed, current and proposed projects, is extending its geographic reach and fortifying its

Manda Hill, Lusaka, Zambia. Predominantly driven

strategy and presence in existing and new territories

by an increasing demand from tenants and shop-

on the continent.

pers, the $210-million (ZAR1.6bn) expansion and

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INCREASED PRESENCE IN INDIA BAI’s commercial design expertise is rapidly gaining further international recognition and the company is now able to compete on an equal footing with some of the world’s best commercial design firms. Over the last five years, BAI has established a significant footprint in the Indian commercial built environment where the company currently has over 40 projects in various stages of design or construction. BAI has developed an excellent understanding of the complexities of doing business in India, as well as the cultural context in which their designs will be built. The company’s ability to solve complex design issues and to consistently meet and exceed

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developers’ expectations and needs is a major con-

The 45 000 m2 GLA Oberoi Mall, which focused on

tributory factor to their success on the Indian sub-

the mid to high-end market, attracted its first two

continent.

million visitors in a record time of just 100 days after opening. Located in the mixed-use develop-

Testimony to this is BAI’s recognition as a finalist

ment of Oberoi Garden City in the northern sub-

in the 2010 Asia ICSC awards in the ‘Innovative de-

urbs of Mumbai, Oberoi Mall features an extensive

sign and development of a new retail project’ cat-

lifestyle and retail mix. Structural elements were

egory for its Oberoi Mall in Mumbai, India. The

utilised to be both functional and decorative. An

International Council of Shopping Centres (ICSC)

expansive central atrium encloses four levels of

Asia Awards recognise and honour the shopping

retail, increasing shop visibility and bringing natu-

centre industry’s most cutting-edge properties, in-

ral light into the space. The height of the build-

novative solutions and creative responses to mar-

ing’s architectural elements encourage visitors to

ket trends, as well as outstanding examples of

navigate the entire mall – glass elevators with LED

design and development in the Asian region. The

lighting draw the eye to upper levels and increase

other nine finalists in the mentioned category are

sightlines.

major international firms from China, Japan, South Korea, Malaysia and Australia

LEFT: Mantri Square, Bengaluru, India. RIGHT: Oberoi Mall, Mumbai, India.

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RECENT PROJECTS IN SOUTH AFRICA

power, back-up power and solar energy, a thermally efficient façade and heat transfer systems for water heating.

Committed focus on sustainability The Hurlingham retail complex and supermarket in BAI recognises the current imperative for built envi-

Sandton consists of a multi-level complex with a

ronment professionals to be cognisant of and proac-

receiving basement, a level for staff facilities, trad-

tive in tackling environmental issues through the

ing and mezzanine levels and a 300-bay basement

design and implementation of sustainable prop-

parking area. The complex includes the 5 600 m2

erty developments. The company is committed to

Pick ‘n Pay supermarket and 750 m2 of adjoining line

‘green’ architecture and seeks to minimise the

shops. The supermarket is the third Pick ‘n Pay store

harmful effects of human interventions on the en-

to incorporate a significant number of sustainable

vironment by the appropriate selection of design

elements including the use of natural refrigerants.

elements, building materials and construction practices.

The client’s criteria for the new store and complex were that the design and technology had to be

Two recently completed buildings epitomise this

commercially viable with a realistic return on in-

commitment: The design brief of the Legacy Corner

vestment. The architects sought to incorporate

development in Sandton focused on environmental

viable initiatives that would enhance the overall

issues, maintenance and operating costs to offset

aesthetics of the building while significantly re-

the initial capital outlay in the medium to long-term.

ducing its carbon footprint.

Sustainable solutions include alternative sources of

Maponya Mall, Johannesburg.

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The design is not the conventional inverted type of architecture normally used for retail complexes. The inclusion of contemporary full height glass facades, together with numerous skylights in the roofscape and a dimmable light system, allows for considerable daylight harvesting and adds to the natural ambience of the interior of the complex. The new store will use almost 40 percent less energy than a comparable conventionally designed store due to the utilisation of high performance refrigeration, lighting and HVAC systems, which utilise renewable energy sources to help light, warm and cool the site. Other green components include 100 kilowatts of photovoltaic capacity that will generate between 8â&#x20AC;&#x201C;20% of the storeâ&#x20AC;&#x2122;s power when in operation; a single 1 600 litre hot water tank for the hot water reclaim system; a rainwater harvesting system; largely indigenous landscaping and the restoration and enhancement of the substantial reserve between the building and the Braamfontein Spruit that forms part of the surrounding urban greenbelt.

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Legacy Corner (2010) â&#x20AC;&#x201C; sustainable mixed-use exclusivity in the heart of Sandton The 17-storey Legacy Corner mixed-use development is situated in the Nelson Mandela Square precinct in Sandton within the richest and most economically important area in Africa. Legacy Corner has direct access to Nelson Mandela Square and has the advantages of close proximity and easy access to Sandton City, the Michelangelo Towers Mall and the Sandton Convention Centre. The Michelangelo Towers, also designed by BAI, continues to achieve some of the highest prices per square metre in the country. The architects created a design for the iconic Legacy building that is unique in a contemporary manner with timeless and elegant aesthetics, textures and finishes that respect the buildingâ&#x20AC;&#x2122;s context whilst complementing the other structures in the precinct.

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LEFT & CENTRE: Michelangelo Towers, Johannesburg. RIGHT: Legacy Corner, Johannesburg.

Legacy Corner consists of the six-level luxury Da

Within the context of increasing globalisation, the

Vinci Hotel with 168 rooms, four levels comprising

last decade has firmly entrenched BAI as an interna-

80 residential apartments, two levels of four luxu-

tional design company. The Legacy and Michelange-

ry duplex penthouses, four levels of parking and

lo developments have become benchmarks of excel-

the 5 000 m² of high-end retail, dining and enter-

lent design for BAI’s international clients.

tainment components. The Mall is situated on three levels beneath the hotel. An escalator court provides a vertical circulation node connecting the

Pedestrian Bridge over Maude Street (2010)

parking and retail levels of Legacy Corner and the Nelson Mandela Square. The escalator court

The Legacy Group, developers of the Michelangelo

boasts one of the world’s largest video screen

complex and Legacy Corner, required a pedestrian

walls with 64 42” TVs making up the wall.

bridge over Maude Street to enhance the aesthetics, connectivity and functionality of the Sandton CBD.

In line with the Legacy developer’s commitment to the Heritage Environmental Rating Programme in

The weatherproof bridge links the Convention Centre

Africa and BAI’s local implementation of the Green

and the Michelangelo Towers Mall, which in turn,

Star Code, the architects incorporated several sig-

completes the link through to Nelson Mandela

nificant green components into the design of Leg-

Square, Legacy Corner, Sandton City and back through

acy Corner, which include alternative sources of

to the Intercontinental Hotel and the Convention

power, back-up power, solar energy and a thermal-

Centre. The modern bridge is a steel, aluminium

ly efficient façade.

and glass structure with finishes that aesthetically complement and enhance the other elements in the precinct.

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Gautrain Rapid-Rail System Stations (2010) The development of the Gautrain Rapid-Rail System was initiated in response to the announcement of South Africa as the host of the 2010 FIFA World Cup. A functional and efficient transport system had been sorely lacking in Gauteng province for many years, with the majority of commuters having to rely on less safe, informal transport methods. The development seeks to put South African transport on par with international best practice transport systems. The Gautrain Architects JV is the master architects for the Gautrain stations. Underground, at grade and elevated rail stations are the three types of station designed for the project. The rail route consists of three major stations: OR Tambo International Airport, Tshwane and Johannesburg. There are seven other subsidiary stations: Rosebank, Sandton, Marlboro, Midrand, Centurion, Hatfield and Rhodesfield.

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BAI was commissioned to create the design for the

are significant markers in the successful journey of

OR Tambo International Airport, Marlboro and

passengers using the transport system.

Rhodesfield stations. It was stipulated by the master architects that each station should feature in-

The OR Tambo International Airport Station features

dividually tailored design packages under an um-

a stratosphere sunset on the ceiling linking it to the

brella brand identity. The train systemâ&#x20AC;&#x2122;s brand

navigational character of travel. The sense of travel

identity had to be maintained to achieve continu-

and space is further expressed in the elevated plat-

ity between the stations for easy identification

form area that is accessed via a transparent glass link.

and usage by passengers. Continuity was achieved through a comprehensive branding and signage

The floating waveform roof over the concourse of

programme developed by BAIâ&#x20AC;&#x2122;s graphic design de-

Marlboro Station gives the architectural structure

partment.

a sense of dynamism and is supported by large steel structural elements that are reminiscent of

The overall design philosophy required the use of

acacia trees. The tree structures suggest tranquil-

tree imagery in the architectural elements of the

lity and shelter.

stations. The tree is symbolic of protection, life, community and the path of travel. The indigenous

The character of the Rhodesfield Stationâ&#x20AC;&#x2122;s site in-

acacia tree was the specific reference in the archi-

fluenced the architectural design, which was re-

tecture of the stations. Its umbrella canopy is re-

stricted in terms of the available space for tracks

flected in the wave roof structures. Similarly, the

and the geometry of the site. As a result, unusual

acacia tree-trunk and branches are referenced in the

elevations were required in the platform and

supporting columns of the station. These references

bridges of the station.

LEFT: Gautrain Rapid-Rail System, OR Tambo Station, Johannesburg. CENTRE: Gautrain RapidRail System, Malboro Station, Johannesburg. RIGHT: Gautrain Rapid-Rail System, Rhodesfield, Johannesburg.

106 >

Illovo Edge, Fricker Road, Johannesburg.

BAI moves to new offices in a prestigious development

to create an imposing avenue with vistas from Melville Road through to Fricker Rd and down Illovo Boulevard.

BAI celebrated its 50th year of design excellence in 2010. As part of this celebration and to accommo-

Illovo Edge consists of several phases that are

date the growing space requirements of its Johan-

scheduled for completion over the next two to

nesburg offices, the company relocated to Illovo

five years. The first three phases include the con-

Edge in Fricker Road where it occupies one of the

struction of 16 000 m2 of exclusive triple A-grade

two buildings completed in Phase 1, both designed

office space. Phase 1, completed in May 2010, in-

by BAI. The development is strategically situated

corporates the grand entrance to the office park

within the exclusive Illovo Boulevard Precinct in

and the beginning of the spine boulevard, which

Illovo.

will traverse the entire office park. The component consists of two structures: Building 1 (2 400 m2) and

BAIâ&#x20AC;&#x2122;s brief was to design a building that would be-

Building 2 (1 600 m2). Building 2 has been bought

come a landmark for the surrounding Illovo area

in its entirety by BAI.

and a benchmark for office developments on Fricker Road. The architects split the design of the devel-

The use of the diagonal of the boulevard across

opment into a number of different buildings, each

the rectangular site gave BAI two triangular edg-

with its own identity and entrance. Central to the

es, which helped inform the buildings aesthetic in

brief was the idea of the site as a pedestrianised

that the forms of the buildings become state-

precinct. Extending the Illovo Boulevard into the

ments in themselves. In addition, the site slopes

site and flanking it with two separate buildings

from its furthest end of the diagonal towards the

achieved both objectives. The spine boulevard

corner at Fricker and Harries Roads. This gave BAI

gives structure to the office park and is intended

the opportunity to create buildings that appear to

107 >

sit on podiums and further allowed them to emphasise the angular forms, allowing the sharp ends of the triangles to rise above the ground. This also helped to emphasise the large areas of floor to ceiling glazing and the pure forms of the buildings. Dominant façade elements include sandstone, steel and glass curtain walling. Correct orientation has ensured energy efficient design. Other ‘green’ design features include solar panels and stormwater retention tanks, insulation, thermally efficient glass, energy efficient lighting and air ventilation systems and solar heating panels for geysers. Roof gardens offer scenic views of Johannesburg and a relaxing social environment for the buildings’ occupants. By relocating to its impressive, self-designed, new Johannesburg base that embraces contemporary best practice, and through its consistent track record of providing clients across continental borders with architectural excellence for the past 50 years, BAI has positioned itself as a global player in the architecture industry. <

108 >

EXCELLENCE BY DESIGN

www.boogertmanandpartners.com

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www.boogertmanandpartners.com

TOP: Houghton Club House, Johannesburg. CENTRE: Spa. BOTTOM: Bigen Africa Head Office, Pretoria.

EXCELLENCE BY DESIGN: BOOGERTMAN + PARTNERS

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Boogertman + Partners has its origins in South Africa, having been established in 1982. Operating out of four regional offices in Johannesburg, Pretoria, Durban, Cape Town, the firm also has an office in Mauritius. With a staff contingent today of 167, it is deemed a large practice that has been defined by the demanding nature of a largely developer-led client base, which is driven by return on investment. It is in this arena where the company has particularly excelled, and is borne out by a 'return' client base that reflects relationships of 20 years and more. ‘Excellence by design’ is the all-pervading philosophy that permeates every project, from conception to completion, and unites the varied design philosophies of the multiple project leaders. The company’s design lead teams explore different design philosophies in alternative projects but always with the appropriateness of time and place in mind. This acknowledgement of alternative interpretations to design and reality opens up the opportunity within the office for ample critical debate. There exists surprisingly little ‘red tape’ or company bureaucracy that often characterises large practices. Boogertman + Partners’ leadership believes that it is this liberty of expression in the workplace environment, rich with opportunities and diversity of projects, that encourages innovative and unique solutions to design problems, and also enables them to be the employer of choice to capture young design talent. All projects emanating from the company are conceptually strong, formally expressive and reflect a narrative that engages the site in both its physical, as well as its socio-economic context. Boogertman + Partners are fortunate to have tremendous strength in depth, and a unique skills base that allows the company to achieve success in a diverse range of commissions – from sports stadia, urban design, corporate & commercial office parks, hospitality, motor and industrial developments, as well as niche residential developments. The current economic cycle has opened a new field of opportunities which foster a trend of reinvestment and refurbishment into the existing building stock. With strong support from a young and talented interior design department, the company is able to provide and bring a holistic

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interpretation to an architecture with integrity, where the smallest part conveys the truth of the whole. The international office is focused on the opportunities resulting from the expected 5–10% growth in African economies. Boogertman + Partners currently has ongoing projects in Kenya, Botswana and Zambia, with recently completed projects in Egypt and the Sudan, and design proposals out in Libya, Namibia, Ghana and Uganda. Mauritius has always been a blue-chip investment area, with sustained property values and growth. The first, and possibly the only, regional shopping centre has been commissioned in Bagatelle. Called ‘The Mall of Mauritius’, this shopping centre is a 31 415 m² retail facility which was started on site October 2009 and is destined for completion in September 2011. As gold founder members of the Green Building Council of South Africa, Boogertman + Partners are committed to supporting the environmentally sustainable transformation of the South African and international property industry. The Menlyn Maine will be the first Green mixed-use precinct in Pretoria. Poised to explode with the first two Green buildings under construction, this total development will release 280 000 m² of mixed-use facilities, commercial and residential, within a safe and convenient environment. The new 36 000m² Nedbank Regional Head Office will consolidate their Pretoria operations. This five story building, with four basements, is currently registered for the Green Star SA Design Rating, and will provide office space for 1 000 Nedbank employees. In addition, Boogertman + Partners’ approach to every commission supports the company philosophy of empowerment through education. Currently ranked in the World Top 100, and 1st in Africa, the result is world class, socially responsive design

The company has always believed that architecture is a collaborative act, and that the end product is only as good as the strength of the professional team. Recognition by its client body as well as by the architectural fraternity as leaders in the field remains the company’s consistent objective.

