WYNBERG WAYSTATION - Thesis document by Diana Kuhn by Diana (Kuhn) Burger

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Wynberg Waystation A new gateway, serving the industrial precinct, and uplifting â&#x20AC;&#x2DC;the-great-walkâ&#x20AC;&#x2122; - pedestrians through architecture.

Diana Kuhn

T h i s d ocu m en t i s s u b mitted in par tial fulfilment for the degree: Mas t er o f Architecture ( Profes s ional) at t h e U n i v er s i t y o f t h e W i t water s r and, Johannes bur g, South Afr ica, 2018.

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declaration

I, Diana Kuhn, (student number: 1939362) am a student registered for the course Master of Architecture (Professional) in the year 2018. I hereby declare the following: I am aware that plagiarism [the use of someone elseâ&#x20AC;&#x2122;s work without permission and/or without acknowledging the original sources] is wrong. I confirm that the work submitted for assessment for the above course is my own unaided work except where I have stated explicitly otherwise. I have followed the required conventions in referencing thoughts, ideas, and visual materials of others. For this purpose, I have referred to the Graduate School of Engineering and the Built Environment style guide. I understand that the University of the Witwatersrand may take disciplinary action against me if there is a belief that this is not my unaided work or that I have failed to acknowledge the source of the ideas or words in my own work.

__________________________ ____________________________________ 31 December 2018

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The great economic divide 1.1

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abstract

The story of Alexandra and Sandton is a story of stark contrast of wealth between these two neighbouring communities. The city of Johannesburg has created in 2018, a pedestrian bridge over Grayston Drive, connecting the two communities over the M1 highway. Many residents of the Alexandra informal community work in Sandton, resulting in more that ten thousand people walking this journey daily. This is also known as “the great walk”. The journey passes through the Wynberg industrial area, known as a built-up area with wall-to-wall factories. This research report explores ways of also bridging the gap between Alexandra and Sandton. Not just the physical gap, but also the economic divide. The building acts as a metaphorical ‘bridge’ of the economic divide. This is done, not by transferring wealth, but enabling the generation of it. It reimagines the future of Wynberg and what the key is of entering this space of manufacturing. It examines the pedestrians’ physical needs and desires, as well as emotional needs. It attempts to impart inspiration and hope along the journey. Specific themes are explored to arrive at such a desired outcome. These include ‘platforms of potential’, ‘allowing appropriation’, ‘celebrating the journey’ and ‘good inhabitation of space’. These form the main theoretical drivers. Furthermore I propose a building that provides identity and dignity, acting as an urban symbol that represents those who use it.

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acknowledgements Firstly and most importantly, I want to thank God, my loving father, my saviour, my daily helper and my greatest inspiration in design. Thank you that I get to be alive and well. Thank you that I can know You, the greatest designer, and that we are also able to think creatively. This work is for You. To Hilton Judin, my supervisor, the best supervisor I could ask for; thank you for always challenging me to think further and be a better designer. Your architectural knowledge is so rich and I learnt so much from you. Thank you Tony Mondlhane and Allen Pudikabekwa from the Alex Thusong centre for all the help with the interviews and for your kindness. Francis Carter, my honours studio convener, an absolutely exceptional teacher; thank you for bringing out the best in every student, including me. Through your way of guiding and encouraging us, I learnt that architecture is more effective when everyday-life is celebrated. A big thank you to Gustavo Triana Martinez and Reon Van Der Wiel at Wits for helping me with conceptual thinking and technical solutions respectively. Simon De Vries and Gustav Roberts, thank you both for being inspirations to me, as architects and in your lifestyles. Thank you for taking the time to teach me and inspire me in various phases of my life. Thank you to Mardu for the help and encouragement with Blank-ed. Thanks to the Wits masters class of 2018 for being inclusive, kind and helpful towards me. Thanks specifically to Christine Botha for the support and design help. To my parents, you two are heroes. Thank you for raising me the way you did; to think freely, and act creatively. Thank you for all the emotional and financial support. I cannot express enough appreciation. To my people here in Joburg, thank you Christie, Margaret, Louis, Lenka, Nina and Josh for being my catch-net, amazing support system, and soundboards. You all made my year so light and bright and I am incredibly grateful.

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layers

Rammed earth walls as imagined in the urban setting of the Wynberg Waystation, Johannesburg 1. 2.

No one is exactly a ‘homelander' in the city. In

theory and design. This aesthetic now forms the

the search for an ‘outlander’ material finish, (as

binding visual of this research report as a

described in the Median of Wynberg essay)

metaphor for the different ‘layers’ of this report.

rammed earth walls became fundamental to the

Each chapter is like a new layer that both runs

design of the proposed building. This distinct

through the whole projects and builds on top of

material selection was not chosen in advance,

one another.

but only came later with the development of the

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There is a lot to be learnt from the South African activist, Steve Biko’s writings. After reading his text ‘I Write What I Like’ , and specifically within the context of my personal aspiration, I became more conscious of who I am - my nationality, vantage, and race - an umlungu in Africa. Both and insider and outsider in this country. I started reading Biko’s writings during my undergraduate years of architecture when we were given projects that are situated in directly confronting unequal neighbourhoods such as Imizamo Yethu and Hout Bay, or Langa and Pinelands, as well as projects in marginalised communities such as Gugulethu. For a long time, and yet still, my heart has been, to see justice and reconciliation amongst people. The complexities of this desire, however, was not so obvious to me. I am passionate about helping, specifically people who have less. But I soon realised that this passion is not amounting to much action, which probably makes me a hypocrite. Biko’s writings then taught me that this emotion could possibly be labeled as ‘metaphysical guilt’, or ‘white racism’. He explains that this emotion is possibly felt because it makes the person feel better about their position in society, while still mindlessly continuing in their privileged position. Biko also suggested that white people should stop trying to be the ‘heroes’ now, in attempt to make up for the past. White liberals must leave blacks to take care of their own business while they concern themselves with the real evil in our society - white racism. - Steve Biko

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I was, and still continually am, challenged to question my intentions in wanting to do ‘good’. I had to admit that I probably was a white liberal and took on the challenge to rid my heart of any white racism that I was not aware of. After this, I questioned all my ambitions of wanting to help, and was left feeling perplexed, and engaged in many conversations about it. I soon learnt that according to Biko, it is only wrong if such ambitions are ‘all the talk, but not the walk’, inactive ‘do-good’ -ideas, and that it’s better to really try, than be apathetic. Another valuable thing I learnt was that many other South Africans also have ‘metaphysical guilt’ and are only chasing a feel-good emotion. I do not have the means to change the way in which people think, but there is an opportunity to tap into metaphysical guilt, and channel it, so that it’s not only a problematic emotion, but rather, enables people who have less, to have more. This, at least, I can try.

Mutual dependence is necessary to social well-being 1. 3

PROLOGUE

Dreaming about Blank-ed 1. 4 d r aw i n g by author

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BLANK-ED During my working year between undergraduate studies and Honours, I started with a business idea called Blank-ed. It stared with the desire to one day do social housing and community upliftment projects in South Africa. The problem I identified within the architectural industry was that social housing projects have become mostly only ‘good-thoughts’ and not materialised projects, because of the obvious lack of funding. It is a difficult domain to work in and and the financing is tedious. I started asking the question; how can we generate funds by tapping into the resources of unemployed passionate people? As well as the resource of wealthy people who want to feel like they are ‘helping'? My proposed broad solution is becoming the middle-man and bridging these opposite economies. I was led to start thinking about ways to bridge finances of opposite ends of the economy, in order to fund social projects. Generating finances to invest in innovative projects in informal communities. Also known as the Robin Hood theory: Taking from the rich and giving to the poor. I wanted to propose a business model that can begin to do this, but with everyones knowledge and support. A business that uses it’s products as a means to impact the lives of those who have less. Every human has a natural desire for emotional stimulus. Many people have a desire to do good in society, to help others. We can tap into the desire. Yet, those who have the capacity to help, seem to find simple donations unsatisfying, and when considering personal involvement, finds themselves caught in their limited time and energy. This social enterprise, Blank-ed, uses it’s product sales as a means for consumers to contribute to improving the lives of others, allowing the opportunity for consumers to experience the emotional rewards of helping others, by being somewhat personally involved. Also enabling a public recognition of their social contribution, but without using the consumers time, energy or donations. The products challenge the convention of how things are made and sold and what it consists of. Woman from the nearest informal community were given a platform to start making specific blanket jackets. These jackets were sold into the online wealthy fashion market at a high margin. The jackets are very recognisable and draws public attention to these "do-gooder". The online sales platform

PROLOGUE

enable clients to contribute to a social change project of their choice for every purchase that they make. A team, including a group of community members, along with architects and designers identifies projects that improves the lives of those who have less, and enables it’s clients to support these projects. Once enough 'blank-ed's are sold to fund the project it will be carried out. The idea behind the platform was also to encourage emotional interaction between the customer and the individuals as far as possible. The beneficiaries of the social projects will write personalised thankyou-notes to the blanked buyers. These notes will be embroidered on velcro and sent, via post, to the consumer, to insert in their jacket. Making each 'Blank-ed' a personalised story to tell. Blank-ed also aimed to create employment for local woman in the sewing industry and encourages South-Africans to support local brands instead of imported goods. Some of the goals for this business, based of the UN’s sustainable development goals (SDGs): “To achieve gender equality and empower all women and girls. To promote sustained, inclusive and sustainable economic growth, full and productive employment and decent work for all and to Build resilient infrastructure, promote inclusive and sustainable industrialisation and foster innovation. And to Reduce inequality within and among countries” (UN, 2015) Although Blank-ed was only what sparked the initial investigations of this research report, these goals were carried through into the core of this research report. To further my investigations on the possibilities of Blank-ed in Johannesburg, I arranged a meeting with Mamma Beauty and Tony Mondlhane in Alexandra. Upon this visit, I learnt that many woman and men in Alex have indeed done sewing training, but there are no opportunities for these skills to be used. I realised the great need for working space where people can begin small business with hardly any starting capital. A place where people have a platform to use their skills, in a more comfortable and enabling environment.

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Each jacket has a personalised story to tell Top : 1. 5. J ack et s made by author. photo by M ichelle Dutoit B o t t om : 1. 6. initial dr awing of Blank-ed proces s PROLOGUE

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If ‘Blank-ed’ was a factory 1. 7. dr awing by author, bas ed on factor y layout as s ugges ted by Jolyon Dr ur y PROLOGUE

BECOMING A CHANGEMAKER In the beginning of this year I decided to do a online course through the UCT Graduate School of Business to help me with my topic for this research report. The course was called: “Becoming a changemaker: Introduction to Social Innovation”. It was an important informant for this design project. One of the greatest gains of the course was to discover ho to unravel big issues. When it comes to solving a problem, they can be categorised into types; simple, complicated, complex and wicked problems. As the sociologist Rittle explains; wicked problems are big problems in society which don’t have clear definitions of what the problem exactly is (Rittel, 1973). The roots of the issues that caused the separation between Sandton and Alexandra will be defined as a wicked problem. The ongoing inequality cannot be fully explained; therefore such problems do not have simple solution. There is no endpoint or final solution. Sometimes even if the surface problem is almost solved to a point where it is not considered a problem anymore, the real root causes of why it existed in the first place may still be present and may create further problems (Nilsson, 2016). In order not to create more issues by solving a surface issue, any attempts to straighten out the slanting balance-scale of economies through community upliftment has to be dealt with sensitively and with great understanding.

Initial ‘changemaker ’ thoughts about the wynberg waystation 1. 8. d i ag r am by author

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The complexity of bringing different spheres together 1 . 9. diagr am by author

PROLOGUE

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ARCHITECTURAL TERMINOLOGY Alex The Alexandra neighbourhood, is informally abbreviated to Alex. This abbreviation will be used in this text. Alex originated as a racially constructed group area during apartheid. Today it is known as a township or informal settlement. appropriation To appropriate something is to take it and make use of it as if it were your own, usually without permission. In this research report, the word is mostly used for the appropriation of space (architectural space that is) rather than objects, or perhaps still the objects placed within certain spaces. Appropriation refers to space that is used in whatever way the community would like to use it, specifically in public spaces. Often appropriation is seen in a negative light, as an unwanted phenomenon, but here the action of appropriation is embraced, because it is inevitable in such a contesting environment. It allows for desires to emerge. chreods A chreod is a medical term used to represent the pathway followed by a cell as it grows. The word was made by combining the Greek root words for "necessary" and “path”. Sanford Kwinter first used this term in architectural theory in 1995 to describe “flow shapes”. Here the word chreods refer to the meandering pathways in the building. Pathways is a big element in this research report because the pedestrians crossing the Grayston bridge will pass through the proposed building on its pathways or chreods. collective When people act as a group to get something done together, in community, it is done collectively. The word can also stand as a noun to describe a cooperative enterprise, which basically is a joint project or small business run by a group of people within the community.

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dual meaning When a space is made with the intention to be both public and private, or have an overlapping of public and private, then the space is said to have dual meaning. hub The proposed building in this research report is not at all referred to as a hub, but in a sense, acts like a hub in Wynberg. A hub is simply the effective centre of an activity, or network. And ‘centre’ does not refer to a centre, architecturally, but rather a central point of people coming together, the ‘median’ in a sense. medianA piece of road infrastructure, a narrow raised piece of ground that separates the two sides of a motorway or other main road. Also known as median-strip or central reservation or ‘middle-man’. Median is also a mathematical term used to describe a number the occurs the most in a numerical range, not the average or actual middle point in the sequence, but usually around the middle. See ‘Median Metaphor’-chapter below for an explanation of the significance of this word to this project.

pedestrian A pedestrian is person walking, travelling by foot and not in a vehicle. In this text the pedestrian specifically refers to the more than ten thousand people who walk between Alexandra and Sandton everyday, as well as the people who work within wynberg and walk around during the day. This term does not exclude people traveling by bicycle.

INTRODUCTION

platforms In architectural and physical terms the word refers to raised flat surfaces that people and things can stand upon. For this research report it is considered in a larger sense. It becomes a surface that work can be done on, where small collective projects, or basically anything, can happen upon. Fundamentally an empty room can be considered a ‘platform’. That is why it will often be called a ‘platform of potential’, because of the potential it has to be appropriated in whatever way desired. The metaphorical meaning of platforms refers to a ‘space’ that provides opportunity, a ‘space’ in which dreams and desires can be acted out. Just as a web page is often called an online platform, so a platform is a space to be visible to the world out there. uplift Upliftment, in its basic terms, means to lift up or raise up something or someone. In this research report the word uplift refers more specifically to social upliftment, which is defined as improving the social, moral or cultural environment for a people that has been, or is still being, disadvantaged or oppressed by their current situations. The term uplift is also used in an architectural sense where the pathways are gradually being raised, but here, still, the architecture becomes a metaphor of uplifting socially.

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Cut and paste all the first thought together 2. 1. col l age of i nitial fir s t impres s ions of the project

INTRODUCTION

ISSUES & QUESTIONS A SEPARATED SOCIETY WITH UNEQUAL OPPORTUNITIES Under apartheid the majority people in South Africa were discriminated against because of the colour of their skin. Black people were forcefully removed and forced to live in group designated areas. Those underlying discriminations are perpetuated in our current situation. When looking at the built landscape, we see the continuity of this spatial inequality. This is especially amplified where wealthy communities directly confront under-developed informal settlements. These ‘unequal scenes’ are seen in all the major cities across our country; Stellenbosch and Kayamandi, Strand and Nomzamo, Kennedy Road in Durban Metro, Hout Bay and Imizamo Yethu, Pinelands and Langa Masiphumelele / Lake Michelle, Kya Sands and Bloubosrand, and Alexandra and Sandton. These, conflicting sides of the economy, are often separated by a physical structure, such as a railway, road, or fence. If a physical structure maintain or enforce such barriers then physical structures could arguably also bridge them. Such acts are performed in countless towns and cities across the country, through parks, across grasslands and around fences (O’Toole, 2014). The story of Alexandra and Sandton is a story of stark contrast of wealth between neighbouring communities. THE TRUE EFFECTS OF INFRASTRUCTURE Johannesburg has recently created a pedestrian suspension bridge over Grayston Drive to address this issue mentioned above and to connect the two communities over the M1 highway. The bridge is named the Kopanang Bridge, which means ‘the meet bridge’. This forms part of “Corridors of Freedom” legacy project. The historical context that led to these projects will further be examined in the Context chapter. The bridge first opened in April 2018. Most residents of the Alexandra community work in Sandton, resulting in more that ten thousand people walking this length daily. This is known in Alex as “the Great Walk”. A single bridge however, does not bridge an economic divide. It is more a means to move from one side to the other. It is a piece of infrastructure intended to

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serve both sides of these contrasting economies and this does not balance out the already skewed economies. A passionate resident working towards community upliftment in Alexandra told me in an interview: â&#x20AC;&#x153;The bridge is good, but I hope people will start to invest in infrastructure here within Alex, where it is needed. I hope sustainable things will start to happen here, so that people can start to do things for themselves.â&#x20AC;? (Tony, 1 March 2018) BIG QUESTIONS The critical questions in this research report are: Can architecture solve social issues? Or rather, more specifically for this thesis: To what extent can a building create opportunities for job creation through well considered programme and providing comfort along the Great-Walk.? (This will be discussed in the architectural theory essay to follow.) How can previously disadvantaged people be given an opportunity to live out their dreams and be imparted a sense of hope for the future? And how can the economy begin to even out by initiatives run by the previously disadvantaged? (These question are addressed in the interviews in the research chapter.) A big issue of concern in this research report is the ongoing lack of financing for community empowerment projects in South Africa. This challenge is addressed in the Viability chapter.

More than 10 000 people walk this journey daily INTRODUCTION 2 . 3 P h o to by Delwyn Ver as amy

Unequal scenes 2 . 2. S an d t on an d Wy n b er g & A l ex on either s ides of the M 1 highway P h o t o : b y Johnny M iller

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WY W Y N B ER YN ERG W WAYS WAYSTATION AYS AY A Y S TA YS TAT T A T IION AT IO ON ON

INTRODUCTION INT IIN NT N TR ROD RO OD O D UCT UC U C T IO CT IION ON O N

3 35 5

THEMES

Platforms of potential Sewing training is taking place within Alexandra, but once the skills are gained, there is a lack of platforms on which small businesses can be birthed. Similarly many other skills are imbedded in people, but will not come to surface, if there is no surface to come to. People in Alex are looking for space, physically and metaphorically, to accommodate their dreams. This research report investigates a personal theory of ‘platforms’ within the context of informal communities. Providing space for the imbedded potential within people to emerge. The ‘platforms’ are specifically provided for small scale manufacturing, the retail component thereof and collective work spaces for skills exchange. These literally contribute to the bridging of the financial divide. These spaces allow appropriation thereof, for any skill to inhabit it.

Allowing Appropriation The building and public space around it will inevitably be used for purposes other than that which it is designed for. This is because human behaviour or how people use space cannot be predicted, contained or controlled, especially in place where more than 10 000 people will be moving through and using it the way they choose. Appropriation of the building is therefore embraced rather than avoided. Good public space is a valuable platform for rich appropriations and is integrated into the essence of the project.

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Celebrating the Journey The site chosen, creates an insignificant but unmistakably helpful short-cut on the route. Therefore the intense movement route moves through the building with high pedestrian traffic volumes. This is a main driver of the buildingâ&#x20AC;&#x2122;s design as the movement routes are the primary circulation spaces. It investigates how pathways can be celebrated, thus celebrating the pedestrian. The route integrates with the building rather than just passing through. This is done by providing space to linger on, and along, the route.

Good Inhabitation of space In order to draw people into the building and not just through it, ways of inhabiting space is examined. Different desires will result in different ways of inhabiting the space. Specific architectural experiences contributes to the desire of lingering. This encourages users, wether it be pedestrians or people who work in Wynberg, to linger within the building. A place of waiting, safety, meeting and inspiration. A hub within Wynberg. The building is a mixed-use building to allow for this complexity of mixed desires. A material / fabric library is included, providing the spatial experiences of a library. A child play space is also included. Further more, spaces to sit, eat, and observe the manufacturing processes are available.

INTRODUCTION

M E D I A N M E TA P H O R A median is a element of infrastructure in roads.

pavements. People only need to go to the nearest

It is the slightly raised platform in the middle of

street vendor to buy food and meet their basic

the road separating the two, usually opposite,

needs. Medians are also used for lampposts,

directions of the motorway. It is often referred to

lighting up the road to increase visibility and as

as the ‘middle-man’ in South Africa. This very

safety for motorists and pedestrians alike. These

simple piece of infrastructure has an invisible

lampposts, especially on Johannesburg

and underestimated presence within roads.

highways, are also used for advertisements.

Although this median is primarily created for the separation of vehicles, it is particularly significant in this country, to the pedestrian trying to cross the road. The legal or moralistic view on ‘jay-walking’ is not discussed here, because it would have no affect on the metaphor being described. Once the pedestrian begins to cross, the highway (for demonstrative purposes),

In another definition, the ‘median’ is a mathematical term used to describe a number that occurs the most in a numerical range. At a certain point in the range of numbers, one of these numbers is repeated the most. This is not necessarily the number in the middle, nor the average, but is designated the median.

the journey is immediately unsafe as the pedestrian does not have right of way and is vulnerable to a car. When reaching the median

In this project the building is referred to as a

in the middle of the road, the pedestrian stops to

‘Median of Wynberg’, it describing a place with

check the oncoming traffic from the other

a specific presence, one that provides safety for

direction. The median becomes a safe platform

the pedestrian along their journey, and a place to

to see the potential danger ahead, or rest before

rest before continuing. It is a platform to make

running across the highway. It serves as a

and trade, and a place to meet basic needs.

pavement in the middle of the road. In most

Spaces are well lit for safe visibility. It is a space

African cities the pavement is used for cooking

to advertise and be inspired. Finally, it is not a

and selling as much as connecting. It is used as a

median that can be duplicated anywhere, but

platform to move, to make and to trade on. Pop-

one located specifically by considering what

up vendors and food trucks do their trade on

would happen on a ‘median’ within Wynberg.

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This simple piece of infrastructure has an underestimated presence 3. 1. d r aw i ng of a ‘ median’ as des cr ibed,

INTRODUCTION

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1. I N T R O D U C T I O N This essay investigates how people experience

experiences that people might have in a space

that which architecture can influence. Firstly, it

because of specific architectural contributors,

questions whether architecture can, in-fact,

are also considered. The essay continues with

influence people. Then the power that this might

investigations of different uses of space and how

have is considered, and how the ‘invisible’

a community’s spatial needs can be met through

aspects of architecture are often more significant

design, as well as what the motivators are for

than we realise.

The legitimacy of ‘well-

people to engage with a building. After a few

intended’ social architecture is investigated,

sections, a short paragraph is included to reflect

because there have been so many failures. Is this

the findings that are specifically related to the

concept still worth pursuing? In the light of this,

Wynberg Waystation project which is proposed

alternative urban responses are considered. The

in this research report.

2 . C A N A R C H I T E C T U R E S O LV E SUCH SOCIAL ISSUES? When facing deep rooted economic, social and

concepts. Often architecture is given a lot of

political issues, such as ongoing social

credit for its ability to achieve much more than

inequalities, then a question arises: Can

what it actually is. In reality, architecture is only

architecture begin to solve such issues?

Can

the design of a physical built form and it often

built form really contribute to, for example, the

seems absurd to think that an abstract concept

restoration of equality within communities, or is

can be solved by it. If a wicked problem cannot

this just a hopeful though of the architect.

be solved by a set solution, as explained in the

Although societal issues manifest in our

UCT GSB course, ‘Becoming a changemaker’,

physical world, they are considered abstract

(see prologue) then one would think that a

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physical building is probably not a solution.

architectural style without considering the

Especially with the contemporary architectural

deeper philosophy of technology in the way that

culture that is often mostly concerned with the

the philosopher Heidegger explained the

visible, ‘image’ of the architecture, rather than

theoretical discourse (Olivier, 2013).

the manifest effects thereof. This is seen in the

architects can be concerned ‘more’ with the

tendency to translate theoretical discourse

visible, then theoretically they can also be

directly into material construction (Kahn, 1991).

concerned ‘more’ with the invisible. Could this

An example of this is how the term ‘Techne’

‘invisible’ be abstract concepts that the physical

architecture’ is often coined for just a visual

can influence?

2.1 THE INVISIBLE POWER

Andrea Kahn explains in ‘The Invisible Mask’

authoritative power thats hidden within the

that the power of architecture does not lie in this

visible. (Ibid.) Kahn believes that “all

apparent ‘image’, or what it expresses, but

architecture - whether it houses explicitly

rather in the perception. She explains that

political programs or not - politicises space”.

architecture as an object is usually not observed with focussed attention like paintings or

The philosopher Alain De Botton writes in his

sculptures, but rather it is absorbed

book, The Architecture of Happiness, that

subconsciously or “in a state of distraction”. She

architecture goes much deeper than just the

compares this state to the experience of driving

visual. He refers to the provocative remark

and 'watching the road’ as the forms of

about the eloquence of architecture made by

architecture besides the road slips past your

John Ruskin: “Buildings speak - and on topics

windshield and slips into your consciousness

which can readily be discerned. They speak of

almost unnoticed (Kahn, 1991). This is a

democracy or aristocracy, openness or

metaphor of how people perceive architecture as

arrogance, welcome or threat, a sympathy for

they move through spaces. Thus the forms of

the future or a hankering for the past” (De

architecture has political effects on its

Botton, 2006)

surroundings and these affects result in people unawarely accepting or submitting to an

MEDIAN OF WYNBERG

Power throughout history manifested in

Foucault points out in his analysis of the

different forms. For a long time in history, it was

Panopticon, that “invisible power is no longer

seen in the physical built urban fabric, in formal

there to inspire good but, rather, the power to

and symbolic expressions of civic and

isolate or eliminate the undesirable and the

institutional buildings.

weak” (Maki, 2012). If one wants to separate out society in its different levels of

After modernism, and in our current age, power

compatibility, then people will inevitably feel

has become harder to read in formal structures

unwelcome and surveyed, and the space will not

visible to the public eye. Instead the rise of

be freely used because of a feeling of invisible

invisible power is peculiar to the modern age.

power.