TOP: Mall of Mauritius, Moka, Mauritius. CENTRE: The Galleria Roof Melrose Arch retail development, Johannesburg. BOTTOM: Menlyn Maine, Pretoria.

solutions that gain recognition both locally and internationally.

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RECENT AWARDS The past two years have been particularly rewarding for Boogertman + Partners when several of their projects won top honours at prominent local and international award festivals, of which Soccer City was the most notable and most awarded building in Africa in may years. In 2010, Soccer City was awarded Category Winner: Sport at the World Architecture Festival; Grand Prix Winner as well as Category Winner: Communication Design 3D & Environmental Design Architecture at the Loerie Awards 2010; Presidential Award at the SA Federation of Civil Engineering Contractors; Overall Winner: Most outstanding Civil Engineering Achievement 2009 by the South African Institution of Civil Engineers; Category Winner: Overall Winner and Category Winner: Public Buildings at the LEAF Awards 2010; Category Winner: Stadia Award for Innovative Excellence in Property Development; Category Winner: Stadia at the 42nd SAPOA Convention and Property Exhibition. The company was also acknowledged as Category Winner: Refurbishment for the 9 Fredman Drive Office Development at the 42nd SAPOA Convention and Property Exhibition. In 2009, Boogertman + Partners received the PMR Diamond Arrow Award for Large Architectural Firms; won the Best Building Project Concrete in Architecture and the Commendation for Unique Design Aspects at the Fulton Awards for Soccer City. The Galleria Roof Melrose Arch Retail development was Category Winner: Tubular Structures and Soccer City was Category Winner: Sports Stadia at the SA Institute for Steel Construction Awards. Furthermore, the company was awarded Finalist 2 for the Murray & Roberts Head Office by Business and Arts South Africa (BASA); Category Winner: Retail for Irene Village Mall and Category Winner: Industrial for Fuel Logistics Centre at the 41st SAPOA Convention and Property Exhibition; and received Honourable mention for Architecture at the Pretoria Institute of Architecture Award for the Konya Pavilion.

Soccer City Stadium, Soweto, Johannesburg.

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KEY PROJECTS Soccer City Stadium The architecture of Soccer City represents a regional approach aimed at integrating the urban context of Johannesburg, its society and the historical mining industry along with African culture as a whole. The main form, inspired by the traditional African calabash, results in a stadium that is immediately recognisable as being African. This form is used as a layering device and it enables an overall spherical form to emerge which informs the spatial quality of the intermediate spaces between the exterior skin and that of the seating bowl. The layered faรงade results from an overlay of several ordering devices and patterning ideas and is alternatively made up of open or glazed panels, and fibre-reinforced concrete panels utilising eight colours and two different textures. Ten vertical faรงade slots are aligned geographically with the nine other South African 2010 stadia as well as the Berlin stadium, the venue of the 2006 FIFA World Cup final. These are representative of the road or journey to the final and it is envisaged that after the 2010 FIFA World Cup, the scores of each game at each venue will be placed in pre-cast concrete panels on the podium. During the day the gradations of colour are representative of the firing process of a clay pot and the colours of the African earth gradually fading to the upper reaches of the stadium where the lighter colours are representative of the mine dumps and the mining history. At night, the pattern becomes inverted and is representative of the history of pattern making and its significance within African San culture where it is believed that the stars are a result of the earth being covered by an ancient clay pot full of holes that allows the light through to form the stars. The stadium is made up of three tiers, lower embankment, upper embankment, two skybox or suite levels, and the upper tier.

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The lower embankment and the upper embankment are accessed off the main lower concourse. The skybox levels and the upper tier are accessed via the eight three-dimensional ramp structures that have been built inside the faĂ§ade of the calabash. The skyboxes are also accessed via dedicated VIP entrances located in each of the four corners of the stadium with access directly off the podium level. These entrances have lift and stair access up to the suite levels with reception and secondary turnstiles. The access on the upper levels open up into business lounge facilities before access is gained to the secure skybox concourses. The upper roof is viewed as an extension of the facade and is cantilevered from a triangular spatial ring truss that is covered by a PTFE (polytetrafluoroethylene) membrane. The 37 m cantilever roof trusses have a perforated PTFE membrane to create a smooth under-slung ceiling. By combining multiple and uniquely vernacular cultural references with high-tech materials and systems in a very smart and symbiotic manner, Soccer City is possibly one of the most iconic stadiums to be constructed for the 2010 FIFA World Cup, if not anywhere in the world in recent decades.

Orange Farm Pedestrian Bridge Boogertman + Partners has always had a passion for bridges and bridge design, which has previously been limited to strong design features in its corporate lobbies. However, the Orange Farm Pedestrian Bridge, which links the communities of Orange Farm over the N1 highway, is one of the companyâ&#x20AC;&#x2122;s completed pedestrian bridge projects. The bridge was officially opened in November 2009. The bridge is a steel single-span feature bridge structure with a clear distance of 65 m between abutments. The bridge is slightly curved and comprises of a triangular shaped girder

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made up of structural steel hollow sections. The curved frame has a large top central circular element (the spine). The V-pattern side struts are tapered from top to bottom (the ribs). The bottom chords consist of two circular elements, but smaller than the large top central circular element, and two channels. To enhance the â&#x20AC;&#x2DC;spine and ribâ&#x20AC;&#x2122; effect of the bridge, the top chord and the side struts were painted white and the side rails and bottom chord of the bridge were painted grey, creating the illusion that, when viewed in the dark or from a distance, the side rails and bottom chord disappear.

MTN Innovation Centre The new head office park for MTN (Mobile Telephone Network) features two buildings physically connected via a bridge struc-

TOP: Orange Farm Pedestrian Bridge, Johannesburg. BOTTOM: MTN Innovation Centre, Johannesburg.

ture that is a transient space to house a small selection of the

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companyâ&#x20AC;&#x2122;s vast African art collection. Both buildings explore the principals of connectivity within the work place, both physical and visual thus breaking down the barriers to improve work productivity and end user wellbeing in the workplace. The buildings test the efficiencies and effectiveness of internal atria and alternate between these being accessible to staff and/or visitors. In both cases the office floor plates are open to the atria to improve connectivity and are accessed off the atria via stairs and off the internal common areas where all the public interface facilities of meeting rooms and restaurants, auditoria and training rooms.

Murray & Roberts Renovation The existing ten-storey building needed to be renovated to take advantage of its visibility from the nearby highway without the end-user vacating the building. The architects achieved this by draping the building in a veil of stainless mesh and added punched-out glazed elements relating them back to the brand of corporate user. The building also explores the principals of connectivity within the work environment for employees but within the context of a vertical solution. A full public interface area was created at ground floor level and then added to the existing lift core where all meeting areas and pause areas are located, thus bringing the staff, mostly engineers, out of their previously stayed office environments into the public realm to interact with each other and visitors to the building.

LEFT: Murray & Roberts Head Office, Johannesburg. TOP: 9 Fredman Drive, Sandton, Johannesburg. BOTTOM: Fuel Group Logistics Centre, Johannesburg.

A new entrance forecourt was also created by adding a multistory parkade that was treated in the same mesh screening and its proximity to the main entrance is celebrated and connected to the main building with a low covered walkway.

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Irene Village Mall This open-air retail centre in Irene Village, Pretoria, explores the benefits of the climate and sunshine and creates a public space that has become the heart of this shopping community. Public spaces create opportunities for the celebration and the interaction with accessible art installations and water fountains that have become the playground of kids. The village architecture taps into the local vernacular of Irene-style farm buildings.

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FUTURE PROJECTS The myriad future projects on the proverbial drawing board have seen the scale of Boogertman + Partners’ past projects being tested, specifically in terms of the height and mixed-use. In many cases these are being driven by their proximity to the newly developed transport nodes and routes that have become

RIGHT: 5’o Clock site. BOTTOM LEFT: Sandton Plaza, Johannesburg. BOTTOM RIGHT: Mushroom Park.

LEFT PAGE: Irene Village Mall, Pretoria.

part of our major centres.

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These projects are also challenging the relevance of form making and patterning, and the effect this has on visibility and the marketing of the project. The company is careful to steer clear of mere shape making that may get lost in the urban fabric, but recognises the value that such large-scale objects may have for the end user and the developer. Such larger-scale projects obviously challenge the way in which buildings are made, specifically the significant technical aspects of the way in which the external fabric is realised. Notwithstanding the iconography of the large-scale projects, the practice relishes the design opportunities that lie in the many smaller projects. Therefore, Boogertman + Partners believes that architecture is not only for special occasions. <

BOTTOM FAR LEFT: Sandhurst development, Johannesburg. CENTRE: Water Utilities campus. RIGHT: Waterfall City.

TOP LEFT: Botswana Housing Corporation. RIGHT: New office development, Rivonia, Johannesburg.

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IN CONVERSATIO WITH ELMO SWAR IT’S ALL ABOUT T ESSENCE By Jennie Fourie

What you see is not what you get. Disarmingly handsome South African architect, Elmo Swart, with his quick smile and easy, engaging manner is much more than just surface. Spending time with Swart propels you on an amazing journey of deep insights, startling views and offers a fresh take on architecture – and on his other great love, photography – that keeps you thinking, mulling, digesting and disseminating for days afterwards. Swart started his architectural studies at the University of the Free State in 1992 and after three years of intermittent breakaway travels, completed his thesis at the University of Pretoria in 2000.

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ON RT: THE

This 1 000 seat theatre for Dar es Salaam is intended as an enigmatic signifier â&#x20AC;&#x201C; establishing a strong subliminal image. Internally the bridging moment is celebrated and roleplays reversed in a spatial drama.

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This study explored the intermediate realm of

been published in several national and interna-

conscious/subconscious spatial experience and

tional books and magazines – both academic and

the phenomenology of place. This is a lingering

popular. Swart has also dabbled in teaching and

theme that manifests in an exploration of the

has been invited to lecture at architectural schools

‘space between’ in different genres governed by

and conventions both locally and abroad.

the boundaries of each unique brief. Swart finds himself constantly struggling against To date Swart has produced diverse architectural

being labelled and has chosen not to participate in

projects in South Africa and abroad (on his own

the general architectural design awards. To this

and in partnership with other architectural firms).

end he quotes Charles Ives who said, “awards are

These include a commission for a private house in

merely badges of mediocrity”. Swart believes that

the Netherlands, a tender-winning scheme in an

one can easily become driven to please your peers

international bid for a new state theatre and soc-

and, in doing so lose focus of your own personal

cer stadium in Tanzania, an airport in Botswana

journey.

and two signature bridge designs in Libya. Certain themes and concepts recur in the dialogue Two of his projects were selected to represent

with Swart. The first of these is ‘boundaries’. Swart

South Africa at the international Biennale for Archi-

relishes the challenge of abstract boundaries or

tecture and Art in Sao Paulo, Brazil. The exhibition

restrictions that each new job or client impose on him.

travelled Europe and South Africa. His work has

“Any design has parameters – necessary guides

New Kasane Airport, Botswana, with the Chobe River running nearby. The building type as a transitional space is symbolically and contextually investigated. Designed in conjunction with Groborg Architects.

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within which ideas evolve. The design process is

According to Swart there are two ways to tackle a

influenced by the subject, the site and the client’s

design problem. The first is beginning with an as-

brief. Ultimately these boundaries are bent and

sociation and working from that point towards the

shaped according to the innate sub-conscious per-

boundaries of the brief. Once these boundaries

sona, the forces of past filtered experiences and

are reached the creative process stops. “I like to

subliminal or cognitive quests.”

do things differently. I start with the boundaries set up by the client, the brief or the terrain and

Swart says he does not believe in the idea of an

then work towards the essence of the project. My

ideal brief or an ideal client. “My ideal brief would

ultimate aim is to break through people’s associa-

be not to repeat what I have done previously. I

tions. It’s all about asking questions.” He concedes

crave change and I don’t have a distinctive style. I

that there might be a shock tactic involved, but

love working with the non-ideal. Colleagues and

that this helps people to break free from their as-

students often say that they wish they could be

sociations. “What I do is to firstly establish a

their own client. My reaction is totally the oppo-

boundary and then work back towards my associa-

site. I would hate to be my own client – there is no

tion. I never reach the limits of this association –

one that I see to be the ideal client. Ideally I want

the association remains fleeting.”

to sit down with someone and adapt to his or her genre – although it may be warped. It’s my job to

‘Essence’ is another recurring theme. Swart delights

lead them to see with new eyes.”

in working with clients who know what they want. “Sometimes this knowledge is more of a sense – a

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Studio addition to House Benji. The transformation and attachment process of a new studio space to an existing structure.

Two signature bridge designs for Benghazi, Libya. The cosmic landscape with its cyclic changes reflects on a strong primordial experience where life and death fluctuates. The allegedly static piers become animated when driving through at speed and the structure transforms to a green symbolic abstraction at night. Designed in conjunction with Groborg Architects.

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sense not bound by associations. I’m like a chame-

that recur in my work. My work is bold, a bit ex-

leon. I like to adapt to what people are thinking and

treme, pushing the limits, but remain true to the

feeling and then to act as an amplifier – to warp

people who are going to use it. Clients are usually

their perceptions to a certain extent and then to

amazed by the solution I offer them because it res-

distil the essence of who they really are. It’s like

onates with them. I never impose my ego on them

holding up a mirror and showing people what they

– and that’s what I find ultimately satisfying.”

are thinking. Although they might be seeing the world through filters, it’s my job to distil the es-

A case in point is two private homes he designed

sence. I love to see the paradigm in people and

in the upmarket residential estate, Mooikloof, in

then changing them to get to their core.”