This power lies not necessarily in the visuals of architecture but in the spatialisation.

Architecture discipline people within space and therefore regulates actions and exercises control

In the theory of Michel Foucault’s spatialisation

of people. It is a form of power made concrete.

of power, he explains how specific institutions

When viewers overlook the political use of

were placed in specific positions in an urban

architecture, they overlook the controlling

context to always have a line of vision on the

effects of architecture. (Kahn, 1991) And when

public space, almost as invisible surveillance.

architects overlook the political use of

This is based on the ancient principle of

architecture, they fail to confront the important

exercising control by lines of vision (Ibid.).

ideological nature of their work and therefore give up their political responsibility. Andrea

This concept is turned into a practical

Kahn further writes:

architectural example by Jeremy Bentham’s Panopticon prison design in the eighteenth century. The prison has a single central observer making all the other spaces observed. Thus exercising authority through spatial principals instead of through principles of symbolism and formal built form.

“Acknowledging these conditions will not necessarily lead to answers, nor will it ensure that architecture becomes politically correct (whatever that might mean). But it will allow architects to process ethically, informed by the consciousness that they deploy power and able to question openly the ends to which that power is put.” (Kahn, 1991)

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Power was seen in the formal and symbolic expressions of civic and institutional buildings 3 . 2. P u b l i c L i b r ar y, J o h an n es b ur g, des igned by by architect John Per r y, 1935 i m ag e f rom Koopman Collection

Invisible power is no longer there to inspire good 3. 3 E l ev at i on , s ect i o n an d plan of Jeremy Bentham' s Panopticon pr is on d r aw i n g by W illey Reveley, 1791

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The use of architecture to politicise space does

invisible power? Or can the invisible power be

in fact have political power and can therefore

in the ‘hands ‘of the end-user of the building?

definitely contribute to solving political issues.

We can seek, in this report, to understand what

The question becomes, how it can be used to

forms of architecture can positively politicise a

positively politicise space, without invisible

space. But it is important to begin with what the

unwanted power that people are oblivious to.

intention is behind this search for ‘well

Can a building make clear it’s political and

intended’ architecture.

social intention without having an unwanted

2.2 WELL INTENDED ARCHITECTURE

This idea of good intention in architecture is

mechanism to hold back competitors by doing

critical. To begin with, the mere concept thereof

volunteer based work.

has recently become a global trend that many architects are uncomfortable with. There has

Furthermore, the criticism is not only about the

been a subtle re-labelling of architects, not as

concept, but also about the outcome of some of

servants to society and conservators of our

these projects. Countless social or humanitarian

environment, but as saviours of humanity. It has

projects have ultimately been unsuccessful, even

done a great deal of harm to the global

with the best intentions. The famous America

profession, depriving the real (architectural)

housing project of 1954, Pruitt-Igoe, was

agency (Linsell, 2015). Undertaking any project

intended to replace entire neighbourhoods of

without a so-called ‘good-intention,’ is declared

slums with better living conditions and become

unworthy today. But “humanitarian architecture

a good city. As a result of negligent maintenance

to date seems ironically unconcerned with

the buildings spiralled into filth. It became an

equality,” writes Nikki Linsell in her article ‘To

icon of failure, and ended up being imploded

hell with good intentions’, as commentary on

(Frishberg, 2013).

the closure of Architecture for Humanity (Ibid). The good intention projects seem to have used

In another example, the Centre Village project is

this label as badge, an advertising scheme or a

a community-oriented village with playful looking buildings in one of Canada's poorest

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It was intended to replace entire neighbourhoods of slums with better living conditions 3. 4 P r u i t t - I goe Hous ing, M is s our i, 1954 I m age by M ichael R. Allen

The residents of the township were not in favour of the building 3. 5. Th e R ed L o cation M us eum, Por t Elizabeth, 2006 P h o to by Wolf-architects

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urban areas, Winnipeg. It was well intended, but

the residents who’ll live there.” (Moussaoui,

has since become a haven for crime, drink and

2016)

drugs (Moussaoui, 2016). South African activist, Steve Biko, had a A local example of such a project is the prize-

different critical opinion on good-intended

winning Red Location Museum in Port

social projects in the 1970’s. In South Africa, it

Elizabeth, designed by Noero Architects. Here

has mostly been the white people who were

the residents of the township in which the

positioned to feel the need to (what Biko calls

museum is situated, were not in favour of the

“metaphysical guilt”), or be enabled to, do

building. Through a number of protests, the

good-intended projects. But Biko says that

museum was closed down and the community

“White liberals must leave blacks to take care of

started disassembling the building (Smith,

their own business.” Biko is speaking about

2016).

people who are pretending (or intending) to ‘help’, but are doing more ‘talking’ than

These are only to mention a few. In fact, there

‘walking’ (Biko, 1979). Biko writes:

are hundreds of examples of failed ‘goodintended’ projects. Usually such buildings are

“But ask them for a moment to give a concrete

simply abandoned. How do we go about not

meaningful programme that they intent

falling into this trap? As people contemplate the

adopting, then you see whose side the really are”.

missing links in the projects that have failed, some valuable lessons are learnt and important

He is referring to people’s agenda or intentions.

keys are given to avoid similar failures. As

Ironically his words make architecture sound

Martha Thorne recently told the Guardian:

like a possible means to truly contribute. Architecture can in fact be what he calls “a

"It’s not enough to make community space and

concrete, meaningful programme”. In it’s

say, ‘People are going to see each other’...

constructed form, it really is something that is

Architects really have to understand the context

done. Physical and lasting. It’s not just a passing

from the client – the cultural context, to the

good action. So good intention architecture

bigger context, to the economics, to the future of

could be a hopeless domain, or perhaps it really

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is a physical contribution (whether successful or not), which counts as something and far

If architecture is able to contribute to solving

outweighs a merely ‘nice idea’.

social issues, we can ask how this architecture should be approached? We should make ‘good

There are undoubtably many successful well-

architecture’ for people who need it, like

intended social architecture projects, which

Cameron Sinclair from Architecture for

unfortunately do not receive us much attention

Humanity said: “design is a right, not a

the unsuccessful ones. There is a reason why

privilege” (Linsell, 2015). Is it the socially

architects are taking on such projects. There is

orientated programme that contributes, or the

an increasing awareness that architects have a

architectural form that contributes? (The ‘good

political responsibility that should not be

intention’ programme or the ‘good intention’

overlooked, as Kahn describes it. The CEO of

architecture?)

MASS Design Group, Michael Murphy, said that “architecture is never neutral. It either heals

Linking this question to architect, Louis

or hurts. Our mission is to research, build, and

Sullivan's theory (Sullivan, 1896), “Form

advocate for architecture that promotes justice

follows function”; should form follow (the

and human dignity.” (Murphy, 2016)

social) function? Or should (the social) function be a natural outflow of good form? Or as I

Murphy, in an attempt to give a very personal

believe, these should go hand in hand. One

example, describes how his father was sick and

without the other will lead to failure. Using the

told him how he got healed in the process of

same obvious examples as before, the Red

working on the restoration of their house. He

Location Museum was an award-wining design,

later shares:

but the programme did not suit the community needs. On the other hand, Pruit-Igeo had the

“What I didn’t know, was that he was referring

right programme, housing was indeed what the

to a much deeper relationship between

community needed, but the design was what

architecture and ourselves. Buildings are not

caused it to fail in the long-run. The essay

simply expressive sculptures. They make visible

continues with investigations of what

our personal and our collective aspirations as a

community needs can be met through design.

society. Great architecture can give us hope. Great architecture can heal.” (Murphy, 2016)

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DESIGN LESSONS FOR THE WYNBERG WAYSTATION

To avoid translating architectural discourse

The buildings layout in terms of ‘lines of

directly into material construction without

vision’, as described in Foucault's S Spatialisation

considering the invisible influences that might

of Power, is very critical because people can

be associated with it, everything from the design

easily feel surveyed or controlled, as our old

to the material choice and details needs to be

government would’ve wanted it. On the other

considered with the overall purpose of the

hand people feel more safe in a space where

project in mind.

they feel that there are ‘many eyes on the street’,

The surface materials for the pathways through

and the feeling of safety is also very important

the building could become a community project,

in this ‘Waystation’. The layout of the building

where the end-users of the building can

should be done is such a way that balances these

participate in the construction of the building for

two; where people feel safe because of

it to have an abstract social effect, rather than

surveillance but they don’t feel that there is an

just constructing it without the small invisible

unwanted higher authority governing their

opportunities being considered.

actions, as might be associated with the ‘old South Africa’.

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3. URBAN RESPONSE 3.1 URBANISM, AND THE NEED FOR CHREODS

Urban planning in the modern era has been

reduces architectural richness. This applies to

approached differently than through earlier eras.

both buildings and city planning:

According to the architectural theorist Sandford Kwinter, the mediocrity of vision and mundane

Matter is shaped by history to the point where

urban environments that we find in our cities

history becomes visible manifestations. The city

might be explained by the overpowering,

can be defined as a place where historical

moralistic drive of our civic institutions

processes have become visible (Kwinter, 1995).

(Kwinter, 1995). This political impression can

In South Africa, the obvious divides of race and

be seen in the way civic institutions have

the divide of wealth respectively, have

manifested in architectural form throughout

manifested in the South African city in distinct

history: rigid, classical and strict.

and segregated neighbourhoods.

Architects Victor Hugo and Henri Lefebvre

In the search for ways to address our controlled

blamed the “fall’ of architecture on the lack of

and inaccessible South African urbanity we

‘freed up’ architecture. They said: “Architecture

might consider Kwinter’s theory on a new kind

looked too much like the geometry with which it

of urbanity, called Pastoralism, which he writes

was designed and depicted. Geometry is thus

about in‘Politics and Pastoralism’. Although he

seen as the underlying cause of architectural

requests the reader to not form an image in their

alienation, the degradation of humanism, and

mind of what pastoralism might mean until he

the split between architecture and its

has the chance to explain it, he uses the obvious

public.” (Vidler, 2000). They imply that rigid

image of a shepherd driving his herd in the

lines and geometrical forms within architectural

pastures. He explains through this metaphor that

and urban planning, ruin human interaction and

architects should approach urbanity in the same way that a shepherd tends his flock:

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“.. applying pressure at certain times at selected

Kwinter suggests, we must learn to let the

points, watching for eventual disturbances,

shapes take care of themselves and embrace

monitoring changing conditions, prospecting for

uncertainty. (Ibid.)

openings and new hybrids and possibilities. It does not fix it’s attention on the rigid and

Pedestrian routes could function as in every soft

monumental. The shepherd observes the

system, where “there is a nonlinear space of

unfolding life of the flock, it’s movements, its

highly concentrated interactions of

collective affects, the flow of the continually

parts” (Ibid.). Routes transform into meandering

reshaping mass and the flow of the landscape in

pathways that oscillate through space based on

the continuous interaction.” (Kwinter, 1995)

spatial need. Kwinter explains how every encounter can be solved with an integrating

The new urbanism that Kwinter proposes is one

“flow shape - a basin, canal, mound, ripple, and

of complexity, where forces of movement and

so on”. These flow shapes are known as chreods

built forms are allowed to interact. An urbanism

(see terminology for definition). He writes:

that flows, is moving, or rather allows the

“Chreods do no correspond to the object itself,

movement, “a pastoral urbanism of inflection”.

but represents the field in which the object

For this to happen within an existing urbanity

develops” (Kwinter, 1995). In other words, the

(formed by the process of history) the architect

chreods of the building do not necessarily

should give up some control of the complexity.

correspond to the programmes of the building.

This will allow for a spontaneous and

The programmes will have an effect on the

indeterminable space to emerge. One which

chreods, and therefore the chreods represent the

often seems frightening because of the ugly

space in which the programmes are formed or

forces currently existing in our urbanism. As

appropriated by the community.

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s ection

plan

s ection

plan

An urbanism that flows 3. 6.