Pretoria. The first house was designed in a cubist aesthetic with a minimalist ‘mask’. An owner of a

Just as Swart does not have an ideal client or brief,

nearby stand approached Swart and explained

he is also not picky when it comes to the scale of his

that he had visited the building site but could not

projects – from a DJ stand, to a state theatre. “It’s

associate with the aesthetic at all. He said that al-

not about the size of a project. Scale is arbitrary.

though the mask did not fit, there was a spatial

Every project is different, but there are factors

dynamic ‘between the lines’ that kept intriguing

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him. “He saw through the expression and resonated with the essence of the project to such a degree that he had confidence that I could interpret his unique personality with the same vigour,” says Swart. After a visit to Austria to study the work of painter and activist Hundertwasser, Swart designed an ‘organic’ house with not a single straight line in sight. “When looking at this seemingly chaotic plan afterwards there was a hidden order revealed. I often find a subliminal presence in my designs and that the cognitive process is limited in grasping this guiding dynamic.” The same emergence of the subliminal – the unintended – comes across in Swart’s photography that he has been practising to great acclaim. As in his architecture, the magic of Swart’s photographs lies in evoking layers of unintended subtext – accentuating the unseen. “This space between is intangible, yet it’s the prerequisite for any duality to exist. The two sides rely on this relationship.” He quotes Francis D.K. Ching who speaks about an underlying order that reconciles objects in space. Swart says that photography came to him naturally as he has always been an outsider – watching the world from a distance. “I always seem to approach the context first, whether it’s physical, theoretical or spiritual, and usually assess the whole before judging the frame. Nothing is ever isolated and the relation is sometimes more important than the subject I focus on.” Swart has shown his abstract photographs on canvas in an exhibition titled sin(o)nyms and has done photographic work for clients such as Extrata Mining and FNB. His images have also captured attention internationally and have received several first prize votes on judging criterions.

A new indoors cricket centre and gym for Christian Brothers College, Boksburg. The volume opens away from the batsman and the motion suggested in the forced perspective.

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House Steenkamp is designed to change over time with a spatial dynamic that included unconventional circulation routes and multi-level experiences, reminding of a three-dimensional labyrinth. A strong process motivated approach.

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The interior design of Gravida, a maternity ware boutique, explores the concept of ‘reproduction’ and interplays the sense of weightlessness – confronting gravity. The dressing ritual is explored within a womb-like space, which is textured with 35 000 cable ties.

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Swart says that he is really a graphic artist at heart.

manifested in what Derrida would call the ‘ghost

He always starts by creating a work of art on a

of the artist’ and I find myself constantly astounded

plan. His plans have an icon value and could ulti-

by the way this vitality demands total surrender.”

mately be printed on T-shirts or stand alone as art works on a wall. “There is always an abstract two-

So, be it architecture or photography, the same

dimensional distilling to anything I do. Ultimately

themes come up again and again. Swart maintains:

it is not the medium that matters – a spatial im-

“I don’t believe there is a hierarchy in art – archi-

pression can be achieved with a two-dimensional

tecture is not superior to fine art or to photogra-

image, and a three-dimensional object can be per-

phy. When that which the senses perceive is de-

ceived as a flat surface.”

constructed, one always finds an underlying essence that has the power to inspire. This reso-

Swart approaches his photographic subjects in the

nating force usually leaves a lasting impression

same way he does his architecture. “The subcon-

and has the ability to shift paradigms.” <

scious hidden image usually has a way of revealing itself to me in an underlying order. This order is

House Wright is an extension to an existing thatch cottage – separate yet attached, unique yet familiar. An assembly of associations distorted to create a new typology.

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House van Dyk acts as a stage from which one experiences the seasonal change, movement of clouds and spectacular sunsets. Thereâ&#x20AC;&#x2122;s also an interplay between open and closed, hidden and revealed, and the grouping of the rooms around a central fireplace. Elmo Swartsâ&#x20AC;&#x2122; photography.

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BORN INTO ARCHITECTURE: FRANCOIS MARAIS ARCHITECTS

Whilst designing his family home Francois Marais aimed to suggest that this was an architects’s home from the exterior, through the use of asymmetrical curves and angles from the. The Marais home noticeably stands out as one of the more eye catching structures whilst driving through the estate, passing one Tuscan mansion after another.

“When designing our home, our prime focus was to create a home that could open up completely to the outside areas”, explains Francois. The use of glass stacking doors fold right back, turning previously indoor rooms into outdoor entertainment areas.

Elements from the exterior are echoed inside, where a stone mosaic creates a feature wall that encircles the staircase, the flush jointed face brick makes an understated appearance in all the upstairs rooms, and stainless steel railings and banisters from the outdoors are repeated inside. Successfully achieving a sculpture on the landscape, Francois aimed at breaking away from the monotony in the interior, while designing feature walls that make a play on the eye.

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Francois Marais Architects has grown from small

the flavour of their designs. While concentrating

beginnings, established in 1996, into a highly re-

on fulfilling their clientâ&#x20AC;&#x2122;s needs, they constantly

spected architectural firm based in Gauteng, South

push the boundaries of design to create unique

Africa. Francois Marais, the principal of the firm,

and interesting architecture, that no matter what

was literally born into architecture, having the op-

the style, has a modern sophisticated planning

portunity of growing up in a family of architects,

concept and design that is engaging for all.

where the impact and value of the surrounding architecture was constantly evaluated. Today, Fran-

Conscious of social, cultural and material context,

cois and his brothers are all qualified architects.

the firmâ&#x20AC;&#x2122;s designs are born out of the dynamics of the site and are fused with functional needs, struc-

The motto of this firm is to produce signature

tural integrity, orientation, light, water and land-

buildings (mostly residential but not exclusively),

scaping. These abilities have earned the company

each unique in their own right. Francois Marais Ar-

winning contracts as principle architect on many

chitects now boasts beautiful offices that reflect

large developments, including luxury residences,

Creativity is expressed not only through the geometrical architecture but also through the combination of modern materials such as stone cladding, flush jointed face brick for a clean finish, and Gamma Zenith pre-coloured plaster.

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cluster developments, game lodges, hotels, shop-

ping centres and offices, both locally and interna-

ments that push engineering limits. Complex de-

tionally.

signs are viewed as an opportunity to showcase the physics of architecture rather than as obstacles.

Every project is approached with the excitement at showcasing the firm’s full extent of both pas-

The firm’s signature design language attempts to

sion and a comprehensive understanding of the

blur the division between the interior and exterior,

client’s brief. Individual attention to each client’s

encouraging owners to embrace the African cli-

lifestyle and needs is fundamental to ensuring

mate and open up their buildings to life outdoors,

that their residence is designed around them-

whilst interacting with the surroundings when the

selves and to suite their environment. The diverse

climate permits.

South African climate also plays a vital role, and with individual attention to detail, a unique design

Increasing the firm’s scope within the architectur-

is always born.

al environment, Francois Marais Architects has recently introduced an interior design division. Un-

A desire to seek new architectural expressions

derstanding that architecture and interior design

continues to push the design abilities of the firm

each have their own separate roles in designing a

to its limits. Not afraid to experiment with designs

project, both are equally important. Although one

beyond the norm, it is not unusual to see houses

field focuses mainly on the structural elements

Residence at Ebotse Golf and Country Estate, Rynfield, East Rand. Showcasing the excellence in which aesthetics meets conformability, the geometrical masterpiece embraces the picturesque landscapes while lending itself to the modern lifestyle of the homeowner.

Open plan living optimises all views onto the golf coarse.

Working closely with interior designers, the contemporary architecture was continued into the interior of the home where the home owner was able to emphasise the importance of quality rather than quantity.

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and the exterior aesthetics of the building and the

design team, since they are be able to work to-

other focuses on the interior elements and finish-

gether from the introduction of the project, estab-

es, they need to be integrated, while compliment-

lishing a thorough interpretation of the brief and

ing each another. Like many of the leading archi-

ensuring common collective goals. As a result, this

tects, this firm understands the importance of

ensures that the client’s needs are fully under-

bringing in the exterior design and surroundings

stood and effortlessly executed not only in the

into the interior of a dwelling.

designing phase but also in the implementation of the design.

The firm also believes that communication with clients are vital to ensure that harmony is achieved

Being chosen as the preferred estate architect for

while evaluating all elements within the overall

Ebotse Golf and Country Estate, Clearwater Estate

design of a building and that an interior designer

and Dunblane Estate, Francois Marais Architects has

should be able to implement his /her own aspects

grown from strength to strength. This firm boasts

into the architect’s work, and so the architect

a diverse portfolio, which showcases many projects

needs to consider the interior designer when de-

that have been nurtured in excellence. With this

signing a structure.

portfolio, it is easy to distinguish a home designed by this firm, from a development designed by an-

This approach has to be advantageous for the client

other firm.

to employ an architect with an in-house interior

“The client wanted a design with clean modern lines that was a lock-up-an-go type of residence. The design is actually two rectangular blocks that are at different angles, following the shape of the stand. The view onto the golf course and the way the house opened up to these areas where very important” explains architect Francois Marais.

A warm atmosphere was created using accent and feature lighting in areas such as the kitchen and bar.

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A perfect example is one of the earliest showcase

Successfully creating seamlessness to the outdoor

residences Francois Marais Architects located at

and indoor living spaces was achieved through the

Ebotse Golf and Country Estate in Rynfield on the

extensive use of glass. To ensure that the architec-

East Rand. This geometrical masterpiece, where

ture was well-suited to its surrounding, the residence

aesthetics meet comfort, embraces the picturesque

was designed whilst optimising the landscape and

landscapes while lending itself to the modern life-

embracing the breathtaking view of the nearby lake.

style of the homeowner.

When walking through any home, one finds that very often it is only glass that differentiates between

Francois explains the idea behind the design: â&#x20AC;&#x153;The

interior and exterior. Once opened completely,

client wanted a design with clean modern lines that

the surrounding landscape is invited internally

was a lockâ&#x20AC;&#x201C;up-and-go type of residence. The design

through seamless openings.

encompasses two rectangular blocks set at different angles, which follows the shape of the stand.

The complex lines of the site were effortlessly

The view onto the golf course and the way the

overcome with the geometrical use of rectangular

house opens up to these areas were very impor-

blocks, which would prove beneficial in ensuring

tant factors that needed to be considered.â&#x20AC;? Using

unobstructed views. The contemporary architecture

geometrical shapes is a characteristic, which will

was continued into the interior elements, where the

later be used in all projects undertaken by the firm

home owner highlighted the importance of quality

as its signature design style.

rather than quantity. Creating spaces that exude sophistication and elegance were successfully

KPMG opened its new environmentally friendly building in Platinum Park in August 2010, and as far as it can be ascertained, it is the first green building of its kind in the city of Polokwane.

Bold architectural features emphasise the double volume entrance.

Unusual lighting helps emphasise double volume staircase enhancing the curved wall with cladding.

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achieved in this minimalist interior and the move

The building boasts the latest eco-friendly tech-

to be ecologically friendly is evident in the kitchen,

nologies. It is equipped with an HVAC system,

through the incorporation of gas appliances. The

which assists in regulating the internal climate and

simple design of the bathrooms and kitchen also

air quality of commercial buildings, providing a

accentuates the understated elegance evident in

healthy working environment for its inhabitants.

this home.

The building is completely airtight when sealed to further enhance this feature.

The new KPMG building in Polokwane was another major step forward for this fast growing company.

The sophisticated lighting system found in the KPMG

KPMG opened its new environmentally friendly build-

building, has electronic sensors that detect the

ing in Platinum Park, in August of 2010 and as far

volume of people working in the building at all times

as it can be ascertained, it is the first green build-

and makes adjustments to not only provide suita-

ing of its kind in the city of Polokwane.

ble lighting to all its staff, but also provides an opportunity for the owners to save on lighting costs

KPMG is a global firm providing a network of profes-

when certain areas are not in use. The building also

sional audit, tax and advisory services. According to

incorporates greywater recycling technology,

Marc Dufourq of Francois Marais Architects, the

which recycles wastewater derived from washing

KPMG building (estimated worth R20 million) con-

processes within the building as well as captured

sists of three floors and provides 3 500 m2 office and

rainwater.

conference facilities as well as basement parking.

Curving walls while incorporating the company colours in a horizontal striped wallpaper emphasise length where curves create interest within the high traffic zones.

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As Polokwane is known for its high daytime tem-

lifestyle, whilst being infused with trends and

peratures, large pane energy-saving glass surfaces

timeless elegance.

form an integral part of the design. The glass prevents the sun’s ultraviolet rays from affecting the

In our ever-changing environment where time is

temperature in the building, and angled louvers

money; detail is sacrificed for speed; where less

assist in shielding the building from excessive heat

has become more and for the client who stretches

caused by the sun.

every budget to the maximum, Francois Marais Architects has changed its focus to more sustainable

Dufourq says that his firm has registered the build-

building and designs. Sustainable building and

ing with the Green Star Council and is aiming for a

‘green architecture’ is a specialised field, where

4 star, Green Star SA rating. Green Star SA is widely

knowledge of the location, climate, orientation of

recognised across South Africa as an indication of

buildings, combined with the correct use of build-

buildings that have been certified by the GBCSA to

ing techniques such as cavity walls, insulation in

satisfy certain environmental criteria, as outlined

the walls, roofs and floors, sun protection, glass,

in the GBCSA Technical Manual [Green Star SA –

shading devices and many more effect the internal

Office Design v1].

living and working environment. Therefore Francois Marais Architects believes that the future

Francois Marais Architects’ design skills stretch far

challenge for architects will be designing function-

beyond the borders of South Africa, and the firm

al, whilst aesthetically pleasing, buildings without

is presently lead architects on several developments

getting trapped by designing away sustainable

in Lusaka, Zambia, including residential and com-

structures with exterior ornamentation. <

mercial projects which are tailored to the local

Recognising the benefits of designing photorealistic 3D’s, Francois Marais understood the importance of helping the client visualise the completed project. 3D images helped a client wanting to design a show room in Zambia envisage the completed design before construction began.

Boasting a diverse portfolio, every project is approached with the opportunity in creating an architectural masterpiece.

Constantly pushing the boundaries of design to create unique and interesting architecture, while concentrating on fulfilling their clients needs.

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MOSES MABHIDA STADIUM | Durban

MELROSE ARCH | Johannesburg

KING SHAKA International Airport | Durban

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Johannesburg

Unit 3, Ground floor 3 Melrose Boulevard, Melrose Arch P O Box 1621 Saxonwold 2132

t: +27 (0) 11 994 4300 e: shannynj@o-l.co.za / charleenh@o-l.co.za

East London

1st Floor, Pilot Mill House, The Quarry, Selborne, East London Private Bag X3, Tecoma, 5214

HEINEKEN BREWERY | Sedibeng

t: +27 (0) 43 721 0033 e: olael@o-l.co.za

Durban

Block A, 1 on Langford, Langford Rd, Westville, Durban P O Box 1450, Kloof, 3640

t: +27 (0) 31 266 0750 e: durban@o-l.co.za

O R TAMBO INTERNATIONAL | Central Terminal Building

w w w. o s m o n d l a n g e . c o . z a

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OSMOND LANGE: 80 YEARS IN THE MAKING

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Osmond Lange Architects and Planners (established in 1929) is one of the larger architectural practices in South Africa and has offices in Johannesburg, Durban and East London. The practice has built up, over the past eight decades, extensive design and technological expertise of large projects in South Africa and has extensive knowledge of the construction process which permits the firm, and its architects, to go beyond addressing the conventionally understood functions of the architect.

Moses Mabhida Stadium, Durban.

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Osmond Lange’s diversified portfolio includes

380 m, is secured on large concrete foundations,

projects ranging from airports, like King Shaka Inter-

which extend down to the cretaceous bedrock.

national Airport at La Mercy in Durban and OR Tambo

From a distance, the stadium’s arch is a defining

International Airport in Johannesburg; community/

silhouette, a familiar marker against the land-

heritage projects like Nelson Mandela Museum;

scape. From within, the arch forks on both sides,

education facilities like University of Transkei; Health

creating a timeless long arch, which represents

care developments including Natalspruit Hospital;

the past and the walk into the future.

hotels like Polana Hotel in Maputo; industrial projects like Sedibeng Brewery; office developments like

The façade of the stadium bowl is a layered inte-

Melrose Arch; residential projects like Grosnevor

grated series of components. Over one hundred

Corner; Stadiums like Moses Mabhida; transport

leaning pre-cast concrete columns sweep around

facilities including the Bus Rapid Transmit System

the circumference of the stadium bowl forming

and urban developments like Melrose Arch, amongst

the skeleton of the façade, creating the impres-

others.

sion of a sculptural element in the landscape. Adding to the sculptural quality of the building, aluminium

Through blending architecture and urban planning

fins sit vertically between each of the concrete

skills, Osmond Lange delivers sustainable property

columns and, finally, a woven mesh ties the façade

investments for its clients, whilst creating recog-

together. The expanded metal mesh covering the

nised building designs and complimenting to

brightly coloured façade and the filling to the rail-

South Africa’s built environment as a whole.

ings in the stadium take their inspiration from the structure of basketweave.

KEY PROJECTS

Symbolic of the African climate and spirit, the bare grey coolness of the off-shutter concrete used in

Moses Mabida Stadium

Moses Mabhida Stadium is contrasted by the palette of warm colours used on infill walls and interi-

The Moses Mabhida Stadium, an iconic beacon of

ors. Tones of the beaches, the colours of clothing

Durban, imbues symbolic associations and reflects

and handcrafted jewellery were used to express

unique cultural, social and environmental contexts

the vibrancy of the local surroundings in the build-

yet, it succeeds best in the way it reflects the aspi-

ing. Brightly coloured seating, drawing its inspira-

rations of the current and future. From the urban

tion from beach sand merging into the ocean, gives

design approach to the iconography, the stadium

the stadium bowl a sense that it is a landscape.

has a strong local representation. The Moses Mabhida Stadium has placed South Africa The main concrete structure of the stadium com-

and Osmond Lange on the global map, having ob-

prises an oval bowl of tiered seating with six ac-

tained a ‘world first’ in the design of roof arch founda-

cess levels, sheer cores and stairwells and a podi-

tions, which involve diaphragm walling to bedrock,

um. The lightweight translucent roof is supported

massive cappings and springer plinths. In addition,

by a steel-cable structure suspended from the

the stadium also achieved a ‘South-African first’

arch. The remarkable 104 m-high arch, spanning

for pre-cast design and installation in stadiums and

BOTTOM LEFT: Moses Mabhida Stadium’s spectacular arch. BOTTOM RIGHT: Interior signage. CENTRE LEFT: Façade view. Photo: Rodger Bosch , MediaClubSouthAfrica.com. CENTRE RIGHT: View from the beach. Photo: Rodger Bosch, MediaClubSouthAfrica.com. TOP: Stadium interior.

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also achieved the specified strict requirements for

The second phase will be triggered by demand,

concrete quality, durability and aesthetics.

and will allow Durban to double its passenger throughput. “The long-term potential will allow for passenger handling capacity to reach 45 million

King Shaka International Airport at La Mercy

passengers by 2060,” explains the Ilembe Architectural Joint Venture (IAJV) leader architect, Victor

Driving north along the N2 one gets a glimpse of

Utria, of Osmond Lange.

the emergence of a new structure and gateway into Durban – the King Shaka International Airport

The new glass and steel behemoth with its slick

at La Mercy. The re-located airport, surrounded by

curving roof harking back to the gentle curvature

lush green and sugar cane, was designed to cater

of the spine, is an expression of Durban seas and

to increased passenger volumes.

the aerodynamics of an aircraft wing. It sits amongst a cluster of some 60 integrated support structures

The master-planning of the new airport allowed

and facilities, including the control tower, runway,

for implementation in five phases. The first phase

cargo terminal, multi-storey parkade, Crash Fire &

was commissioned in May this year, in time for the

Rescue Station, maintenance buildings, staff fa-

2010 FIFA World Cup, and was designed to handle

cilities and numerous technical outbuildings and

7.5 million passengers per year.

small structures.

Aerial view of the airside of King Shaka International Airport. Photo: Russel Cleaver.

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The terminal is a ‘looking-glass’, with 360-degree

Built over six levels, two of which house most of

views of the KwaZulu-Natal landscape. The build-

the passenger areas, the airport has been designed

ing affords views of planes landing and taking off,

to be efficient, flexible, durable and user-friendly.

of the airport airside – a bustling hive of activity –

To ease the stress on travellers caused by long

and, of course, the cane fields beyond.

waiting times, passengers are able to utilise a flexible number of the check-in counters to facilitate their

Its innards are a dynamic network of vertical and

air transport arrangements, unlike the old facilities,

horizontal movement. In addition to the areas that

which required passengers to report to specific

support the aviation functions, the airport offers

check-in desks. One of the key design components

extensive retail facilities on both landside and airside.

of the airport design was to incorporate ideas of energy efficiency.

The airport is an intricate machine, facilitating many operations in order to achieve the final goal of

The facility has been constructed with a double-

putting people comfortably and effortlessly on a

glazed curtain wall to allow for as much natural

plane that is destined for anywhere. “The airport is

light as possible to penetrate into the terminal

a facility designed to move people from ground to

building. The large open departure lounge, with

air transport, and, as such, the objective is to facilitate

its exposed curved roof trusses, is a receptor for

the process and sequence of events that make this

natural light ingress as well as a flow of natural

possible in the most efficient way,” says Utria.

ventilation. These factors not only reduce carbon

Exterior view of King Shaka International Airport. Photo: Russel Cleaver.

BOTTOM: Aerial view of the landside of King Shaka International Airport. Photo: Russel Cleaver. CENTRE: Interior views of King Shaka International Airport. Photo: Russel Cleaver. TOP: Exterior viewS of King Shaka International Airport at La Mercy, Durban. Photo: Osmond Lange Architects. 152 >

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emissions of the building but also assist in provid-

The commercial viability of the project, positioned

ing a comforting environment for often stressed

to the north of Durban, has been called into ques-

travellers.

tion; however Utria explains that the provision of critical infrastructure cannot be evaluated from a

The airport interiors make use of a palette of light-

short-term perspective. This site was chosen 30

unimposing, neutral colours, while the bright and

years ago, when it was already clear that the exist-

vibrant signage assists the traveller in navigating

ing facility had limited growth options. It remains

the airport with ease.

feasible especially because of its expansion potential, in line with the need of satisfying growing de-

The airport, being a highly trafficked entity, affect-

mand.

ed by constant foot, trolley and vehicular traffic, requires high-impact materials. The use of durable,

The site is well positioned with respect to existing

resilient and low maintenance materials, such as

and planned road transport systems and will sup-

granite, concrete sealed with epoxy and porcelain

port and encourage development of the areas

tiles is predominant in the choice of finishes ap-

north of the city. The new airport promotes invest-

plied to the terminal.

ment and economic growth and leads to significant employment creation in the foreseeable future.

A multi-storey parkade, consisting of three floors, has been designed for expansion to double the

Utria explains that the new airport is a very large,

current capacity of 1 500 vehicles. The parkade, with

complex project, built within a very demanding

some 50 000 m² of floor space, is the second largest

fast-track time schedule. It represents an average

building on-site, with the passenger terminal

monthly turnover in the region of R250 million

building being the largest, at nearly 100 000 m². An

sustained over a period of two and a half years.

additional 4 500 bays are provided to cater for longterm parking, staff and car rentals.

Having begun construction in August 2007, the design and construction teams were required to

The airport is at the cutting-edge of modern airport

complete the project within 30 months. In order to

design, incorporating state of the art technology,

achieve this, at the peak of the construction proc-

not only at the passenger terminal, but also through-

ess, some 8 000 people were busy on site, commit-

out the site, including the cargo terminal, which

ted to meeting the quality and time requirements

has been provided with a very sophisticated cargo

of the project.

handling system. The 16 000 m² cargo facility has been designed to handle 100 000 t of cargo per year.

It is the first large-scale ‘greenfield’ international

This is a leading contributor in supporting KZN-

airport to be built in South Africa in decades, and

based agro-industrial concerns, which previously

demonstrates, once again, the capabilities of the

relied on road transport to deliver goods to the air

local construction industry to design and construct

cargo facilities located in Gauteng. As a result, the

world-class facilities.

cargo facility stimulates related opportunities in the area and leads to the creation of numerous supporting industries, therefore uplifting the province, Utria explains.

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Melrose Arch

An existing house (retained as a site office during construction and subsequently converted into a

Melrose Arch is a groundbreaking urban design

restaurant) demarcates Old House Square, where-

project as it challenges the South African tendency

as Melrose Square – centrally positioned between

of isolated commercial and residential developments

the two main roads – creates another area of focus

surrounded by large tracts of landscape, parking

and public life. Instead of isolated areas of park-

and security fencing. The triangular Melrose Arch

ing, selective street and basement parking are

Precinct is situated in a low-density residential sub-

provided.

urb, buffered from the M1 Highway by the Sandspruit and accessed from two major arterial roads, Athol

Pedestrian movement is encouraged which, together

Oaklands and Corlett Drive in Johannesburg. The

with the combination of activities, promotes sur-

land was bought by a pension fund for a two phase

veillance and ownership of the public realm.

mixed-use development of medium density. The first being a combination of offices, retail and a

Comprehensive urban design guidelines deter-

boutique hotel and the second, mainly residential.

mined the position of gateways, landmarks and prominent façades. The guidelines also specified

The urban design strategy is based on mediaeval

building lines, setbacks, and the palette of materi-

town planning principles of mixed-use and perme-

als and proportions, as well as coverage and

ability, with clearly defined public and private do-

height. The procurement of the team of architects

mains. The master plan was informed by the exist-

was via selective design competitions and propos-

ing street pattern of the suburb to enable

als. Significantly, the architects were required to

connectivity and ultimately, reintegration. The

collaborate to ensure contextual cohesiveness in

built fabric in turn follows a perimeter-block typol-

accordance with the urban design principles.

ogy, consisting of adjoining buildings that create cohesive, public street fronts and secluded private

Inevitably, a development of this nature and scale

areas. The precinct is internally ordered by two

would elicit varied responses. Concerns were ex-

main roads and organised around two public

pressed at the demolished residences, inconven-

squares. Buildings of mixed-use border High

iences suffered during construction, the adverse

Street, perpendicular to Corlett Drive, ensuring

effect on surrounding businesses and possible de-

pedestrian movement along a strip of retail – both

valuation of neighbouring properties. However

in the short and long-term.

upon completion, the development had the inverse effect. Criticism is still levelled at its elitist

Melrose Boulevard, running on the inside of the

nature, considered yet another security enclave

eastern boundary, is edged by corporate offices

pandering to the upper echelons of society.

and connects the development to the access roads (via security entrances). This corporate edge acts

Irrespective of capital outlay, Melrose Arch is a univer-

as a highly visible buffer zone from the highway.

sally applicable model. It promotes a far more sustain-

The adjacent and formerly neglected Sandspuit

able urban environment than the low-density,

Nature Trail has been given new life, forming an

American-inspired suburban precedent with its vast

integral part of the landscape design strategy.

energy expenditure due to decentralisation and

155 >

Melrose Arch, Melrose, Johannesburg. Photos: Phillip Mostert.

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Melrose Arch, Melrose, Johannesburg. Photos: Phillip Mostert.

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underutilisation of land. Albeit idealistic, the anticipated integration of the development with the neighbourhood (sans security fencing) is admirable. It is moreover a highly relevant example of densification, as well as of diversifying the homogenous character of suburbia. Adjacent commercial developments could respond similarly to create a holisticallyintegrated urban ideal. It is noteworthy that the design guidelines were compiled by experts in the field, as opposed to ad hoc and ill-considered regulations motivated by profit and unapprised opinions. Equally important, design excellence has been encouraged through competition and collaboration, paradoxically promoting restraint in favour of a common vision. In spite of the design prescriptions, a considerable variety of interpretations have been achieved and executed in a refreshing neo-modern idiom. Not only does Melrose Arch introduce an aesthetic alternative to nostalgically inspired commercial and residential developments, but also it proves the intrinsic monetary value of meritorious design. Without detracting from the merits of the respective buildings, the team of architects are commended for adhering to decorous urban practice, collectively elevating a nondescript suburb to a sophisticated, contemporary urban environment. < Contributors: Graham Wilson, Prof Lone Poulsen and Stacey Rowan.

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SEDIBENG BREWERY – TRANSITIONS IN AN AFRICAN LANDSCAPE The green tint of the bottle is synonymous with cool refreshing international beer. It would be Osmond Lange Architects and Planners and others that would be at the forefront of making the development of a brewery a reality. “The design challenge was to create an architecture of engineering, an architecture where the nuts and bolts of the brewing process would be reflected in the design of the buildings and their arrangement within the landscape.” explains project architect, Vernon Schroeder, “Like the brewing process which is a relationship or a collection of processes so the buildings reflect this through interrelationships – the positioning of buildings on the site, their use of materials, detailing and colour.”