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The simple act of adding a roof can be radical 3.7 G al l er i a V i t t o r i o E m an u el e, Mi l an , 1 877, des igned by Gius eppe M engoni I m ag e b y P i ero Cr uciatti

A pathway that punctures the building allows pedestrian to engage. 3.8 Ten e r i f e E s p aci o D e L as A r t es , S p ai n , des igned by Her zog & de M euron, 1995 I m ag e b y D u cci o M alagamba

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3.2

THE PATHWAY / PASSAGE

Pathways can be celebrated, in order to

Artes) designed by Herzog & de Meuron has

celebrate the pedestrian. Fumihiko Maki

one that punctures the building and the

describes how Walter Benjamin understood this:

pedestrian can engage with the building by

“As Walter Benjamin pointed out in his study of

looking at the programmes inside as they move

the passage, the simple act of adding roof to a

through the building.

street or alleyway turned out to be radical in its implications: for once carriage traffic was

A more abstracted form of the pathway can be

excluded from an essentially exterior

seen in Steven Holl’s competition winning

streetscape, a weather-protected haven for

design for a series of four museums for the

pedestrians was created that essentially freed

Qingdao Culture and Art Center in China. The

them to concentrate on consumer activities. As a

building is a snaking, meandering structure that

commercial sanctuary, the passage attracted a

speaks to the adjacent bridge (the world’s

great variety of activities, such as street

longest bridge over water). The idea was to

performers and hawkers - as well as enterprises

connect to the morphology of the bridge. "It

of the passage as history’s first instance of

inspires the possibility of this whole project to

ambivalent space - a kind of infinitely of a less

become related to that linear idea,” says Holl.

legitimate nature - to be concentrated in one

The museum comprises of cubed shaped gallery

multifunctional urban space. I like to think

spaces, “art-islands”, and smaller pathways

extendible space with characteristics of both city

along the looping route, a snaking tunnel

and room. As a new and unfamiliar element in

structure. These element connect all the aspects

the city, the passage came to evoke the dreams

of the landscape. The outdoor areas are

and desires of citizens who collect there”. -

considered equally important as the interior

Fumihiko Maki (Maki, 2012 )

spaces. “There's a great porosity and a great fusion between the movement across the site

For an example in terms of pathways, the

and the movement in the gallery system above,"

Tenerife Space of Arts (Tenerife Espacio de las

says Holl. (Grozdanic, 2013)

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DESIGN LESSONS FOR THE WYNBERG WAYSTATION This theory on urbanism can be translated into

canyon speak of the years of erosion and a how

the urban fabric of the proposed building of this

much this movement route has been used over

research project. The pedestrian routes that will

time. It is visually clarified as an established

move through the building, can be considered in

route throughout history, rather than a

terms of such â&#x20AC;&#x2DC;pastoralism'. The intense

coincidental one.

movement route will move through the building with high pedestrian traffic volumes.

In the minds-eye, the routes transform into meandering pathways that oscillate through

Besides the metaphor of sheep moving through

space based on spatial need. The movement

a pasture, this project also values the visual

routes become the primary circulation spaces in

image of a canyon, of water flowing though

the building around the programmes. The route

solid rock over the years, carving out the

integrates with the building rather than just

pathway that the movement has followed over

passing through it. This is done by providing

the years. Around the bends of the canyon, the

space to linger on, and along, the route. What is

water flows slower than in the direct path, and

fundamental here is how the pathways can be

this is typically where precious stones like

celebrated, in order to celebrating the

diamonds would gather. The layered walls of the

pedestrian.

Oppos ite page:

Visually clarified as an established route for water movement 3 . 9 Th e G r an d Canyon, car ved by the Color ado River, Ar izona, U. S, Photo by Sam Bar ber ie

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Meandering Pathway 3. 10. col l age by author

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Pathway through building 3 . 11. collage by author

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3.3

PROCESS OF ABSTRACTION

As Walter Benjamin pointed out, the way

determine new shapes that are not controlled by

unfamiliar elements in the city can evoke

pre-determined programatic assumptions in a

dreams and desires of citizens is very important.

building that will be invariably appropriated

Fumihiko Maki describes this desire:

through time. ‘Diagrams of Diagrams’ is a method of abstraction, a process described by

“The modern metropolis provides two basic

Anthony Vidler:

kinds of imagery in constant juxtaposition: the familiar and the strange. Familiar scenery in the

“Architects work with models, cut out of brown

city reminds us of a common past; it provides

cardboard, tearing them apart, sometimes

comfort and stability. Unfamiliar scenery, on the

scanning them digitally, always remodelling in a

other hand provides both fear and excitement,

apparently endless investigation of recursive

and in the process unleashes our power of

design. Their drawings are thin traceries of

imagination. The city might be characterised as

wire-frame constructions, digital or not, that

an environment where inhabitants accept and

affirm process rather than product and refer to

even thrive on the presence of the strange and

various traditions of the avant-gourde, whether

unfamiliar in their everyday lives. In the sense

constructivist, dadaist, or surrealist” (Vidler,

that unfamiliar scenery entices the imagination

2000).

and feeds our natural desire for change, the ability of an environment to evoke dreams for

This is a noteworthy process of abstraction,

the future seems to apply singularly to urban

taking the pressure off of the architect in an

settings.” -Fumihiko Maki (Maki, 2012)

attempt to predetermine places of chreods and allowing the architect to give up some control as

If unfamiliar scenery is what motivates these

Kwinter suggests.

emotions, then unfamiliar scenery is what should be introduced into an urban context

Le Corbusier wrote in 1923 that “Architecture

trough the architecture. To begin to form these

has nothing to do with ‘styles’. It appeals to the

unfamiliar elements and let go of some control,

highest faculties by its very abstraction.

as Sanford Kwinter suggests, a process of

Architectural abstraction is both specific and

abstraction is required. It can be used to

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magnificent in a way, rooted in brute fact, it

would then have the ability to stay true to this

spiritualises it.” (Ibid.)

abstracted diagram and construct such a building that poetically reads as a curved and

Toyo Ito coined the term diagram architecture

light form just as the initial diagram suggested.

to characterise what he saw in Kazuyo Sejima’s work. “The strength of Sejima’s architecture, ”

There is much skill in the ability to have an

says Ito, “is derived from her extreme reduction

abstracted idea completely reduced without

of the building to a special kind of diagram,

loosing its essence. Such unfamiliar scenery will

constructing it as far as possible as she

be able to entice people’s imaginations and feed

represented it.” (Ibid.) Sejima would draw a

our natural desire for change, perhaps even

diagram of a few curved lines that seems like a

social change.

building is ‘bouncing’ off of the ground. She

‘diagram architecture’ 3. 13 R o l ex L ear n i n g C en t re, S witzer land, des igned by Kazuyo Sejima, 2010 P hoto by Julien Lanoo

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A process p off abstraction is required q in order to let go g off some control 3 . 14. 1 4. m od el s an d editing by author

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DESIGN LESSONS FOR THE WYNBERG WAYSTATION

The way unfamiliar elements in the city can

the users of the building. Therefore a process of

evoke dreams and desires of citizens is very

abstraction is used for initial design

important. This is an objective of the proposed

explorations, keeping in mind the prerequisites

Wynberg Waystation building; to impart

of unwanted (and wanted) invisible power that

inspiration and hope along the journey. It wishes

has already been determined. This abstraction

to inspire, to unleash the power of the

includes chreods in the building programmes

imagination, and to feed the natural desire to

and meandering pathways. It is then considered

change that people from Alex might have.

and simplified into a possible movement

Whether change by oneself or in the current

diagram of the proposed building.

situation of the context. To feed the dreams of

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4. ARCHITECTURAL EXPERIENCE An addition to the ‘invisible’ considerations of

have in a public space is investigated, as well

architecture, is the experiences that people

what creates the experience of dignity and a

might have in a space because of specific

noteworthy presence in a building. Lastly the

architectural contributors. These are considered

effects of the choice of materials are considered

specifically in terms of a public, urban, and/or

in terms of how people might experience them.

civic building. The experiences people might

4.1 PUBLIC SPACE When considering public space, one could break

by just the sight of a monument. It is rather an

it down to the fundamentals in order to

experience that can only be felt by entering this

understand which important elements define it.

space. Stonehenge might not have had a roof,

Some architectural historians, such as Spiro

but the pillars and lintels created a clear

Kostof, consider Stonehenge, the prehistoric

boundary between outside and inside. A certain

monument in Southern England, as the first

quality of space is what characterises it as public

work of public architecture (Kostof, 2010).

architecture. Fumihiko Maki believes that

Enormous standing stones were placed in a

spatial character is what should determine what

circle by people working together. Similar-sized

is public and what is not. (Maki, 2012).

stone lintels were placed on top of the stone pillars. People most probably held ceremonies

Extracted from the most fundamental example

within this space. This demonstration of

above, the following fundamental principles are

community and ceremony is what made it a

needed for public space: It is a space, in (note

monument. One could imagine that if someone

‘in’) which people experience a sense of pride

back then, stood in the centre of Stonehenge,

and community, perhaps because they partnered

they felt more important, even if only for a

in the making thereof. The other important

second, or felt a pride in belonging to a

element of public architecture that surfaced in

community. This emotion could not be evoked

the Stonehenge example, is the experience of

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having a perceived boundary between ‘inside’

With the disappearance of spatial boundaries to

and ‘outside’, although everything can

form universal space and with the contrasting

technically still be outside. This boundary is not

need for public space to have a definite

to be seen as a physical obstructing boundary

perceived boundary between inside and outside,

but rather an architectural element that suggest a

the boundaries in a new proposed urban building

sense of being ‘inside’, or a ‘part'. In another

will have to be very sensitively defined with

essay, Space, Territory and Perception, Maki

subtle expressions of both territory and

suggests that only when we look at the evolution

openness. Here physical spatial boundaries can

of space, rather than form, symbol or style, do

be omitted, without creating similar failures to

we see a continuous architectural thread through

the modern era, and by evoking perceived

history.

boundaries, as is fundamental to space of belonging.

Throughout history, architects have focussed on issues of form, because it is easier to describe

Often public spaces lack these two principals;

and to illustrate. But it is the evolution of spatial

the sense of community and the sensitive

issues through history that have been the

boundaries between 'inside' and ‘outside’. Well

continuous thread throughout. This evolution

known philanthropist Amanda Burden,

was always driven by social reasons, and not

describes in her TED talk, that such spaces feel

because it simply became a possibility. In this

bleak, desolate and unsafe. She used the

spatial evolution we see, that in the twentieth

example of an empty public plaza. One that is so

century, there was a major shift. Traditional

often seen in the city and has been associated

spatial boundaries began disappearing with the

with modern architecture for generations. She

emergence of universally homogeneous,

describes this space as just a plinth for the

limitless space as a metaphysical concept. ‘The

architects work. Developers also love it because

room’ in architecture was disappearing

it requires no maintenance. But what would

according to Maki (Maki, 2012). But the

people do there? And where can people sit?

problem with homogenous, limitless space is

There is clearly no perceived boundary that

that its manipulability allows for many new

gives the space an ‘inside’-experience, and there

unintended effects that have resulted in many

is no sense of community. Burden also gives an

failures in cities.

example of good public space. She refers to Paley Park in Midtown Manhattan as good

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public space. She said that, for it to become a

people attract more people (Burden, 2014). In a

good public space, it required incredible

sense, the comfort and people could refer to

dedication and enormous amount of attention to

community, and the greenery could refer to

detail. It is successful because people craved the

inside/outside space, which strengthens the

comfort and greenery that it provided. In turn,

previous statements.

Two very different approaches to â&#x20AC;&#x2DC;public spaceâ&#x20AC;&#x2122; Top : 3.15 . A n em p t y p u b l i c p l az a. B ot t om : 3. 16. Paley Par k in M idtown M anhattan p h ot o s b y A m anda Burden

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4. 2 DIGNITY The characteristic about public space that makes

suit the needs of the end-users and consider their

the user feel a sense of community pride and

dignity, is the design of factories throughout

belonging, renders the place as a symbol of

history. From the 18th century onwards,

identity or dignity to the person. The idea of

factories have been places where practical

‘place-making’ and an association with dignity

solutions have been achieved and where

are good objectives for a proposed building. A

technologies were exchanged. They are often

building could become an urban sculpture that

designed with flexibility in mind, should they

represents the people who use it. And on a

expand or even be converted back into

smaller scale; a human centred design

warehouses at a future date. According to the

experience where people can feel a sense of

author Gillian Darley, factories have been

ownership within the spaces.

markers of technical and social revolution. They have been markers of innovation, in design and

For public spaces to remain good public spaces

in process. They have been markers of their

in tough urban conditions, the architecture has

political and economical moment (Darley,

to be quite robust in order to remain dignified.

2003).