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A further challenge was to take the large volumet-

Vehicular access to the brewery is via an approach

ric forms as determined by the processing equip-

road which winds itself through the industrial park

ment, and transform them or integrate them so as

so taking cognisance of its connectivity to future

to be in harmony with the immediate and sur-

surrounding developments. From this road one is

rounding landscape.

guided to the precinct along an entrance boulevard which opens up the visitor’s views to the ex-

Location and context

tent of the precinct, it’s array of differing types of buildings and finally a glimpse of the focal building: the brew house.

Sedibeng Brewery is sited just south of Johannesburg near Alberton, its backdrop a natural ‘koppie’ with the Kliprivier a notable natural feature – the

Site and precinct

springboard for the designs sensitivity to the environment. Being bounded by the R59 freeway, it

The nature of the precinct demands large scale

was a gleaning opportunity to open up the devel-

shed-type buildings which can pose a rather de-

opment for visibility to passing traffic. The campus

humanising industrialised experience. This magna-

of the brewery buildings, sits low slung, but for

nimity is brought to a human scale by introducing

the grain silos peering over the relatively flat-lined

smaller scale/people-related buildings experi-

southern landscape, sprawled across the vast red-

enced on arrival arranged along the entrance

earth site.

boulevard/axis. Furthering the human scale, the

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011 589 8800

011 662 4600

011 589 8955

162 >

Tel: 011 793 3641 Email: lzito@hd-sa.co.za Web: www.hunterdouglas.co.za

44 Van Der Bijl Street, Alrode South, 1452 Tel: (011) 900 3909 / 1096 Fax: (011) 900 2559 Email: sales@stabaload.co.za

www.stabaload.co.za

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pedestrian approach separated from that of vehicular access is delineated by a journey within a landscaped park. All visitors arrive or park along the primary axis and are immediately orientated towards the Brewery at the People’s Courtyard that culminates at the end of the axis. The People’s Court is bounded by buildings with a less industrialised programme such as the kitchen/canteen, the locker rooms and the main gatehouse. These smaller scale buildings sited within an sculpted landscape create a sense of serenity in an otherwise harsh environment. The pedestrian routes headed towards the Brew house are defined by stone base walls placed in the landscape. Experienced in all buildings, these stone walls ‘anchor’ the earthbound buildings to the floating roofs.

Collection of buildings “To achieve an interrelationship and for the precinct to read as a congruous entity, the family idea of parts/boxes necessitated that each building project certain common elements.” This was achieved through the juxtaposition of colour of parts, the emphasis of the building bases ‘emerging’ from the earth, and the bright blue skyline incorporated into the buildings through the use of floating roofs.

The brew house The brew house sitting at the heart of the precinct, although adhering to these principles of the family, becomes the focus through its use of curved facades as a primary feature. The curvilinear geometry reappears subtly in other parts/

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blocks such as the canteen, gatehouse and administration building. “Although built to stringent quality standards and specifications, the complex still manages to portray a sense that the buildings are indeed rooted in the South African context. The use of locally sourced, textured materials – clay bricks, stone rock walling, and low maintenance natural materials echo its African sensibilities. The facades of the buildings are made up of three definitive parts – the sturdy base erected from clay brick emerging from the earth, supporting a light weight steel façade encapsulating the intricacies of the brewing process, topped by a ‘floating’ roof connecting the building to the sky.” “Making use of the brewing process as aesthetic inspiration,” says Schroeder “we drew on the rich colours of the malt, the vibrant reds associated with the fermentation process, and the clear water as a palette to be applied throughout the buildings.” It is a celebrated space by means of playful elements such as, the manipulation of solid and void, by the use of light elements through the exposure of the structure supporting the floating roof, also enhancing structural integrity and by the façade being de-composed into projecting and receding elements giving it a human scale. It further plunges itself into the African context by drawing on symbolic elements of the South African cultureslit windows resembling the stitches on the zulu warriors shield and the domed woven wattle hut breaking the internal rectilinear geometry. Solar control comes by means of horizontal louvers further delineating the façade of the building.” All buildings are naturally ventilated and predominately

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naturally lit. The buildings too are double insulated, preventing excessive heat from dissipating from the buildings skin during the southern chilly winter months.

Conclusion The brewery is set to be developed in 3 phases. Phase one has dealt with the main manufacturing facility including malt and fermentation facilities, brewery house, bottling plant and distribution centre with built-in flexibility to expand. Taking into consideration the extent of the project, the pace with which Osmond Lange delivered the goods is quite phenomenal. Without a doubt the fastest technically intricate project relative to its size that Osmond Lange has delivered to date, delivering 23 buildings in just over a year. “We started on site in May 2008 and delivered the first Phase on 30 June 2009 – in just 14 months,” states project director Deon van Onselen. Van Onselen goes on to say that over the last two to three years the building industry in South Africa has developed a capacity to deliver at “quite a speed.” <

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DRIVEN BY DIVERSITY: PGA ARCHITECTS IN FOCUS PGA Architects is a young, dynamic and innovative firm founded in Durban in 1996 by Prakasen Govender. Through various strategic ventures over the last 14 years of operation, the company has grown steadily to a staff of 24, comprising architects, architectural technologists and interior designers.

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PGA Architects’ portfolio includes numerous projects TOP LEFT TO RIGHT: Coastlands Gatemax, Umhlanga Rocks. Crystal Rock, Umhlanga Newtown Centre. New Covenant Church, Effingham, Durban. Yamada Building, Umhlanga New Town Centre.

in Gauteng, Cape Town and Durban, as well as new

BOTTOM LEFT TO RIGHT: Millenuim Towers, Umhlanga Newton Centre. Il Pallazo, Uhmlanga New Town Centre.

Primary school in Durban. Signature projects range

endeavours in West Africa. The firm’s work covers a wide spectrum, from luxury housing and retail developments, to communal and charity projects, such as the New Covenant Church and Effingham from new urban housing developments such as One on Herrwood, to the new Coastlands Umhlanga Hotel, both in the Umhlanga Ridge New Town Centre (URNTC) precinct, and many large-scale private and public sector turnkey projects, like the National Home Builders Registration Council Training and Conference Centre in Pretoria, and the original design of the new central office and satellite stations for the South African Police Service’s Railway Branch.

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The firms’ focus is in line with the rapid urbanisation

lifestyle. Coastlands Gatemax, a new contempo-

of the country, and they help to create intelligent

rary four star hotel, adds a fresh dimension to the

growth through engagement with the principles

flourishing Umhlanga Ridge skyline, whilst imple-

of new urbanism through a combination of tradi-

menting new urban design and thermal efficiency

tional planning and modern technology, breaking

principles. The innovative design incorporates

the conventional mould of commercial and estate

many green features to ensure that the building is

buildings, and striving for environmental balance,

sustainable: indigenous landscaping, the 90%

social integration and a true sense of community.

green Resocrete cladding system, and the triple

The implementation of these principles is evident

glazed façade and ventilated double skin of solar

in the Edgeview and Kindlewood Estates for Tongaat-

shield glass which increases the natural daylight

Hulett Developments, and the consistently high

and ventilation entering the internal spaces.

calibre of several high-intensity mixed-use and residential buildings in the URNTC with The Gate-

The new corporate head office for PGA Architects,

way Theatre of Shopping as the catalyst. Such di-

PGA Park, is a sleek tectonic design that makes ample

verse quality buildings were only possible through

use of steel and glass with sun shading devices for

a symbiotic interaction with the review committee,

a more energy efficient design. The concept was

headed by Gapp Architects and Urban Designers

to create a contemporary building with a distinct

who are also collaborators on the new ICC Hotel

visual identity that is also functionally flexible for

for the Coastlands chain. Some of these buildings

the needs of a changing market. Enhancing its

include The Yamada Building, The Quartz, Crystal

iconic status in the practices’ portfolio is the use

Rock, Grand Central, Platinum Towers, Aldrovande

of local materials, craftsmanship and design to

Palace, Millennium Towers, The Meridian and Il

create a proudly South African building.

Palazzo. One on Herrwood is a new apartment development PGA’s architectural philosophy focuses on sustain-

perched on the edge of the URNTC that continues the

able and eco-friendly architecture where cutting

ethos of a secure, family friendly urban oasis embodied

edge technology and energy efficient systems are

in the precinct. The mid-rise building has magnificent

combined with traditional, passive principles that

180 degree sea views and is infused with a serenity

have a continued relevance to the South African

that emulates that of a five star luxury resort hotel.

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An imaginative new project called Seasons Court

through the transfer of knowledge. With its part-

is located in the extensions to the URNTC. It intro-

ners on the project, PGA Architects was able to

duces a new typology of residential living to the

ensure a high degree of quality whilst creating an

area with numerous variations in massing and

L-shaped building orientated to track the sun as it

façade design to simulate the aggradations of

moves and that provides ample space for the us-

buildings that have grown over time. The archi-

ers to interact in an open and friendly environ-

tects’ intention was to embrace ecological ideas

ment. The sheltered arrivals court of the building

and evoke the feeling of an urban eco-village within

inventively incorporates essential design elements

in a larger region. The development explores alter-

of public buildings for increased legibility, such as

native methods of creating modern passive secu-

a tower, a colonnade, and a defined portal.

rity perimeters to the street edge that adopt the principles of ‘defensible space’ (a concept of influ-

Having created a niche in the luxury housing sector,

encing negative social behaviour through positive,

PGA’s work includes some of the most impressive

reactive architecture and urban design) in an at-

houses along the KwaZulu-Natal coastline and have

tempt to improve a growing trend in South Africa

acted as the estate architects for Camelot Golf and

for fortified security estates in favour of a perme-

Residential Estate, Edgeview Estate and Kindle-

able urban interface using the principles of New

wood Estates, developing the urban character

Urbanism.

through the design of communal facilities and the formulation of the architectural guidelines.

In 2006, PGA Architects opened its Johannesburg office and shortly afterwards were awarded the

Kindlewood is a residential estate aimed at attracting

tender to design, construct and fit-out the interior

a younger family-orientated market who require ele-

of the NHBRC Training and Conference Centre in

gant, modern and sophisticated living that is in uni-

Shoshanguivwe near Pretoria. The tender required

son with the estates’ natural surroundings. The aes-

the building to be environmentally sustainable,

thetic is a contemporary interpretation of design

thermally efficient and and an innovative hub built

principles derived from vernacular Natal Victorian

by local unskilled labour to aide in poverty relief

architecture, synthesised with Japanese influences

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and Frank Lloyd Wrights’ Prairie houses through the extensive use of glazing and large wrap-around verandas, creating a seamless relationship between inside and outside spaces. The estate actively supports elements of sustainable design. These include water conservation, the rehabilitation of natural flora and various energy initiatives that are in line with the concept of ‘one planet living’. These include a number of passive construction measures such as ventilated roofs,

TOP LEFT TO RIGHT: NHBRC Training and Conference Centre in Shoshanguivwe near Pretoria. One On Herwood, Umhlamga Rocks. PGA Bussiness Park, Umhlanga New Town Centre. BOTTOM LEFT TO RIGHT: Season’s Court, Umhlanga Rocks. Ghana Precinct.

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TOP: House Naicker, Kloof, Durban. CENTRE: House Kathrada, Cape Town BOTTOM: House Harichand, Zimbali Estate, Ballito.

cavity wall construction to increase insulation, and

timeless appeal due to sensitive design and con-

sun louvers to control light and heat gain. A re-

struction.

gional logic influences the buildingsâ&#x20AC;&#x2122; massing, orientation and placement of windows to track the

PGA Architects is entirely committed to serving

sun and encourage the use of natural light and

the needs of their diverse group of clients and en-

passive ventilation.

gages inventively with design possibilities within the constraints of site, brief and budget. Offering

The style of Zimbali Estate is inspired by the open

a personalised service, the firmâ&#x20AC;&#x2122;s senior staff, Pra-

tropical houses of Bali but are rooted in Africa

kasen Govender, Sarah Fleming, Nirdosh Ramjia-

through the abundant use of earthy tones and nat-

wan, Peggy Ngide, Yougen Elliah, Craig Atkins, and

ural materials. When one visits this beautiful estate

Jeron Dhanookdhari, deliver a pragmatic yet deep-

on the north coast, the integration of the homes

ly thoughtful approach to ensure full client satis-

with their surroundings is remarkable. The Zimbali

faction, and their total commitment to quality is

homes that PGA has designed have a classical and

evident on all projects. <

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STUDIO 3 ARCHITECTS INTERNATIONAL

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Studio 3 Architects International (Pty) Ltd was established in 1987. At that time it was clear that a definite evolution was taking place in architectural practices regarding client service, generation of work, as well as execution of documentation. Therefore, it was imperative for the practiceâ&#x20AC;&#x2122;s founders to select expertise and personnel that, firstly, understood this evolutionary direction and secondly, were able to assist in the dynamic environment required by property developers as well as cost conscious clients. The partners, Dirk Henzen, Erich Hough and Rufus Viljoen, believe that they have succeeded in establishing a practice that adheres to these characteristics by means of a dynamic management style, which involves all personnel in participation and continuous training sessions. Studio 3 Architects International specialises in urban design and architecture, and its services also include space planning and interior design; presentation, commercial controls, documentation, project management and quality control. The practice is committed to a built environment of merit, free from superficial, fashionable and stylistic trends, with buildings that are timeless, enhance the environment and create spaces of quality. In striving towards design excellence, Studio 3 Architects Internationalâ&#x20AC;&#x2122;s objective is to constantly challenge the design constraints by being innovative, creative and effectively using their clientsâ&#x20AC;&#x2122; resources to achieve environments that are pleasurable. In serving their clients, the practice believes that it is necessary to maximise the development potential of their assets and to be cost-effective with feasible solutions that ensure a high financial return. The practice is also committed to not only serve the needs of their clients, but also to uplift the communities who work and use the buildings that they design, based on the principle of enhancing the quality of the environment and consequently the quality of life.

Department of Trade and Industry Office Campus, Pretoria, South Africa.

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KEY PROJECTS

of security & privacy. Existing & future boulevards

Studio 3 Architects Internationalâ&#x20AC;&#x2122;s field of expertise

the perimeter blocks to open up with vistas & routes,

is diverse and includes multi-use developments, retail

thus closely knitting together the urban fabric with

malls corporate offices, commercial office parks,

the existing urban environment.

shape the perimeter & internal streets, allowing

hotels, motor dealerships, individual residential, high-rise residential, high-density residential, golf

Public open space becomes the focus of the Campus,

estate developments and hospitality and leisure

therefore creating an accessible precinct that is rich

developments, amongst others.

with activity. The covered internal street becomes the main activity route with entrances, public access

Some of the practiceâ&#x20AC;&#x2122;s most recent and prominent

cores & activity courtyards arranged along this route.

developments include the dti Campus, Trevenna

External routes along existing public streets are

Campus, Lynnwood Bridge, Design Square, Bagatelle,

activity spines where retail & public transport activi-

The Fields and House Boogertman.

ties are concentrated. Perimeter block atriums allow for private secure activities

dti Campus

Building systems are place rooted & robust, fit for civic architecture. Facade articulations & materials

Located in Trevenna, Pretoria, the Department of

respond to the cultural context, as well as to cli-

Trade and Industry (dti) Campus forms part of the

matic conditions. Mosaic work inlays; brickwork

greater Mandela Development Corridor. This is an

patterns; raked vibrant coloured plaster & natural

urban design vision and framework that was initi-

stonework refer to our cultural heritage of crafts-

ated by the City Council of Tshwane in conjunction

manship. Mass brick-work facades & metal sun

with the private sector.

shading devices reduce heat gain. Metal devices furthermore afford a high-tech light-weight feel,

The campus consists of seven, four storey office

juxtaposed with the solid and grounded expres-

buildings. The buildings are arranged to create an

sion of the brick-work and natural stone walls. The

accessible civic precinct. The design of the Campus

progression from earth bound to high tech, sym-

followed an integrated process. Consideration was

bolically reflects our rootedness in the past, but

given to commercial norms required for robust of-

simultaneously reflecting a vision of the future, in

fice building design; but also took into account the

other words, the industrial notions of progress

urban context; urban design principles; public

and wealth creation.

open space; cultural matters; climatic conditions; as well as timelessness.

The Department of Trade & Industry Office Campus manifests the required social responsibility of being

Universal urban design principles were utilised to

a truly accessible, culturally appropriate building

ensure integration with the existing urban fabric, as

within its urban context

well as urban activities. Existing patterns of use were incorporated & strengthened. Focal points act as beacons of definition & orientation. Perimeter blocks allow clearly defined urban edges & different levels

180 >

Trevenna Office Campus & Trevenna Urban Square

The buildings reflect simple rational forms, contrasted with forms derived from regulating lines of the urban context – organic shapes as well as pedes-

Located in Trevenna, Pretoria, and neighboring

trian circulation requirements.

the Department of Trade and Industry (dti) campus, the Trevenna Office Campus forms part of the

Corner elements, building entrances and feature

greater Mandela Development Corridor. This is an

walls are articulated as focal points, creating a leg-

urban design vision and framework that was initi-

ible whole. Colonnaded setbacks allow for a pedes-

ated by the City Council of Tshwane in conjunction

trian friendly environment at the major entrance

with the private sector.

courtyards. The Schoeman/Greef Street corner is an iconic landmark: the ‘drum’ tower is played off

The design follows an integrated design process.

against the recessed glass façade of Building C

Consideration was given to commercial norms re-

and the campus circulation cores, concrete and

quired for successful office building design, but also

steel pavilion structures are the focal points of the

took into account the urban context, cultural con-

main courtyards, creating visual and access anchor

text as well as the climatic conditions of the site.

points.

The campus consist of eight, four- to eight-storey

Façade articulations A grade materials respond to

office buildings. The buildings are arranged to cre-

the urban and cultural context, as well as to climatic

ate a pedestrian friendly precinct, serviced by a

conditions: mass brick-work façades, metal sun

super basement for parking. Campus circulation

shading devices, high-performance glazing, reflec-

cores provide public access to the courtyards,

tive walls, set-backs, as well as screen walls and

from where building entrances are approached.

reflective metal roofs reduce heat gain. Metal devices

The building layouts allow for a robust, multi-ten-

afford a high-tech light-weight feel, set off against

ant A grade office scenario.

the solid and grounded expression of the brickwork and landscape natural stone walls.

The Trevenna Campus Square forms the heart of the campus, affording a pleasant landscaped public

Pretoria has a long tradition of face-brick work

breathing space, furthermore spatially linking the

and the new Trevenna campus falls into this tradi-

campus with the dti development’s ceremonial en-

tion. The local cultural influence is reflected in

trance. The square is defined by the adjacent Phase

various ways: the drum form and other organic

1 building, reflecting the historic grid layout of Pre-

shapes, colour pallet, dry-pack stone features af-

toria. Urban spaces are defined by arranging build-

ford an earth-bound natural feel to the landscape,

ings around courtyards, thus affording legibility,

which is typical of traditional African homesteads.

definition and security, with clearly defined spaces and entrances. The buildings are furthermore ar-

The campus creates an accessible, human-friendly

ranged as open perimeter blocks, which includes

urban environment, therefore introducing much

visual as well as entrance openings. The importance

needed revenue into an area that was destined to

of the historic Voor Street axis, juxtaposed with the

decay without any such intervention.

urban grid layout and organic landscape lines, is emphasised, anchoring the precinct and creating vistas.

Trevenna Office Campus & Trevenna Urban Square, Pretoria South Africa.

181 >

LEFT COLUMN: Lynnwood Bridge, Pretoria, South Africa. RIGHT COLUMN: Design Square, Pretoria, South Africa.

182 >

183 >

Lynnwood Bridge

The retail component will consist of a variety of interesting shops and restaurants and lots of design

This mixed-use development is situated at the

effort has gone into creating the outdoor spaces

newly constructed traffic node of the N1 highway

to make them as comfortable as possible. A gym is

and Lynnwood Road, Pretoria, and offers prime con-

also located on the lower part of the block and

nectivity to all directions of the city and which cre-

above it sits the new and technologically advanced

ates a strong economical catalyst for the develop-

Atterbury Theatre possessing the best in acous-

ment of the area. In total, a bulk area of 70 000 m2

tics, lighting and technology currently in South

will be developed over different phases, with up

Africa.

to four basements-deep and six storeys high. Construction work began in mid-2009 and Phase 1

Design Square

consists of a 200-bedroom City Lodge Hotel of which the design follows the City Lodgeâ&#x20AC;&#x2122;s new and more

Design Square is an upgraded upmarket retail cen-

contemporary design language.

tre in Nieuw Muckleneuk, Pretoria, adjacent to the popular Brooklyn Mall. The developers took the

Two more office buildings in the precinct were com-

strategic decision to rename the existing centre

pleted in October. The one being the new 11 000 m2,

from Brooklyn Square to Design Square, to match

five-storey head office for Adams & Adams, which

the new mix of tenants, which they aimed to attract,

has high-quality and durable finishes to ensure a

focusing mainly on dĂŠcor and lifestyle tenants.

long life-cycle. The brief from the client was clear: improve parking The adjoining smaller three-storey office building,

circulation; improve pedestrian flow; improve pub-

covering 2 500 m2, blends in well next to the Adams

lic access to circulation space; create a sense of

& Adams building. It sits at the entrance to the pre-

place; create a more sensible retail space which will

cinct and responds to its position by living out to-

attract more suitable tenants, and upgrade and

wards the public side, but also offers private break-

modernise the architecture style of the centre.

away facilities for employees on the other side, giving employees an opportunity to either be part

There was also a significant need for adding addi-

of the hustle in the precinct or withdraw for a while.

tional parking, which had to be accommodated for by the addition of two new parking areas on existing

Currently under construction are the new head of-

floors, which are accessed from the main traffic

fice for Aurecon, as well as a retail centre and the-

artery on Middle Street.

atre, which are scheduled for completion in late2010. The Aurecon building is a 19 500 m2, six-storey

The pedestrian movement throughout the centre is

building lying on the Northern side of the precinct,

now also greatly improved. An additional retail area

overlooking the adjoining park. It is one of very

has been created from the new parking area on

few buildings currently being constructed in South

Middle Street, opening up towards the develop-

Africa to be Green Star rated by the Green Building

mentâ&#x20AC;&#x2122;s piazza, which accommodates most of the

Council.

restaurant tenants. The existing open-air centre

184 >

space has also been redesigned and the landscap-

formal boulevard connects the buildings to each

ing is radically reconfigured.

other and organically shaped landscaping with the accent on terraces, completes the picture.

The newly created piazza now operates on one level, allowing each restaurant to extend its out-

The office buildings are designed each with its own

door seating. This has greatly improved the pedes-

clearly defined Porte coheres, affording weather

trian movement through the new mall. New esca-

protection and articulation. The work yard shapes

lators now provide access from the lower level

allow for a multi-tenant option utilising the tradi-

parking directly into the open-air piazza, which is

tional veranda space for articulation definition and

further linked vertically by a central glass observa-

protection of the different entrances.

tion lift and stair element. Architectural elements incorporated are multivalent, An improved visual link, as well as pedestrian ac-

they are derived from Mauritian building tradition,

cess, into the piazza from Veale and Bronkhorst Street

often climatically responsive as well as function-

has been created. The material, use of steel, and

ally appropriate.

colour palette used in the Design Square revamp was chosen to give the centre a more contemporary feel. The amount of soft landscaping has been

The Fields

concentrated into two areas, which include planters and water elements. The landscaping within the

The Fields is a residential development geared pri-

new piazza is minimalist, enhancing the design

marily for the university student demographic pro-

features of the new centre.

file in Pretoria. The development takes up an entire city block in the heart of the Hatfield precinct.

Bagatelle Office Park

It forms part of the Cityâ&#x20AC;&#x2122;s Spatial Development Framework because it is a high-density node which

The Bagatelle Office Park forms part of the bigger

caters for the pedestrian-oriented traffic between

Bagatelle Development which is ideally located

the university, Gautrain Station and commercial

along the major motorway in the heart of Mauritius.

concerns that mainly serve the student demographic.

The design of the office park does not only take into consideration the contemporary forms re-

The development accommodates close to 700 res-

quired for commercial offices, but also the histori-

idential units, ranging from bachelor flats, 1 and

cal and cultural as well as geographical and climat-

2-bedroom flats to duplexes and penthouses at

ic context of the main island.

the higher levels of the buildings. The layouts of the different units differ from building to building

The loose standing pavilion structure is typically

(there are 3) to cater for the different needs of

placed in the traditional plantation concept. A

tenants; some of whom may not be students.

TOP AND CENTRE: Bagatelle Office Park, Bagatelle, Mauritius. BOTTOM: The Fields, Pretoria, South Africa.

185 >

House Boogertman, Magaliesburg, South Africa.

186 >

187 >

The design of the project, throughout, is meant to

The ‘drum’ element, central to the home, presents

address the sensibilities of the young-at-heart, by

itself at a human scale with entry on the middle

employing bright accent colours, a variety of tex-

level. A trout pond forms the base of the ‘drum’

tures and finishes; all within a modern context.

with a shaped timber landing floating over.

The finishes used, were chosen for their low-maintenance, hard-wearing characteristics while add-

All public and private spaces extend onto a vast

ing to the “funky”/ semi-industrial vibe. In support

timber deck that wraps around the house pushing

of the vast residential component is a smaller (by

out, on pillars, into one of the trout dams at the

comparison) rental component on the ground

main bedroom suite. On the main axis, the flush

floor, designed to address the needs of the inde-

edge of the deck meets the grating of the pool

pendent flat-dweller.

edge, which becomes organic on its vanishing edge into the dam. The guest rooms on the side,

Two levels of basement provide secure parking for

with separate private decks enjoy different views.

tenants and visitors, as well as space for storage, utilities and safe vertical transportation to the

Materials, textures and colours were kept natural

residential and retail components. A central axis

for exterior and interior with subtle accents of rich

runs through the site, form South (Burnett Street)

colour. On the exterior, shades of grey move from

to North, connecting the current project with fu-

the slate roofs and adjacent slabs into the natural

ture phases, which will be designed to augment

stone built elements. Earthy flush jointed brick-

and compliment the precinct even further.

work panels help to articulate the natural plaster and painted walls. A solid timber deck and steel pergola/roof combination is continuous along the

House Boogertman

main façade.

A country restaurant, nestled in the Magaliesburg

The interior features include finger plastered

hills, was converted into an expansive modern pri-

walls and richly coloured art glass wall lights,

vate home, which is set amongst the farm’s breed-

which form part of the original building. Rustic

ing trout dams. The existing large kitchen and din-

flush jointed brick walls and concrete beams de-

ing room were maintained and used as the base

fine the structure of large spans and spaces. Butt-

from which the house was developed.

jointed light coloured tiled floors are taken throughout. In the dining and lounge areas de-

The new roof scape was simplified into separate

fined squares of timber inserts give the effect of

roof elements, which define the spaces within.

larger tiles being used.

The existing slate roof was marginally revised to become a defined design element. A three-storey

Luxury spaces such as a large restaurant-type kitch-

stone-clad ‘drum’ structure was introduced to re-

en, walk in cold rooms, gymnasium, projector room,

spond to the scale of the house and the topogra-

wine cellar and large aquarium add features to this

phy of the site. This towers above the slate roofs,

South African life-styled home. <

which are linked by flat concrete slabs.

PRECIOSA LIGHTING DECORATES THE FUTURISTIC YAS HOTEL IN ABU DHABI

189 >

This futuristic hotel complex, built on the manmade Yas Island, towers right above the Formula 1 racetrack – the Yas Marina Circuit. The hotel’s characteristic feature is its peripheral cladding formed from LED panels that enable the building’s attractive colorful illumination. Lighting fixtures by PRECIOSA illuminate interiors throughout the entire hotel, whether it is the hotel’s lobby, several restaurants in various architectural styles or a presidential suite. The design project is based on three basic levels: the first level features lighting sculptures created from chandelier trimmings and glass rods with inserted optical fibers serving as modern light sources. The second level is characterized by both glass and metal components of simple shapes loosely suspended to form imaginative configurations. And finally, the third group of lighting elements follows the prevailing architectural trend towards using intersecting geometric shapes such as crystal blocks or objects with round lines as can be seen, for instance, in hanging lanterns.

FROM LEFT TO RIGHT: Seafood restaurant – Programmed to change colors, optical fibers enable variable lighting. Italian restaurant – Glass cylinders in shades of green are suspended from the ceiling on thin metal cables. Lobby pâtisserie – Light emitted by various sources penetrates a combination of chromium-plated glass as well as metal components, thus creating attractive reflections. Noodle restaurant – A regular configuration of matte glass rods with LED light sources.