The form of architecture can thus contribute to a sense of dignity in the long run. Reflecting again

This is a very critical domain in terms of

on Pruit Igoe, if a building lacks robustness and

architectural form, because of the associations

people cannot keep up with its maintenance, it

that the work-force has had with it throughout

will inevitably deteriorate and suffer a severe

history. Darley describes: “The image and

loss in the dignity associated to it.

reality of the factory became an increasingly dark one”. “The harshness of labouring life

Spatial configuration will determine the

became obvious.” Young girls died with

compatibility of people to feel a sense of

asthmatic conditions because of poorly

ownership within spaces. The spatial preference

ventilated cotton mills. Factories were created

of the culture of the end-users of a building

with optimum surveillance to enforce efficiency.

should be an important driver in the spatial

(Ibid.) Many designs were informed by Jeremy

configurations of a building.

Bentham’s panopticon model as described

A good example of architecture where the

earlier.

spatial configurations had to evolve in order to

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Robert Owen began to have enlightened ideas

(Darley, 2003). This became an architecture of

about showing respect for his workers. He wrote

isolation.

a book called A New View of Society. But this was done with the selfish motives of ensuring a

The Russian constructivist buildings, such as

high-quality product and hence profitable

The Svoboda Factory Club and The Rusakov

enterprise. Through his studies he was unwilling

Workers’ Club, designed by Konstantin

to admit to the important lessons in social and

Melnikov in the 1920’s, are interesting because

spatial organisations offered by the communities

they represented workers spatial rights in the

of workers. (Ibid.)

new socialist economy, and challenged the gendered hierarchies of modernity (Kiaer,

At the Saltworks at Chaux, designed by Claude-

2009). Whether these buildings were successful

Nicolas Ledoux in 1775, the physical and moral

in truly adding dignity to the people who

wellbeing of the workforce was essential to the

worked within them, is debatable. They were

process, with workers accommodation and

noteworthy for their architectural form in

vegetable gardens. But the 200 workers only

attempting to add dignity to workers lives. They

found themselves cut off from the outside world

are also examples of human centred, robust architecture of dignity.

It represented workers' spatial rights in the new socialist economy 3.17. Th e R u s ak o v Wo r k er s ’ C l u b , Mos co w, des igned by Kons tantin M elnikov, 1929 I m ag e b y U n i v er s al Images Group 68

WY N B E R G WAYSTATION

DESIGN LESSONS FOR THE WYNBERG WAYSTATION To ensure local participation, and a feeling of

condition because of no other option. (This will

belonging, as described in the Stonehenge

further be investigated in the research report.)

example, the community around the Wynberg Waystation will be enabled to help making the

The programmes of small-scale manufacturing

pathway surfaces. This will be an important part

with exciting future aspirations, suitable in the

of this project’s community involvement.

Wynberg industrial area, can easily by translated into factory architecture, because of the

For the building to become an urban sculpture

surrounding typologies, and because factories

that represents the people who use it, is another

are often designed with flexibility in mind,

objective. A human centred design experience

should they expand or even be converted back

where people can feel a sense of ownership

into warehouses at a future date. This flexibly is

within the spaces. A place that the community of

like the bigger scale of allowing appropriation,

Alex and Wynberg can call their own. The

which is a desired characteristic in the proposed

spatial preference of the culture of these users

building. But the factory typology does not

will be an important driver in the spatial

necessarily visually represent an association

configuration of a building.

with dignity.

It is also important to consider that the current

It is important for the proposed building to be

spatial preference of working platforms within

robust enough for its harsh urban environment,

the Alex community is not necessarily the true

but not too robust, because it will result in the

spatial preference, but could be the spatial

end-users experiencing it as ‘cold’ and not dignified.

MEDIAN OF WYNBERG

4.3 PRESENCE The fundamental example of Stonehenge can

capital. People could sense the enormous

again be considered here. Maki explains that

commercial potential. The building had a

architecture, when constructed on a specific site,

confident classical facade, and all its activities

firstly has the power to create a character of

were scrutinised by the public. According to

place, and then secondly, through the space it

Darley, it quickly became both an industrial

encloses, can evoke a specific emotional

wonder and a fashionable location in which to

condition. This emotional condition can

hold events (Darley, 2003).

sensitively be guided to evoke a co-work and self-help space. The use of both 1) a specific

The Russian constructivist buildings used in the

character of place and 2) a specific emotional

previous examples also have distinct presence in

condition, creates architecture on the most

their urban environment. These buildings spoke

existential level (Maki, 2012). A building that

of their political and social intention. Such

evokes those two functions for someone, can be

examples are usually given as buildings with a

said to have a presence.

civic or industrial presence. The Leicester University Engineering Building designed by

Presence can be referred to as the emotional

James Gowan & James Stirling in the 1960â&#x20AC;&#x2122;s

condition experienced within a space (the

was considered ground-breaking in its form,

presence of the space). Presence can also be

construction and use of materials. James Gowan

used to describe a buildings state within its

said: "The building committee we were dealing

context (having a presence in the landscape),

with wanted to make a statement, and indicate

presence as a monument or symbol. This goes

their presence, and make a splash, and I think

hand-in-hand with the dignity of the building.

that was probably successful" (Dillon, 2012).

Dignity is the sense of identity, and presence the

They were indeed successful in creating a

sense of distinction. There are many examples

building that makes a statement and creates a

of buildings with presence in their context:

presence. The buildingâ&#x20AC;&#x2122;s design stirred huge interest nationally and internationally. It stands

Many factories throughout history that have had

out on the landscape, it cannot go unnoticed.

such a presence in their environment. In March 1786, the Albion Mill opened in London. It was a highly visible operation in the centre of the

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They wanted to make a statement, and indicate their presence, and make a splash 3.18. The E n gi n eer i n g B u i l d i n g, L ei ces t er Univer s ity, des igned by James Gowan & James Stir ling, 1963 Photo by Arquis copio

MEDIAN OF WYNBERG

This civic building can be described as aesthetically attractive.

This impression of ‘presence’ differs from Andrea Kahn’s opinion, investigated earlier, that

A good precedent of a building that carries a

buildings are not observed like sculptures but

strong presence in a country facing similar

rather subconsciously, like driving down a road

challenges to South Africa is the The Biblioteca

whilst the political influences of architecture

España in Medellín, Colombia, designed by

slips past your windshield. ‘Presence’ refers

Giancarlo Mazzanti. This Library is built to

rather to a building that is intact observed with

serve two traditionally marginalised

rapt attention. One that is very visible to the

neighbourhoods in the city. It focuses on social

people passing it.

inclusion, the provision of services, and quality of life. The building is very distinct and clearly

Another function of the presence and visibility

stands out in the landscape. It forms part of a

of a building is also to act as advertisement of

whole public park that is accessible to all the

whatever the building hosts. In Learning from

citizens. It had a direct and positive impact on

Las Vegas by Denise Scott Brown, Robert

the citizens who perceive their situation with

Venturi, and Steven Izenour, we learn about the

regards to the city to be improving because of

‘strips’ of road completely bordered by

this new presence (Holmes, 2014). This

advertisements and architecture in the form of

Biblioteca España also has a distinct evening

signs and symbols acting as advertisements

presence. Big spotlights light up the

themselves. Architecture that deliberately draws

monumental building after dark. The public

attention to itself. This makes it difficult for a

spaces are also well-lit at night, creating

building to carry a presence, because if all the

visibility and the experience of safety for its

buildings and signs are screaming for attention,

users.

then distinction is difficult.

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The building is very distinct and clearly stands out in the landscape 3 . 19. Th e B i b l i o t eca E s p añ a , Colombia, des igned by Giancar lo M azzanti, 2007 P h o t o by Jos é F. Loaiza Br an

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DESIGN LESSONS FOR THE WYNBERG WAYSTATION The visibility of the building for the pedestrians

whatever the building hosts. The ‘median’

is important because it symbolises a ‘half-way’

becomes a place of advertisement. This is

mark on the journey. An icon of hope ahead and

appropriate since the building is situated right

a symbol of community identity that lies ahead.

next to the M1-highway. Such as in Learning

The visibility of the building is also important

f ro m L a s Ve g a s , t h e M 1 - h i g h w a y i n

for the motorists on the highway, because it is a

Johannesburg is beginning to look similar with

land-mark on the landscape, a clear gateway to

its continuous roadsides of billboard

Wynberg, and adds a sense of cultural

advertisements and extreme building facades.

awareness within the city.

The buildings are competing with the perpetual making of new forms. The proposed building

Another function of the presence and visibility

will be placed within this ‘strip’ context and will

of a building is also to act as advertisement of

be designed with this in mind.

W WY Y N B E RG R G WAYS WAYSTATION TATION

4.4

MATERIALS

The concept of the juxtaposition in the familiar

materials at first, slightly disorientate people

and the strange, as explained in the ‘Process of

before it becomes familiar.

Abstraction’ chapter of this research report, is also labeled by Fumihiko Maki as ‘homeland’

Computer graphics now enable different ways

and ‘outland’ in his essay Notes on Urban

of using materials. This modern technology also

Space. The terms, ‘homeland’ and ‘outland’,

enables the use of organic materials, or

describes how people in the city experience their

‘homeland’ materials, such as the cardboard

position in a place. ‘Homeland’ being the

architecture by Shigeru Ban, and transient

familiar place, and ‘outland’ where one

materials, such as neon signs and projected

experiences oneself as a foreigner, as not

images. Maki explains how the pendulum

belonging. Cities are seen as a place where

between ‘homeland’ and ‘outland’ continues to

many foreign outlanders come together to

swing from one to the other. There is a need for

experience freedom and opportunities. No one is

certainty on the one hand and the desire for

exactly ‘homelanders' in the city and everyone

escape on the other. From holding on to

is beginning to experience the city as a form of

memory, to the demands of the imagination

homeland (Maki, 2012).

(Maki, 2012). People have a need for both certainty and the ability to escape the mundane

This concept is also determined by the

to imagine and dream.

materiality of a building. Certain materials are familiar and strange to people. One can look

Glass, as a building material, has a very peculiar

into how the materials of an urban space can

effect on people, specifically in South Africa.

influence the human experience. Surfaces with

Andrea Kahn’s describes how glass has very

plants, trees, bricks and stone, are associated

powerful regulatory effects on viewers. She uses

with a homeland perception, as they show the

Joseph Paxton’s Crystal Palace built in London

passing of time. These surfaces have gradually

in 1851 as an object for argument. Some see the

been replaced with the contemporary inorganic

use of glass as crystal, an innocent stone causing

materials such as concrete, metal and glass that

the opposite of alienation - the unveiling of

do not necessarily show age, but generate a

truth. (Kahn, 1991) Others see it as exerting a

different set of meanings (Maki, 2012). These

hidden power. Like the wearer of the Ring of

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Gyges, (a myth about a ring that gives the

quotation - that is, by referring to, and triggering

wearer the power to become invisible) a glass

memories of, the context in which we have

building is all-seeing. The observer is always in

previously seen them.” “They communicate by

the condition of being observed. Therein lies it’s

prompting associations. We seem incapable of

‘arrogant privilege’. “The seemingly innocent

looking at buildings or pieces of furniture

and pure crystal building was an insidious

without tying them to the historical and personal

player in the game of capitalist power and

circumstances of our viewing; as a result,

control,” says Kahn. This is true to the fact that

architectural and decorative styles become, for

it was like a shopping arcade, a monument to

us, emotional souvenirs of the moments and

consumer capitalism.

settings in which we came across them.” “We may make a judgement based on what they

It seems ironic that transparency as a

symbolise other than on what they are.” (De

characteristic is perceived as unwelcoming. For

Botton, 2006)

this reason, the use of glass in facades should be used sparingly in a context that needs to

It may be that certain local materials have an

welcome people of all classes. Familiar

unwanted sense of identity. These materials are

materials may create a sense of ‘homeland’ in a

not considered a representation of identity.

building. But similar to the case of cultural

Using the example of the Red Location museum

spatial preferences, we cannot assume that local

again, the corrugated iron theme of informal

materials are the material preferences. On the

settlement living was incorporated in this

contrary, they are often used to minimise costs,

design. This was not necessarily what lead to the

or because of a lack of other material options. If

failure of the building in its urban context but

‘homeland’ materials are associated with

local people started disassembling it with

suffering or a difficult lifestyle, then these

reasons that might point to disapproval of what

materials will evoke the same emotion as what

the material represented. Similarly, materials

they are associated with.

associated with factory or civic buildings, might be associated with the harshness of labouring

De Botton, in his writings about how buildings

life. Unfamiliar materials, rather, would feed the

‘speak’ as mentioned earlier, also writes about

demands of the imagination for new

these possible unwanted associations: “Insofar

associations.

as buildings speak to us, they also do so through

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Unfamiliar materials feed the demands of the imagination for new associations. 3 . 20. O d aw ar a F es t i v al H al l , J apan, des igned by by Shiger u Ban, 1990 P h o t o b y NCSU Libr ar ies

Familiar materials along the â&#x20AC;&#x2DC;Great-Walkâ&#x20AC;&#x2122; 3. 21. p hotos by author

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DESIGN LESSONS FOR THE WYNBERG WAYSTATION Both of the experiences of homeland’ and

reason, the use of glass in facades should be

‘outland’ are needed on the site within Wynberg.

used sparingly in this context that needs to

The pendulum keeps swinging form desire of

welcome people of all classes.

certainty to desire of escape. The pedestrians have a need for certainty and holding on to

Materials familiar to the pedestrians, as used in

memory of the Wynberg as they know it. They

Alexandra’s urban environment, may create a

must also be able to escape the mundane and

sense of ‘homeland’ in the proposed building. It

imagine and dream about their future and the

may also be that these local materials, such as

future of Wynberg. The materiality of the

corrugated sheets and concrete blocks, evoke

building would have to tell both of these stories

unwanted association rather than sense of

in a sensitive combination.

identity. Materials associated with factory or civic

It is important to consider the specific context of

buildings, might be associated with the

Wynberg and the associations that the pedestrian

harshness of labouring life, and should also be

might have with materiality of Sandton and

avoided, because it contradicts the aim of the

Alex. In Sandton we see the ever increasing

proposed building.

creation of glass towers being erected. This glass, as explains by Andrea Kahn, could let the

Rather, unfamiliar materials feed the demands

observer feel as if they are always in the

of the imagination. Materials of visibility and

condition of being observed and surrounded

distinction can be considered for both daytime

with an ‘arrogant privilege’. Sandton,

and nighttime, such as translucent materials

understood as the richest square mile in Africa

letting through intentional light. Furthermore,

(Venter, 2008), also has each building trying to

materials of ‘implied memory’, that are not yet

exert power on those around it in the fight for

associated with harsh living conditions in this

visibility, leaving the viewers alienated. This is

area specifically, are considered, such as

the opposite need for a building that addresses

rammed earth building.

people’s sense of dignity and belonging. For this

W WY Y N B E RG R G WAYS WAYSTATION TATION

materials like a ‘canyon’ 3.. 22. ear l i er p er s p ect i v e ex p l o r ation ( not final) of the Wynber g Ways tation 3 ol d er d ev el opment photos hop collage

MEDIAN OF WYNBERG

5 . U S E O F S PA C E Certain architectural ‘needs’ have been

‘Work & collaboration.’ Different desires will

identified that will draw people into public a

result in different ways of inhabiting the space.

building, and not just through it. The ways in

These uses are only a few specifically identified

which people use spaces of a building is

uses for this research report, in the South

examined here in order to understand with what,

African urban context, and are not at all a set of

and to what degree, people are drawn into a

solutions that would apply to any architectural

building. The four uses identified are:

project. They act simply as a base for studying

‘Lingering’, ‘Inhabitation’, ‘Appropriation ‘ and

different forms of human behaviour in space

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5.1 LINGERING Specific architectural experiences contribute to

Lingering usually takes place in public spaces

the desire of lingering. This encourages users to

where there are spaces to sit, eat, and observe

pause within the building. A place of waiting,

the processes of everyday live. People crave

safety, meeting or inspiration. A building can

greenery in the city, as Amanda Burden

embrace complexity to allow for the

explained. Often garden spaces become enjoyed

accommodation of various desires. The question

lingering space. The High Line in Manhattan, a

then becomes one of which programmes

long elevated linear park created on top of a

promote lingering.

former railway spur, is such an example.

Certain places have masses of fast-moving

The Biblioteca EspaĂąa is a great precedent of

pedestrians like the movement through transit

lingering in the public spaces, in this case

spaces. The Kyoto railway station, in Japan, is

around the library. Boys play soccer in the

such an example with retail included in the

space, teenagers hang out together, cultural

transportation hub. It has fast-paced movement

groups meet up and sing songs in this space,

with little time for stopping along the way.

mothers sit with their children to play, and

Pedestrians can quickly gather and disperse.

others simply come for the view. The space is considered safe because many other people are

Lingering space should be accessible to all

there. A space where children are playing is

people in its context. Even the unemployed and

specifically perceived as a safe space. There is a

homeless should be able to linger within the

sense of informality. The architecture brings

building space. It should therefore have spaces

people together, and people attract more people.

that promote good lingering. Bad lingering

Most of these activities happen in the passing

happens in spaces that are secluded enough so

by, as the building is on route to wherever the

that unlawful activities could also take place

person was heading, rather than intentionally

there. To avoid bad lingering, spaces should not

going to the space. These are different forms of

have dark and isolated patches, and should not

lingering.

have sharp corners where unexpected company might await.

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DESIGN LESSONS FOR THE WYNBERG WAYSTATION Lingering is encouraged in the proposed

the building space. Therefore the spaces should

Wy n b e rg Wa y s t a t i o n , w h e t h e r b y t h e

be designed to avoid â&#x20AC;&#x2DC;bad-lingeringâ&#x20AC;&#x2122;. The

pedestrians or workers in wynberg. It is desired

architectural equivalent of an employment paper

for the proposed building to be a hub within

or job advertisement platform could be

Wynberg: a place of waiting, safety, meeting

explored. Public spaces must provide places to

and inspiration. Even the unemployed and

sit, eat, and observe the manufacturing

homeless people should be able to linger within

processes.

Good lingering; Chreods can contribute to the sense of safety 3. 24. d i ag r am s by author

WY N B E RG R G WAYS WAYSTATION TATION

5.2 INHABITATION In an era of televisions and hand-held devices

for holding events and meetings or simply

which can stream the experience of spaces, a

relaxing. On the stairway, or the “esplanade” as

simulated public domain, human interaction can

Maki calls it, people have positioned chairs in

be experienced within the privacy of the user’s

front of the windows facing the street. People

own room. Similarly, new domains other than

are always occupying (or inhabiting) these seats.

solely public and private domains are emerging,

Some people are watching the passing

as the two begin to overlap and intertwine.

pedestrians while others are quietly reading a

Where this happens people can inhabit the

book.

space. Inhabiting space is like ‘lingering’ but only for a longer period of time and with more

Maki refers to a 1886 painting by Georges

intention. A young woman told Fumihiko Maki:

Seurat called A Sunday Afternoon on the Island

“I like to go to art museums because I feel I

of La Grande Jatte, which depicts families on

truly have a place of my own when I am quietly

holiday. People all seem to be staring in

surrounded by paintings.” She experiences such

different directions and lost in their own

public spaces as private spaces in the most

thoughts. Seurat already discovered then, the

fundamental sense. People in cities need to

idea of public spaces with the solitude of

discover such spaces with dual meanings (Maki,

modern urbanities. Maki writes: “Our task today

2012). Cities need to provide more such ‘dual

is to recognise this urban condition and to

meaning’ spaces which can be discovered.

create, through new programs, urban spaces that are public in a contemporary sense.”(Maki,

Maki did not only write about this concept, but

2012)

actually practiced what he preached. In the Spiral Building that he designed in Tokyo; the

When people inhabit a space they take a form of

first floor has a cafe surrounded by exhibition

ownership and belonging in their immediate

and performance space which seem like an

space. What type of programmes encourage

extension of the publicness of the sidewalk. In a

people to inhabit space? Buildings such as a

sense, an extended ‘median’, as explained in this

libraries become a metropolis in itself. This is

research report. This space has become

also seen in various other civic buildings like

fashionable, especially among younger people,

city halls, but a library is the

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most notable example. Most libraries are used

A safe children’s play space also provides for a

by citizens from all backgrounds and becomes a

specific inhabitation of a building. For example,

space where people can sit and stay for long

the parking building rooftop playground Park

periods of time without being questioned, or feel

'N' Play designed by JAJA architects in

the need to move. The books is not necessarily

Copenhagen. The architects challenged the

what makes it a special place, but rather the

mono-functional use of a parking building by

spatial experience. The space is not only used

adding an attractive public space, a playground,

to study, research and find information but also

which literally draws people in to a space that

to relax, wait and engage with others. Like with

otherwise would not be used.

the The Biblioteca España, it becomes as safe space and a breakaway from the fast paced

Food is the other obvious programme that

harsh environment. Another library worth

invites people to really engage a space. The

looking at is the Palafolls Public Library

‘median’ concept (see preface of essay) has

cooking happening on the pavements and food-

library with the forms of ‘chreods’ and distinct

truck vendors on side-walks selling local

robust materialities.

cuisine. This concept can manifest in the building through platforms of potential.

Public spaces with the solitude of modern urbanities 3.25 . P ai n t i n g: ‘ A S u n d ay A f t er n oon on the Is land of La Gr ande Jatte’ b y G eo r ges S eur at 84

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I feel I truly have a place of my own when I am quietly surrounded by paintings 3 . 26. collage by author

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DESIGN LESSONS FOR THE WYNBERG WAYSTATION After investigating the Wynberg area and what

around. Dignified cooking and food retail spaces

type of spaces would be suitable, a type of

will be provided without predicting the

library will be included in the proposed

outcome. People could appropriate the spaces

building; not with books but with materials and

for personal job creation, for the community’s

off-cuts of all sorts. A ‘material library’

own economy.

providing the same spatial experiences of a library as we know it. A space to sit in solitude,

The building will include as many possibilities

perhaps stay a longer while, and to become

of space that can be appropriated as explained in

inspired by the potential of all the materials

the next section.

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lingering space 3.. 23. ear l i er p er s p ect i v e ex p lor ation ( not final) of the Wynber g Ways tation 3 p h ot o s hop collage by author ph

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5.3 APPROPRIATION To appropriate something is to take it and make

the reinvention of psychological

use of it as if it were your own, usually without

space.” (Koolhaas, 1995)

permission. A building with public space around it could be used for purposes other than that

Good public space is a valuable platform for

which it is designed for. This is true to the fact

rich appropriations. Anything infrastructure-

that human behaviour, or how people use space,

related can also be assumed to be appropriated

cannot be fully predicted, contained or

by kids as a play platform. Low enclosures

controlled. This is especially true in place where

around steps become sliding slopes, a curb

thousands of people will be moving through and

becomes seating space, a pavement becomes a

using the spaces however they choose. People

place for jumping games, and a water overflow

will do whatever they want to do. Appropriation

becomes a play pond. The possibilities for

of a building should therefore be embraced

public appropriation for kids are endless and

rather than avoided. Rem Koolhaas suggests that

should be considered in all the details of

the ‘new urbanism’ will be such spaces that can

buildings.

be appropriated: ‘Platforms’ are what allows or enables “If there is to be a ‘new urbanism’ it will be the

appropriation. In the context of informal

irrigation of territories with potential… the

settlements, because infrastructure and neat

creation of enabling fields that accommodate

surfaces are scarce, when a raised surface of any

processes that refuse to be crystallised into

sort is created, it can, and most probably will, be

definitive form. It will be about expanding

appropriated to user needs. A woman uses the

notions, denying boundaries… discovering

new seating created by VPUU in Kayelitsha, as

unnamable hybrids, it will no longer be

a table/ platform to sell a few basic things like

obsessed with the city but with the manipulation

shoes and chips on. A flat cement table could act

of infrastructure for endless intensifications and

as a platform that can be appropriated into a

diversifications, shortcuts and redistributions,

display surface for a street vendors, a cooking surface, a dancing surface, or even a bed.

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It can be assumed that infrastructure will be appropriated as â&#x20AC;&#x2DC;platformsâ&#x20AC;&#x2122; Top : 3. 27. E l em en t s s u ch as t ree planter s can be des igned with appropr iation in mind B o t t om : 3. 28. a cu r b became s eating for children in Kayelits ha dr awings by author

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A â&#x20AC;&#x2DC;platformâ&#x20AC;&#x2122; can become a space for the embedded potential within a community to emerge 3 . 29. A s t u d y o n p l at f o r m s d o ne dur ing Honour s in 2017 d r aw i n gs b y author

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5.4 WORK & COLLABORATION Often people have many embedded skills and

other producers, companies and the general

potential, but these qualities will not come to

public.

surface but will not come to surface without support and a place to thrive, a ‘platform’ on or

Modern architecture gave birth to homogenous

from which to work. A ‘platform’ usually refers

space. This is space without meaning or primary

to raised surfaces that people and objects can

function. Such space facilitate manipulation or

stand upon. But in the context of informal

appropriation (Maki, 2012). In the view of

communities, it is much more significant than

Maki, a new area emerged, as a result of social

just a surface. It becomes a space upon which

demands, in which spaces with no meaning

work can be done. A place where small

could become generators of meanings,

collective projects can happen. Space for the

unanticipated by their creators (Maki, 2012).

embedded potential within a community to

But the current age’s spatial trends and needs

emerge. Fundamentally, an empty room can be

are beginning to move away from the

considered a ‘platform’. It can also be called a

homogenous space of modernism to create a

‘platform of potential’, because the potential it

new sensitive and subjective typology in the city

has can be appropriated in whatever way

that acts as universal space. Sanford Kwinter

desired. This metaphorical meaning of platforms

writes: “More than ever, freedom will lie

refer to a space that provides opportunity, a

through the capacity to establish flexible,

space in which dreams and desires can be acted

inventive alliances with what unexpectedly

out. A space to be visible to the outside world,

emerges” (Kwinter, 1995)

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DESIGN LESSONS FOR THE WYNBERG WAYSTATION Sewing training is taking place within

acceptance that it can be appropriated, rather

Alexandra, but once the skills are gained, there

than directly controlling use. The ‘platforms’ in

is a lack of platforms on which small businesses

this proposed building are therefore specifically

can be birthed and grow. Similarly many other

provided for small-scale sewing manufacturing,

skills are imbedded in the community, but will

as well as for its retail component. They are also

not come to surface, without support and a place

for collective work spaces, for skills exchange.

to thrive. People in Alex are looking for space,

These spaces will allow for appropriation. It

physically and metaphorically, to accommodate

allows for desires to emerge.

their dreams.. Platforms will be made available for possible Platforms can be created in the form of rooms or

local food production. Agricultural ‘platforms’

workshops in which collective projects and

are also a possibility, which could be small

SMME’s (Small, Medium and Micro-sized

empty pieces of land that could be planted and

Enterprises) could be run. This will add to the

worked to grow vegetables for cooking or

economic diversity of the proposed building and

selling. This would add greenery to the site

contribute to the bridging of the financial divide.

which adds to the public space’s requirements.