191 >

FROM LEFT TO RIGHT: Noodle restaurant – Nature-inspired glass components encircling the column evoke the image of a magically illuminated tree. All-day dining – This imaginatively shaped object is formed from glass tubes with optical fibers inserted in every fourth tube. In addition, the entire composition is illuminated by extra spotlights placed in the ceiling. Arabic restaurant – Glass spheres in an Arab style with metal decorations cut out by a laser are finished with a matte bronze patina.

193 >

196 >

THE DEEP IMAGE By Richard Stone

3-D is here. Better believe it. And if

Leonardo da Vinci was the first to lament the limita-

you’re a designer, now would be a really

tions of painting in simulating the appearance of

good time to start developing an under-

three-dimensional space. Over the centuries we have developed many 2-D visual design mecha-

standing of the new opportunities made

nisms in order to create the illusion of depth: linear

possible by recent developments in visual

perspective, atmospheric perspective, foreshorten-

media.

ing, scale, depth of field, layering, and if you’re in a hurry, drop-shadows. These illusions have long been used by architects, designers, artists and pho-

Of the senses we possess, sight accounts

tographers in their attempts at reproducing in two

for the bulk of the stimulus we absorb

dimensions, that which exists in three.

from the three-dimensional world.

But even the best efforts using the most advanced

What a staggering thought it is then, to

3-D rendering software inevitably results in an im-

consider that virtually all our print and

age that ends up either printed on a flat piece of

electronic media have been, until now,

paper, or displayed on a flat screen.

completely and often heartbreakingly

The image may even have been designed in three

two-dimensional.

dimensions (CAD), but the resulting effect is an image that (like this page) exists in only two. In my

Shortly we shall all have 3-D TV’s. It’s safe to say

own experience, even when an image is applied to

that, ten years from now, most of us will. In fact,

a three dimensional shape (for example in packag-

before long, it might be difficult to even find a TV

ing design), the actual visual depth is often deter-

or indeed a laptop that isn’t 3-D.

mined more by the shape of the object to which it is applied, than by the image itself.

While we’ve enjoyed the benefits of stereo sound reproduction (sound with depth) since 1931, we

We have always used 2-D visual mechanisms, like

still have to don a pair of 3-D spectacles and go to

linear perspective, to create the illusion of depth.

a 3-D film theatre, to experience actual re-created

But there are some very real limitations to what

three-dimensional views.

can be achieved as far as creating actual visual

197 >

1. See in 3-D 1. Place the below images directly parallel to your face, but be sure to view it from a distance of no less than 70cm without zooming in. 2. Be sure to hold your head at a perfect horizontal angle. 3. Relax your eyes and stare at the two black dots below the images. 4. Now skew your eyes slightly without changing focus until you see four dots. 5. Keep skewing your eyes until the two middle dots overlap. 6. Keeping that gaze fixed, raise your eyes to view the 3-D image.

198 >

2. Creating a 3-D image from existing 2-D Start by identifying and isolating all distinguishable picture elements on separate layers. Foreground, middle-ground, and background is a good starting point, but more layers will result in better definition. You will have to complete partially obscured picture elements in order to reposition them seamlessly. Then prepare two versions of the same image as follows:

Left Eye Image

FOREGROUND

MIDDLEFOREGROUND

MIDDLE GROUND

MIDDLEBACKGROUND

BACKGROUND

FOREGROUND

MIDDLEFOREGROUND

MIDDLE GROUND

MIDDLEBACKGROUND

BACKGROUND

Move al image layers in front of the middle-ground over to the right. The degree of depth is relevant to how far you move the layer. Now move all image layers behind the middle-ground to the left. Be sure to measure and record movements so that they can be replicated on the righteye image.

Right Eye Image Move al image layers in front of the middle-ground over to the left. Be sure to use the exact same (but inverted) distances as used on the left-eye image. Now move all image layers behind the middle-ground to the right. The more you move it, the deeper it gets. Place both images side by side and view as above.

199 >

depth is concerned, even when several of these

But I’m not referring only to the realistic/natural-

mechanisms are used in combination. There is only

istic representation of space or volume. As we

so much information that can be communicated in

have had to learn to manipulate the mechanisms

2-D, because you have to rely on the viewer’s abil-

of visual depth in 2-D, we must now learn to ma-

ity to understand spatial definition. The illusion of

nipulate the mechanisms of visual depth in all

depth has to be correctly interpreted.

three dimensions. Our clients and the public at large will soon become used to 3-D TV and com-

Also, the illusion of depth in a 2-D illustration/pho-

puting (the real McCoy) and soon would not be

tograph can be manipulated or inaccurate. The il-

satisfied by illusional 3-D designs.

lusion of depth can also be exaggerated or understated as many of the famous graphic works by

The visual representation of three-dimensional

M.C. Escher clearly illustrate.

space relies on what is called stereoscopic vision.

But things are changing fast. The latest screen

Let me explain. Like most animals, we humans

technology doesn’t even require those unflatter-

have two eyes. Human visual perception makes

ing 3-D glasses to deliver real 3-D visual depth. Be-

use of the slight difference between the individu-

fore long any CI Manual will have to contain a

al vantage points of each eye, to estimate dis-

chapter on how the brand lives in 3-D space. Soon,

tance. Interestingly, a physiological attribute we

we will have a much deeper canvas to work on.

share with most predators in the animal kingdom, i.e. both eyes looking forward.

The time has come for designers of all disciplines to develop a detailed understanding of the mecha-

A simple demonstration of the above would be to

nisms by which three-dimensional sight is achieved.

try to catch a ball with one eye closed. The view from any single vantage point is quite flat, making

Now this sounds like hard work, and to be sure, it

it very difficult to judge distance. Having two eyes

can sometimes be a bit tricky, but the good news is

focused simultaneously on a distant object enable

that it is also a whole lot of fun. Better yet, a basic

us to better understand the space in which we find

understanding of the principles can enable you to

ourselves.

bring great realism, screaming clarity and blistering immediacy to most designs, while at the same time

So the purpose of this article is then to demon-

adding enormous value to your process.

strate the visual effect of stereoscopic vision (in case you didn’t get around to seeing Avatar in a

200 >

3-D movie theatre), and then to show you how to

thousand kilometers from where the client is, and

make rudimentary 3-D images using a camera or

you have a tight deadline.

3-D rendering software. Not only is this visualisation technique very time Pronounced visual depth can even be artificially

and cost effective, it also enables you to accentu-

applied to an existing flat design by carefully iso-

ate specific design attributes that you want the

lating and arranging different visual planes on

client to notice and understand. It is sometimes

separated layers to create a view for each eye

the only way to gain a truly realistic sense of what an image looks like when it’s applied to a form.

You can even ‘distill’ static 3-D images from certain

Typically in packaging design.

types of video files and movies by combining screen-captured images from different vantage

It’s also a very realistic technique for visualising re-

points – tracking shots and dolly shots work really

tail interiors or architectural elevations, compared

well.

to the traditional ‘fly-through’, flat 3-D rendering or scale model. There’s just no end to the fun you can

Our design studio has recently started facilitating

have with a stereoscopic experimentation. <

stereoscopic presentations of three-dimensional design concepts to some of our FMCG clients with great success.

Richard Stone is creative director at Yellowwood Architects.

Instead of building and couriering mock-ups, we often visualise the packaging design concept by rendering or photographing it (twice – one for each eye) in three dimensions, in our Johannesburg studio. We (can) then email the combined stereoscopic image to our Cape Town branch, where it may be viewed by the client, in perfect 3-D, on the very same day it was designed. Very handy when your industrial design happens a

201 >

3. How to make 3D photographs / renderings The easiest way to create an effective stereoscopic image is to take two different photographs, each one from a slightly different angle. The greater the angle, the more pronounced the depth. A camera movement of as little as 6cm is usually sufficient, depending on the length of the lens. Ideally, these stereo images should be viewed through a proper stereoscope to get the full 3-D effect.

LEFT-EYE VIEW

RIGHT-EYE VIEW 1

RIGHT-EYE VIEW 2

RIGHT-EYE VIEW 3

LEFT-EYE VIEW

RIGHT-EYE VIEW 1

RIGHT-EYE VIEW 2

3.1 Small & medium size objects

3.2 Large objects & landscapes

Smaller objectsâ&#x20AC;&#x2122; shapes are better defined by rotational

Larger views are better defined by parallel camera setup

camera setup re-positioning. Limited depth-of-field can be

re-positioning. Landscapes are better defined when the

effectively used to accentuate specific aspects of the object

two photographs are taken several meters apart, or even at greater distances.

204 >

By Stacey Rowan

BRIAN STEINHOBEL: SMART INDUSTRIAL DESIGN Industrial design can be defined as “…a blend of applied art, business and technology, which attempts to develop physical solutions to meet particular needs.” Smart industrial design can be defined as Brian Steinhobel.

205 >

Brian Steinhobel is one of Africa’s most pre-eminent

block of foam. He then cut a chair on the side of it

industrial designers of our time. The element of smart

with a knife and used this chair until he completed

design is crucial to what Steinhobel delivers as it

his schooling.

improves both functional and aesthetic appeal of products.

Not only did Brian complete Matric with a distinction in Art, but he also won the top Art Award in

Brian started on his creative path as a young boy,

his school for three years in a row. At school, Brian

when he was drawn to art and started creating in

developed a deep affinity to art encouraged by

a multitude of ways. Cutting the legs off the dining

one of his teachers, Mr Edwin Harrison, who pro-

chairs at home and using it as a seat in a wooden

foundly influenced his appreciation of art and his-

box kart was on the first incidences of him being

tory of art and architecture. The teachings of Harrison

in trouble for thinking ‘differently’ and ‘out of the

helped Brian to channel the inspiration that art

box’. At age eight, Brian unintentionally created

had to offer into his own development. Also, during

his first piece of appropriate industrial design by

his youth, Brian seriously considered architecture

drawing the shape of a chair on the side of a large

as a career, a subject he still loves to this day, but

PREVIOUS PAGE LEFT: XES Sculpture. RIGHT: XES Sculpture Carbon Fibre White. THIS PAGE LEFT: Zodiac Baracuda Zoom Poolcleaner USA. RIGHT: Hulette Sweetner Dispenser.

206 >

eventually discovered that industrial design was

range from aerospace to consumer goods, amongst

actually his calling. This was like discovering the

others.

true answer to life for Brian and he immersed himself into Industrial Design studies, which is still a

The industrial design carried out at the company

hallmark of his dedication to design.

spans both the design and engineering of new product development with Brianâ&#x20AC;&#x2122;s personal creativity

Steinhobel Design Pty, founded and still headed

and direction based on more than 30 years of in-

up Brian, is a prolific consultancy serving both cor-

tense passionate work and experience. Steinhobel

porate and individual clients as well as inventors

Design uses leading edge technology to execute

across diverse industries â&#x20AC;&#x201C; electronics, packaging,

the design process significantly compressing prod-

white goods, mining, medical, furniture, pharma-

uct development cycles and reducing unit manu-

ceutical, automotive, sports equipment and many

facturing costs.

others, across Africa, Asia, Europe and the Americas. Through Steinhobel Design, Brian continues to

A large selection of products and projects are being

work in a multitude of industries, applying a wide

rolled out globally and three decades of intense

range of materials and technologies to hundreds

work is culminating in the Brian Steinhobel brand

of designs which have been carried out. These

being more prominent with products based on an

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impressive track-record of technical ability and design understanding, using the most sophisticated manufacturing processes, materials and a dedication to the pursuit of excellence. Steinhobel Design, continues to be one of the most pre-eminent product development centres in Africa and consistently delivers a level of design solution extraordinarily ahead of the curve with hyper-creativity as a core value. The industrial design and product development is a

PREVIOUS PAGE LEFT: Skala Desk System Ukhuni Business Furniture. RIGHT: Coca Cola Limited Edition World Cup International Bottle – art interpretation, gold plated.

multifaceted highly stimulating world, which is reflected in Brian’s personal life. Design at this level requires a ‘beyond normal’ understanding of the world, as we know it and humanity that occupies it.

THIS PAGE LEFT: Coca Cola Limited Edition World Cup International Bottle. CENTRE: Supercart UK Shopping Trolley. RIGHT: Fast Forward Energy Drink.

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The subtle nuances of high design, driven by cut-

competition and award juries in South Africa and

ting edge technology, sub-conscious and con-

around the world including the Australian Design

scious psychologies, ergonomics, anthropomet-

Awards, the British D&AD Awards, the German

rics, computer aided design (CAD), manufacturing

Braun Design Prize and the South African Bureau

technologies, marketing strategies, intellectual

of Standards Design Excellence Awards.

property and contractual issues, business and entrepreneurial skills and a plethora of dynamic sym-

Brian has also started planning and is in pursuit of

biotic influences must all be orchestrated and cul-

establishing a Museum of Contemporary Design

minate in products that will impact for the

and Art in Cape Town. This is a multi-billion Rand

betterment of society.

project with the intent of boosting Africa into the future in these fields and raising awareness of de-

Brainâ&#x20AC;&#x2122;s mission is to design products that enhance

sign and its potential to dramatically boost the

lifeâ&#x20AC;&#x2122;s journey and vastly increase profitability and

economy in the region.

market share. Inspiring and teaching the youth as well as up-andApart from Steinhobel Design Pty, Brian continues

coming industrial designers, art-lovers and designers,

to contribute to arts and design â&#x20AC;&#x201C; locally and inter-

is another priority for Brian. At his recent exhibition

nationally. Brian has served on a number of design

titled Brian Steinhobel Alumni Exhibition, held at

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the University of Johannesburg Bunting Campusâ&#x20AC;&#x2122;s FADA Gallery, in collaboration with the Faculty of Art, Design and Architecture (FADA), he displayed a variety of his designs spanning his career, ranging from trolleys, plastic water bottles, sugar dispensers, taps and knife handles, amongst others. Showcasing some of Brianâ&#x20AC;&#x2122;s old and new designs, a mere timeline in his design evolution, one could see where Brian had come from and where he is going. The

PREVIOUS PAGE TOP LEFT: Mellaware CJ 2000 Continental Kettle. RIGHT: Lasher Wheelbarrow. BOTTOM: Brush-T Golf Tee.

exhibition, that ran from 30 September to 25 October, gave a glimpse into the future of design. Nothing else but inspirational.

CENTRE TOP: Tsik Tsak Brian Steinhobel Brand Light Planters. BOTTOM: Striking Tools Series Brian Steinhobel Brand.

For Brian Steinhobel and Steinhobel Design Pty, the future holds many exciting prospects. <

THIS PAGE LEFT: Cobra Watertech Leading Edge Range of Taps. RIGHT: Cobra Watertech Callisto Range of Taps.