Slowly, but surely, straightening out the slanted balance scale of economies on the terms of the

The uses of space as discussed in the above

users of the building, and not through a forced

sections are real physical and emotional needs in

programme. It becomes work spaces by choice,

the context of the Wynberg Waystation. There

enabling personal job creation. As Biko said,

are more physical needs that are fundamental to

“leave us to take care of our own

the project. The building needs to be a ‘safe

business” (Biko, 1979). This will enhance a

hub’. With 24-hours of safety and visibility,

sense of ownership if it is used in ways that are

especially at night. This can be done by using

appropriate and create a climate of profitability.

S the Spatialisation of Powerr theories, in a positive way. For example, woman could be

Although some of the spaces in or around the

celebrated and feel safe to move around the

proposed building will be given predetermined

building alone at all times.

programmes or use, it is done with the

WY N B E RG R G WAYS WAYSTATION TATION

The building should become a rain shelter for

facilities in the comfort of their own homes or

pedestrians, to be able to pause there on the

along the route. It should be be designed with

journey and wait for the rain to stop. Being able

robustness to sustain the dignity thereof, almost

to stand outside, but covered from the rain

like a piece of infrastructure itself. A good

whilst waiting for a walking-partners, lift or

precedent is the Olympic Archery Range change

taxi, enables good lingering. And lastly the

rooms designed by Miralles EMBT, which is

facilities of drinking water and ablution needs to

further investigated in the Precedents chapter to

be considered. Many people do not have these

follow.

semi-public 3.. 30. ear l i er p er s p ect i v e ex plor ation ( not final) of the Wynber g Ways tation 3 pho ott o s hop collage by author

MEDIAN OF WYNBERG

6. CONCLUSION

If architects can be concerned ‘more’ with the

can be done, by the architect letting go of some

visible, then theoretically they can also be

control and using a method of abstraction as a

concerned ‘more’ with the invisible. All

driver in the design process.

architecture ‘politicises space’, and the acceptance of this will allow architects to

People have certain experiences in spaces, often

process ethically that they deploy power. To

because of specific architectural contributors.

which ends this power is put should be question

For public space to be good public space, people

openly. The idea of ‘good’ social intention in

want to experience a sense of pride and

architecture has become popular, whether for

belonging, and experience a perceived boundary

the right or wrong reasons, and have brought

between ‘inside’ and ‘outside’.

about many architectural failures. But such architecture, in it’s constructed form, is a real

For a building to remain dignified it often

physical, attempted contribution which holds

requires ‘robust’ architecture, and the sense of

much more weight than a passing ‘good’ idea.

dignity is usually associated with past experiences of certain typologies. Certain

Alternative urban responses such as ‘chreods’

materials also have specific emotional

has the ability to inspire, to unleash the power of

connotations that they are subconsciously

the imagination, and to feed the natural desire to

associated with

change. Furthermore pathways that are celebrated will celebrate the pedestrian and

The ‘presence’ of a building not only refers to

enable a good experience of a building. If

the emotional condition experienced inside it,

unfamiliar scenery is what motivates these

but a building can also have a specific presence

emotions, then unfamiliar scenery is what

within it’s context, which can be implemented

should be introduced into an urban context. This

through it’s ‘sculptural’ form in the landscape..

WY N B E R G WAYSTATION

The ways in which people use spaces in a

The embedded skills in a community will begin

building is a result of what peoples’ desires are.

to emerge when a ‘platform’ is provided from

A building should embrace complexity to allow

which to work.

for the accommodation of various desires. People want good public space to linger, to hang

Architectural freedom will lie in the

out or wait a while. People also want semi-

combination of both flexibility and control in

public spaces, spaces with ‘dual-meaning’, to

design. When embracing what unexpectedly

inhabit. Spaces to sit, eat, and observe the

emerges in spaces with flexible spatial

processes of everyday live. People will

relationships and simultaneously designing with

inevitably use space as they choose, so the

intention, every component according to how it

appropriation of a building should be embraced

may influence the user experience, that’s when

rather than avoided.

architecture becomes rich.

MEDIAN OF WYNBERG

PRECEDENTS

learning from urban pathways Top : 4.1. p ersp ect i v e o f p at h w ay at E s cad ar i a S elar รณn, Br azil, created by Jor ge Selar รณn, 2013 Bot t om l ef t: 4.2. l ayout o f t i l es b y J o r ge S el ar รณn . B o t t om r ight: 4. 3. pos itioning of pathway through buildings i n co n t ex t o f L ap a i n t h e city Rio De Janeiro d r aw i n gs b y author

WY N B E R G WAYSTATION

learning from a pathway through a building Top : 4. 4. V i ew o f p at h w ay en ter ing the Tener ife Es pacio De Las Ar tes , Spain, d es i g n ed by Her zog & de M euron, 1995 p h o t o b y D u cci o M alagamba. annotations by author Mi d d l e: 4. 5. S ect i o n of p athway through building. dr awing by architects B ot t om : 4. 6. F i r s t f l o or p l an s h ow i ng how pathway ( tex tures ) follows function like chords dr awing by author PRECEDENTS

learning from a statement and presence To p: 4.7. Persp ect i ve of t h e E n g i n eer i n g B u i l d i n g, L ei cester Univer s ity, des igned by James Gowan & James S t i r l i n g, 1963 p h ot o b y arch i t ect s . an notations by author B o t t om : 4. 8. i s om et ric by architects 100

WY N B E R G WAYSTATION

learning from African trading space To p : 4. 9. v i ew of p ed es t r i an b r i d g e over War wick Junction Tr ader s M ar ket, Dur ban, 2010 p h ot o b y UIA. annotations by author Bottom: 4 . 10. s ect i o n al aer i al p er s p ect i v e of mar ket, s howing s hading device, â&#x20AC;&#x2DC; platfor ms â&#x20AC;&#x2122; and dr ainage i m ag e b y S m i t h s on i an Cooper Hewitt, National Des ign M us eum PRECEDENTS

101

learning from safe play space Top : 4.11. P er s p ect i v e o f P ar k ‘ n ’ P l ay, D en m ar k, des igned by JAJA Architects , 2016 p h ot o b y R as m u s H j o r t s h oj. annotated by author B o t t om : 4. 12. s i t e p l an of P l ay ’n’ Par k in its ur ban contex t i m ag e b y arc hitects 102

WY N B E R G WAYSTATION

learning from Alex architecture Top : 4. 13. P er s p ect i v e of A l ex an d r a I nter pretation Centre, Alex , des igned by Peter Rich, 2010 p h ot o b y A g ency2017. annotations by author B ot t om : 4. 14. A x on om et r i c an d p lan in contex t s howing how building br idges the road d r awings by Peter Rich

PRECEDENTS

103

learning form space of inhabitation Top : 4.15. V i ew o f f oy er of t h e S p i r al B u i l d i n g , Japan, des igned by Fumihiko M aki, 1985 p h ot o b y Mak i . an n otations by author Bot t o m : 4. 16. F i r s t f l o or p l an , area ( 3) is the â&#x20AC;&#x2DC; es planadeâ&#x20AC;&#x2122; s tudied above d r aw i n g b y F u mihiko M aki

104

WY N B E R G WAYSTATION

learning from a presence in the landscape Top : 4. 1 7. V i ew o f co n t ex t o f t h e B i b l i o t ec a Es paĂąa, Colombia, des igned by Giancar lo M azzanti, 2007 p h ot o b y arc hitects . annotations by author B ot t om : 4. 18 s i t e p l an s h o w i n g l i b r ar y and par k in the crowded contex t of the M edellin city dr awing by architect

PRECEDENTS

105

learning from robust architecture Top : 4 . 19. P er s p ect i v e of o u t s i d e o f t h e Olympic Archer y Range, Barcelona, d es i g n ed b y E n r i c Mi r al l es & Car me Pinos , 1991 p h o t o b y D i et er J an s s en , annotations by author Bottom L ef t : 4 . 20. P l an b y A rch i t ect s . B o ttom Right: Elevations by Architects

106

WY N B E R G WAYSTATION

learning from an abstracted and flowing plan Top : 4. 21. p l an o f t h e P al af o l l s P u blic Libr ar y, Spain, des igned by M ir alles EBTM , 2007 p l an b y architect. annotations by author B o t t om : 4. 22. P al af o lls public libr ar y. photo by Jordi M ir alles

PRECEDENTS

107

CONTEXT

109

7 . N O TA B L E H I S T O R Y JOHANNESBERG Johannesburg’s original existence was propelled

majority of the country, as the capital is still

out of the discovery of gold in 1886. This city’s

spatially hierarchical. New built form is usually

zeitgeist was formed around the importance of

seen as positive development for the country,

mining and it is arguably still immersed in the

but if it continues to be built for the benefit of

powers and institutionalised collection of capital

only the top point of the economic hierarchy,

(Hall, 2012). Apartheid was enforced nationally

then it could in fact still enhance segregation.

from 1948 to 1994, and with the white supremacy came the inevitable racialised

In response to this, the city started with a city

hierarchy of capitalism. This led to cheap labour

planning framework, called ‘Corridors of

on the mines and the spatial ordering of the

Freedom’, which focusses on new, well-planned

society through segregation by race.

transport-orientated development that wishes to

“Dividing and distancing was central to the

overturn apartheid-era town planning. It will

politics and culture of apartheid,” writes

attempt to connect previously dis-advantaged

Suzanne M. Hall as she comments on the books

and segregated communities to economic

written by Lindsey Bremner and Martin J.

opportunities and access to jobs and growth.

Murray, called Writing the City into Being:

More than this, the framework hopes for a future

Essays on Johannesburg, and City of Extremes:

where residents do not have to travel long

The Spatial Politics of Johannesburg,

distances to work, but rather work, stay and play

respectively. Apartheid’s spatial intentions was

in the same space (JDA, 2017). The Corridors of

not to create a city as a space for living, but

Freedom currently includes new public transport

rather for simply working. In both books, the

systems such as the Rea Vaya bus system and

current assumptions of ‘normative values’ in the

pedestrian walkways. The new Kopanang

city planning was denounced. Urban

bridge, that will further be discussed in this

development has formed inappropriately in the

research report, is intentionally created and

name of ‘economic growth’ and ‘job creation’.

opened in 2018 as the ‘corridor of freedom’

These were mostly false promises to the

between Alex and Sandton.

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WY N B E R G WAYSTATION

8. SELECTED SITE & MAPPING 8.1 THE “ GREAT WALK ” In the context of Johannesburg, a site was

creating a small short-cut for the pedestrians.

identified where a building could have the most

The initial intention was to serve the Alex

impact on the social environment. It is

community by choosing that site. Positioned at

positioned on the so-called ‘Great-Walk’ -

the end of the new Kopanang Bridge (translated

pedestrian route. The “Great Walk” is a term

‘the meet bridge’), the building could act as a

used by residents of the Alexandra community

metaphorical ‘bridge’ of the economic divide.

to describe the daily walk of about 5km between

The proposed building would become a

Alexandra and Sandton, between home and

‘median’ (see description prologue) on the

work, between the so-called ‘lower-class’ and

journey.