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THE 32ND ANNUAL LOERIE AWARDS When one thinks of the most renowned and prestigious award ceremony celebrating cinematography, the Oscars come to mind. Similarly, when it comes to awarding those in the music industry, itâ&#x20AC;&#x2122;s the Grammy Awards that takes the cake. Considering advertising and marketing, the 32 nd Annual Loerie Awards, amongst other awards ceremonies of this ilk, ranks top in Africa and paves the way to the Clios and Cannes Lions.

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GRAND PRIX CRAFT GOLD AGENCY: King James PROJECT: Allan Gray’s TV commercial, Legend.

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Hosted from 2–3 October 2010 at the Good Hope Centre in Cape Town, the Loerie Awards is the Africa’s biggest advertising, communication design and experimental media awards. Once again paying tribute to the creme da le creme of the creative elite, the Loeries gave annual recognition of the best work produced in the brand communication industry. Panels comprised of over 160 local and international experts in their fields judged the awards. Out of 2 895 entries, inclusive of students and professionals, a total of 267 awards were handed out to winning entries, who reflected a broad spectrum of the industry. A selection of awards, within each category, were given out to winners, including Grand Prix, Gold, Silver and Bronze, Craft Gold and Craft Certificate, amongst others. The competition was tough and 1 059 finalists competed for the ‘rare birds’. Four Grand Prix awards were made this year, with 28 golds, 64 silvers and 124 bronzes. Fourteen gold craft and 32 craft certificates were also awarded. According to Andrew Human, Loeries CEO, awards entries are a good indicator of the industry’s health, because they reflect a number of indicators: the volume of new work that has been produced during the year, client propensity to risk daring work, and the agencies’ willingness to pay for entries. Human says: “It’s a first-line indicator of the overall health of the economy, a measure of the health of the brands behind the advertising, and their available marketing budgets.” This year’s entry numbers were down from 2009 (4% for professionals and 11% for students), but the number of finalists increased by 70 compared to the previous year. Human says that standards have not dropped, though several categories did

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GRAND PRIX AGENCY: Boogertman + Partners Architects PROJECT: Soccer City Stadium, The Melting Pot. GRAND PRIX AGENCY: VWV Group PROJECT: 2010 FIFA World Cup Closing Ceremony.

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not have gold medal winners. “It wasn’t about a first, second and third place contest. Every piece that deserves gold will win, based on our quality standards.” Industry commentator Tony Koenderman explains that it is not surprising that the design category experienced the biggest drop in entries, probably because this is the first area of the industry’s activities that gets cut back or postponed during tough economic times. The second biggest fall was, disappointingly, in digital media, a fast-growing sector where South Africa is struggling to catch up with the rest of the world in effective utilisation. According to Koenderman, advertising, the biggest category in the 2010 Loerie Awards, matched the overall decline, but entries for experiential marketing awards (such as direct marketing, promotions, alternative media and events) bucked the trend with an 11% rise. This was partly because of the introduction of a new category (in-store promotions) and a big jump in live events.

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GRAND PRIX AGENCY: Grid Worldwide Branding and Tonic Design PROJECT: Mixed-media Campaign for Comair/British Airways, SLOW Lounge.

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Not surprisingly, two 2010 FIFA World Cup-related entries won Grand Prix awards. A Grand Prix in architecture and interior design (a fairly new category addition to the Loeries) went to Boogertman & Partners, architects of Soccer City Stadium, and another was awarded to the VWV Group in the Experiential Category (live events) for the closing ceremony of the global event. Other Grand Prix winners were Grid Worldwide Branding and Tonic Design in the Communication Design Mixed-Media Category for the Comair/British Airways SLOW Lounge campaign, and King James’ TV & cinema award for the Hollywood-inspired Allan Gray Legends campaign, featuring iconic figures such as James Dean and John Lennon. Topsy Foundation, FIFA, Nike, Yuppie Chef, POWA and Levi’s, to name but a few, took Gold Loerie Awards home. Winning Silver awards were some to the likes of Chicken Licken, Vodacom, Coca-Cola, Warner Brothers, Exclusive Books and Otees. Celebrating their Bronze wins were KFC, Student Life Magazine, Canon, MK and Diesel, amongst others. Being awarded one award from the Loeries is an achievement in itself, but scooping several awards, as some brands did, speaks volumes. In any industry, there are those individuals, groups, agencies and companies that go above and beyond their call of duty within their particular industry sector. This was not overlooked at the 2010 Loeries. Special awards were presented to those who inspire, innovate and contribute to the marketing, communication and advertising industry – whether locally or globally. A Lifetime Achievement Award was posthumously awarded to Robyn Putter, former WPP creative head, for his outstanding contribution to the South African and global advertising industry over the course of a career spanning

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GOLD AGENCY: King James PROJECT: Print advertising for Allan Gray, Legend.

GOLD AGENCY: King James PROJECT: Print advertising for Allan Gray, Sea Monkeys, Soccer, Karate.

GOLD AGENCY: DDB Cape Town PROJECT: Advertising poster for Nikon Coolpix S8000, Power zoom.

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GOLD AGENCY: disturbance; Noel Pretorius PROJECT: Publication design for them-and-us.

GOLD AGENCY: TBWA\Hunt\ Lascaris Johannesburg PROJECT: Advertising poster for Endangered Wildlife Trust, Trash seabirds..

GOLD AGENCY: FOXP2 PROJECT: Print advertising for Masterlock, Puzzles.

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GOLD AGENCY: TBWA\Hunt\Lascaris Johannesburg PROJECT: Advertising poster for International Organisation for Migration, Counter human trafficking.

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more than 30 years. A man revered for his creative leadership, Putter inspired the creative community throughout Africa and internationally. His wife, Margarita Putter and Nunu Ntshingila, CEO: Ogilvy South Africa, accepted the award. Graham Pfuhl, Director: Marketing & Sales of Multichoice, received the Marketing Leadership and Innovation Award for his active contribution to the success of the Multichoice brand in our region, notably with the M-Net and DStv offerings. The Loeries committee recognised Pfuhl as a marketer who believes that creative brilliance drives business results. He is an outstanding example of the leadership, dedication, loyalty and commitment that it takes to build a successful brand. The 2010 Loerie Awards also saw the launch of the Ubuntu Award, for brands contributing to social and environmental change. A Gold Loerie was awarded to Matchboxology for Leviâ&#x20AC;&#x2122;s Red 4 Life HIV awareness programme and four Bronze Loeries were also awarded in the category. This year, the SABC New Voice Award for non-English Radio Gold award went to Draftfcb Johannesburg for the Vodacom campaign Bua FM Part 2 (which was also a winner in the main Radio category), the Silver award also went to Draftfcb Johannesburg for Vodacomâ&#x20AC;&#x2122;s AmaGugu, and the Bronze award went to TBWA\Hunt\Lascaris Johannesburg for the Standard Bank campaign Bagasi. The winning agencies all received SABC Radio airtime as well as special trips to Cape Town for the creative teams. The Vodacom Mobile Media Digital Award, in partnership with Vodacom Mobile Media, recognises the recent growth in the use of mobile devices in the advertising mix. The award went to Gloo Digital Design for the Juicy Details mobile advertising entry

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LEFT: GOLD AGENCY: King James; Atmosphere Communications; +one; Mnemonic PROJECT: mixed media campaign for kulula.com, The you know what. BOTTOM LEFT: GOLD AGENCY: Ogilvy Cape Town PROJECT: Goodbye Citi live campaign. BOTTOM RIGHT: CRAFT GOLD AGENCY: McCann Erickson. PROJECT: Where diets go to die campaign for The Patisserie.

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GOLD AGENCY: Switch PROJECT: Official 2010 FIFA World Cup Poster.

GOLD AGENCY: Trigger PROJECT: Strategic CRM programme for Nike, Write the future.

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LEFT: GOLD AGENCY: MetropolitanRepublic; The Jupiter Drawing Room (South Africa); Octagon; Aqua Online. PROJECT: Through the line communication for MTN Ayoba.

ABOVE: GOLD AGENCY: Grid Worldwide Branding and Nike Design Team. PROJECT: Architecture & interior design of football training centre, Soweto, for Nike.

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for Cosmopolitan magazine. The winning agency received R50 000 worth of media on Vodacom’s mobile platform, and an Apple iPad. Joe Public scooped the SAPPI Creative Use of Paper Award, another special award, for the Clover Cooking Calendar. The award included a 17” MacBook Pro and R30 000 worth of Sappi paper. MEMAC Ogilvy & Mather (Dubai) won the prize for their Resize-A-Room online banner for IKEA. The SpaceStation Internet Advertising Award included a Sony 32” Bravia plus an Xbox 360 console with Final Fantasy XIII and LIPS Karaoke, as well as media worth R50 000 across the SpaceStation network. Now in its fourth year, the Young Creatives Award recognises outstanding achievement by talented individuals at the beginning of their careers. This year the award went to Mbuso Ndlovu, art director/ designer at Y&R and Reijer van der Vlugt, art director at FoxP2. They each received a Gold Loerie and an all-expenses-paid trip to an international award show. Not only did the Loeries celebrate achievements from the professionals, but it also acknowledged achievements made in the student sector – a recognition of all those up-and-coming. This year, two student Gold Loeries were awarded. Chrizanne van Breda, Marize Engelbrecht and Shannon Devy, from AAA School of Advertising Cape Town, for their National Geographic Calendar where the firsts to receive this honourary award. Secondly, students Clayton Swartz and Jessica Crozier, from AAA School of Advertising Johannesburg, were awarded for their print advertising campaign for the Leatherman campaign. Craft Gold Loeries were also awarded to honour three student’s achievements within this sector.

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LEFT: GOLD & CRAFT GOLD AGENCY: Ogilvy Johannesburg. PROJECT: TV commercial for Topsy Foundation, Selinah. CENTRE: GOLD AGENCY: Matchboxology. PROJECT: Levi’s® Red 4 Life HIV prevention campaign. RIGHT: GOLD AGENCY: The Jupiter Drawing Room. PROJECT: TV infomercial for Scotland from home TV Series.

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Chad Goddard, from the Vega, the Brand Communications School Johannesburg, was awarded for his book, Fortywords; Michael Tymbios, from AAA School of Advertising Cape Town, for his graphic novel, Onwards! and Johan Horn, from AAA School of Advertising Cape Town, for his publication, 10 Things you should know about: Sport. “Congratulations to all the winners in this year’s awards. Overall, the work was of a very high standard, in spite of a small drop in the overall number of entries. This is a clear indication that we are still battling with the effects of a global recession, however this is driving brands and their agencies to utilising more creativity in their solutions,” concludes Andrew Human. <

THIS PAGE TOP: CRAFT GOLD AGENCY: Joe Public PROJECT: Clover Cooking Calendar. BOTTOM: CRAFT GOLD AGENCY: Wireframe Studio; Formula-D Interactive PROJECT: Multi-touch timeline table for Museum of Science & Technology of Islam.

OPPOSITE PAGE LEFT: CRAFT GOLD AGENCY: Egg Films PROJECT: TV commercial for Old Mutual, Nature of wisdom. CENTRE: CRAFT GOLD AGENCY: Plank Film Productions PROJECT: TV commercial for Chicken Licken, Bunker Family – Where have you been? RIGHT: CRAFT GOLD AGENCY: Bouffant PROJECT: ABSA L’Atelier, Koos.

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PG BISON 1.618 AWARDS

Exposing young creative minds

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The saying ‘The whole is only as good as the sum of its parts’ is true no matter from which angle ones perceives it. When looking at the design and architecture industry, the ‘whole’ is the design industry itself and the ‘parts’ are those who make it, including designers, architects and other creatives. It is false to believe that it is only the heavy-weights and design leaders that make the industry successful. Recognising the new, up-and-coming designers and their role in the industry is imperative. Not only should we be celebrating the cream of the crop designers who have excelled within this field for many years, but we should also be celebrating

Mia Jordaan, overall winner of the PG Bison 1.618 competition.

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the new generation of designers, who bring fresh and innovative ideas into the world of passion and all things cutting-edge. Offering student profiling opportunities that are associated with this platform, the PG Bison 1.618 Awards 2010 helps “us to be exposed to the young creative minds emerging into the industry,” says Chris van Niekerk, Executive Chairman of PG Bison. The prestigious PG Bison 1.618 awards ceremony for students of design and architecture, held in October 2010, took place at the stylish Forum at the Turbine Hall in Johannesburg’s CBD. Noteworthy design experts and high-profile authorities – Brian Steinhobel, Derek Patrick, Greg Gamble, Phil Mashabane, Kim Fairbairn, Pat Henry, Nthabi Taukobong, Naomi Larkin and Andrea Kleinloog – were judges on this year’s adjudication panel. The brief for the competition entailed creating a a look and feel for the next three to five years for @ home’s up-market retail space focusing on the concept ‘Store of the Future’. The entrants needed to consider how their design would excite and engage with the customers; how their design would take the customers on a journey and how it would entice customers to shop when homeware is currently considered a luxury rather than a necessity.

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Second place was awarded to Lizette Rossouw.

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Mia Jordaan, from Johannesburg’s Greenside Design Centre, was announced the winner of the PG Bison 1.618 competition. Jordaan explained how she draws inspiration from nature and her surroundings and thanked PG Bison for providing this platform for student’s to be exposed to the industry and to showcase their work. Jordaan and her lecturer from Greenside Design centre, Monica Di Ruvo, will attend the 2011 Milan Furniture Fair. Jordaan also received an @home Gift Card for homeware and furniture valued at R15 000 – an impressive package awarded to her as the overall winner. Second place was awarded to the talented Lizette Rossouw of the Tshwane University of Technology and third pace was shared between Marelise Dann also of the Tshwane University of Technology and Claire Hort from Durban’s Style Design College. The Award of Merit was awarded to Rhodene Botha, from the BHC School of Design. Other top ten finalists included Thatayaone Mathumo, Michael Craig, Tamryn Stewart, Ariel Herslikowicz and Jacques Botha. “It’s always exciting for us to see what design and architectural students today have to offer, and we are thrilled with the work produced by this year’s entrants, as well as the efforts of our judges, co-sponsors and all parties involved,” said Jason Wells, Brand Manager of PG Bison. “This year over 500 students participated in the competition and we therefore take our hats off to Mia and the other top ten finalists for the caliber of work that has got them this far.” <

Claire Hort shared the third place.

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Rhodene Botha received the Award of Merit.

Marelise Dann shared the third place.