‘upper-class’. The site has the opportunity of

the halfway mark 5.1. Map o f S an d t on , Wy n b er g, A l ex an d r a, i ndicting 5km of the ‘ Great-Walk’ with s elected s ite in the middle

CONTEXT

111

the landscape 5.2. Ph ot o t aken f ro m a S an d t on s k y s cr ap er, w i t h S andton in the foreground, the M ar lboro pedes tr ian br idge to th e l ef t , t h e K op an an g p ed es t r i an b r i d ge ( an d s e lected s ite) to the r ight, s howing the whole Wynber g p reci n ct , an d A l ex andr a in the background P h o t o b y B e nj Kollenber g

112

WY N B E R G WAYSTATION

the selected site

CONTEXT

113

8.2 UNDERSTANDING THE ‘END-USER’

Though situated in Wynberg, it is important to

Open spaces are uncommon, and safe open

understand the context of Alexandra, to know

spaces are considered very valuable.

the needs of the end-users and thus gain understanding for selecting a suitable

99% of residents are Black African people and

programme.

speak Zulu, Sotho, Tsonga, Xhosa or other languages. Up to today, most residents in Alex

Since the political independence in 1994, people

have lived there for more than a decade through

have continued to move into Alex from rural

the historical events of the last century (Onatu,

areas in South Africa and neighbouring

2015). As a result, a sense of community and

countries, in search of housing and employment

local identity has been continually reinforced.

in the city. Yet Alex is considered one of the poorest urban areas in the country (Onatu,

Within architecture, there has been a basic

2015). In a recent conversation with a resident

assumption that space itself is universal but “we

in Alex, he shared how he has been working as a

are becoming more aware of how different

petrol attendant for almost 20 years, whilst

cultures maintain different spatial biases. It is

looking for a better job or an opportunity to live

not merely a difference in form and materials”,

out a dream he has, to make things through his

but in particular spatial preference (Maki, 2012).

creativity.

The community and local identity of Alex have certain spatial preferences. These spatial

Many people moved to Alex, and dramatically

preferences will become drivers in the design of

increased the population. It now has a very

the project and its public spaces. (This will

densely packed urban environment. To put in

further be investigated in the research chapter.)

into perspective, Sandton with high rise

The selected site spills over into its

buildings has a population density of about 1500

surroundings along the journey and the

people per km2. Alex with mostly single-story

Waystation will become a small precinct urban

informal dwellings, has a population density of

project.

about 26 000 people per km2 (Frith, 2011).

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WY N B E R G WAYSTATION

5 . 3. F i g u re g ro u n d m ap of W ynber g, with Sandton and Alex on either s ides . H ere t h e b u i l d i n g d en s i ties of the different communities are vis ible CONTEXT

115

116

WY N B E R G WAYSTATION

A sense of community and local identity has been continually reinforced. 5. 4. A s t reet i n A l ex an d r a s h owing the typical s treet activity in the community

CONTEXT

117

8.3 NOT JUST ‘ON-ROUTE’ The urban scheme of this project is intended to

The Wynberg Improvement District (WID) was

serve more than the pedestrian journey. It is

started and funded in 2004 by some of the

intended to serve the local workers and other

commercial property owners in Wynberg. The

city inhabitants too. There is a reason why the

owners agree to pay for certain services that will

Urban Renewal Programme for Alex includes

enhance the physical and social environment of

the Marlboro industrial area to the north of Alex

Wynberg. The WID specifically focusses on

and the Wynberg industrial area the the west.

crime prevention and cleaning and maintenance

Because these industrial areas have been

in order to manage the public spaces. The

declining (Onatu, 2015) in terms of safety and

successful achievement of this is making

quality of environment. They surround Alex,

Wynberg a highly competitive light-industrial

and therefore Alex has been dislocated from the

node.

surrounding economies of Sandton CBD, the Midrand high tech-belt, Kempton park and even

The site is also intentionally selected at the main

Johannesburg CBD. The ‘Corridors of Freedom’

entrance, or ‘gateway’, into the Wynberg

projects are trying to connect residential

industrial area which lies between Alexandra

communities like Alex back to the surrounding

and Sandton. It is therefore, not just an urban

economies because, like in this case, the

scheme for the pedestrian route. It has a purpose

industrial areas are keeping Alex isolated.

beyond: serving Wynberg by being well-situated

Therefore, the improvement of Alex is

in its context and also addressing its needs.

dependant on the improvement of the Marlboro

(This will further be investigated in the research

and Wynberg industrial areas. A growth in the

chapter.) The site will not only be used during

economies of these industrial areas will

peak hours with pedestrians walking to work in

subsequently improve the living standards in

the mornings and back from work in the

Alex, through new employment possibilities,

evenings, but also throughout the whole day by

better pedestrian environments, and closer

people who work in Wynberg.

facilities.

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WY N B E R G WAYSTATION

The site is intentionally selected at the â&#x20AC;&#x2DC;gatewayâ&#x20AC;&#x2122; into the Wynberg industrial area 5. 5. Th e s o u t h - w es t el ev ation / s treet view of the s elected s ite

CONTEXT

119

5.6. Map i n d i catin g al l s t reet s an d p rom i n en t m ov ement routes through Wynber g and s ur roundings

120

WY N B E R G WAYSTATION

5. 7. Map i n d i cat i n g z on ing of Wynber g and s ur roundings

CONTEXT

121

8.4 WYNBERG OVERVIEW Currently, Wynberg hosts a lot of panel-beating

There is the potential for wynberg to

and car repair companies along with a variety of

economically uplift local populations, to

industrial businesses, such as many construction

become a vibrant small-scale manufacturing hub

companies, lighting-, electrical- and paint

in the city. This is especially true in an era

specialists, carpeting-, embroidery-, furniture

where local manufacturing and authentic

companies, metal manufacturers, signage

processes are valued. But the currently built-up

printers, and storage companies. But there are

area with wall-to-wall factories and hardly any

minimal food shops and eateries, and hardly any

good public space does not encourage this

retail. This industrial area is still growing, and is

potential. Currently, the thousands of

currently undergoing some development and

pedestrians walk through Wynberg everyday

infrastructure upgrades (WID, 2016).

and do not really engage with Wynberg. They generally only pass through it on their way to

During a recent visit to Wynberg I walked into a

work and returning home in the evening. It has

large warehouse with hundreds of furniture

becomes an unsafe part of the journey between

items on display and upholstery services readily

Alexandra and Sandton, because the streets

available. The vast scale of enterprise and

provide no alternative routes or interactions.

activity offers exciting opportunity for future urban growth and opportunity.

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WY N B E R G WAYSTATION

The currently built-up area with wall-to-wall factories and hardly any good public space 5. 8. A er i al photo of Wynber g precinct photo by 5th Avenue

CONTEXT

123

5. 9 . P h o t o s o f m ap p i n g p ro ces s d u r ing s tudy on Wynber g by author T his p rocess req u i red d r i v i n g t h rou gh ev er y s t reet i n W ynber g and categor is ing ever y building according to p rogr am m e, as w el l as d o i n g d r aw i n gs and inter views along the way

124

WY N B E R G WAYSTATION

5. 10. Map i n d i cat i n g t h e p rogr ammes in the buildings in Wynber g, as while as t h e l ocat i ons of s ome public facilities .

CONTEXT

125

5. 11. Map i n d i cat i n g n at u ral features of precinct. 126

WY N B E R G WAYSTATION

8.5 USERS

ALEX PEDESTRIANS People who walk from Alexandra to Sandton

occupied by them as they pass through it and

and back everyday, along the â&#x20AC;&#x2DC;great-walkâ&#x20AC;&#x2122; route.

use its facilities. This include children. And

This is predominantly in the mornings before

secondly, the workshops are made to provide

work and the afternoons after work. The Alex

opportunities for this target market, a place

Pedestrians are the target market because of two

where new local new businesses can begin.

reasons. Firstly, the building will mostly be

WYNBERG EMPLOYEES There is a lack of public space to occupy during

includes both blue collar and white collar

lunch or work breaks for people who work in

workers in this industrial area. The proposed

Wynberg. There is also a lack of food to buy in

building will act as a hub, a meeting place and

the area. This is a gap in the Wynberg market

waiting space. This target market will mostly

and will be addressed in this project. This

occupy the building during lunch hours.

M1 COMMUTERS The project is also targeted at the wider market

social and manufacturing awareness amongst

of people in Johannesburg, specifically the

people and attract this target market to also visit

motorists who pass the Wynberg area on the M1

the building and support the locals through

highway. The project will attempt to create a

buying manufactured goods and local food.

CONTEXT

127

The site is specifically selected to draw in the users. The following reasons where the driving factors with the selection of the site: The site is selected next to the M1 highway, it is highly visible to all the thousands of commuters daily, enabling the project to have a social presence. This is immediate advertising of the project and creates increased awareness thereof in the greater Johannesburg. (See fig 5.12).

The site is situated at the entrance of Wynberg, The insertion of small manufacturing / artisan workshops is very suitable in this industrial area. The project would add to the economy of Wynberg by acting as a new gateway. reimagining the future of Wynberg through the way it is entered, and attractive first impression of this space of manufacturing. (See fig 5.13).

Furthermore the site is almost in the middle of the Wynberg precinct, walking distance form all sides of Wynberg, enabling it to act as a hub for all employees in Wynberg. (See fig 5.14).

specifically selected site Top: 5. 12. s ite along highway. M iddle: 5. 13. s ite as gateway. Below: 5. 14. s ite as centr al hub

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WY N B E R G WAYSTATION

The site also situated along the journey of the great-walk route.

The site actually creates a

small short-cut on this route, guaranteeing that people will walk through the site, because pedestrians always tend to take the shortest route. It can therefore provide for pedestrians’ physical needs and desires (resting, safety, water, ablution, food), as well as emotional needs (opportunity, inspiration, hope) along this journey. (See fig 5.15. and fig 5.17)

specifically selected site 5. 15. s i t e creates s hor t-cut on the ‘ Great-Walk’

CONTEXT

129

5 . 16. A b o v e: m ap f rom w h ere p h otos were take. image by author R i g h t : p an o r am i c view of s elected s ite,

130

WY N B E R G WAYSTATION

The site has the opportunity of creating a small short-cut 5. 17. p en ci l d r aw i n g of s ite indicating potential s hor tcut

CONTEXT

131

5.18. Aeri al p h ot o of t h e K op an an g p ed es t r i an b r idge, over the M 1 highway. The br idge leads to Wynber g, seen i n the b ack g ro u n d . Th e p os i t i on of t h e s elected s ite at the end of the br idge is indicated. p h ot o b y G u stavo Tr iana M ar tinez

selected site

132

WY N B E R G WAYSTATION

CONTEXT

133

5.19. Two men w al k i n g on t o t h e b eg i n n i n g of t h e Kopanang br idge towards Sandton from the Wyn b erg si d e. Th e b r i d g e i s s een i n t h e b ack g ro und on the left. The beginning of the s elected i s o n t h e r i gh t o f t he photogr aph.

5 . 20. P ed es t r i an s cros s i n g t h e K o panang br idge before s uns et. Th e S an d t on s k y l i n e i s s een in the background 134

WY N B E R G WAYSTATION

5. 21. P ed es t r i an cycling in the cycling lane acros s the Kopanang br idge. P h ot o taken looking South over the M 1 highway.

5.22. Bo t h p h o t o s are t ak en f ro m t h e K o p anang br idge looking eas t, directly onto the s elected s ite

CONTEXT

135

V I S U A L A N A LY S I S

The opposite economy is in your face 5.23. Top : Th e S an d t on C B D s k y l i n e as s een f ro m Wynber g and s pecifically from the s elected s ite. B o t t om : a p l an i n d i cat i n g t h e v i ew from which the s kyline is s een

136

WY N B E R G WAYSTATION

5 . 24. V i s u al an al y s i s of i n d u s t r i al typology in Wynber g with s pecific locations .

CONTEXT

137

5.25. V i s u al an al y s i s of i n d u s t r i al t y p o l o gy in Wynber g with s pecific locations .

The Kopanang bridge leading into the selected site in Wynberg 5. 18. A er i al p h o t o by Gus tavo Tr iana M ar tinez

138

WY N B E R G WAYSTATION

5 . 26. V i s u al an al y s i s of i n d u s t r ial typology in Wynber g with s pecific locations .

CONTEXT

139

5.27. Top : p h o t o m on t ag ed an d d r aw n s t reet e levations s howing s treet contex t an d i n d i cat i on s el ect ed site pos ition O p p o s i t e, B el o w : p l an i n d i cat i n g p os itions of s treet views 140

WY N B E R G WAYSTATION

SECTION AA - NOR TH

SECTION BB - EAST

SECTION CC - WEST

PLAN

CONTEXT

141

5.2 8. V i s u al an al y s i s of i n d u s t r i al t y p o logy in Wynber g with s pecific locations .

142

WY N B E R G WAYSTATION

5 . 29. V i s u al an al y s i s of i n d u s t r i al typology in Wynber g with s pecific locations .

CONTEXT

143

Forms of inhabitation in the Wynberg district 5. 30. Top : l o cat i on s of s potted s cenar ios B el ow : ch i l d ren w ai t i n g an d p l ay ing on the gr as s patch of the patrol gar age n ex t t o the s elected s ite

144

WY N B E R G WAYSTATION

Forms of inhabitation in the Wynberg district Top: 5. 31. man car r ying indus tr ial mater ials acros s the s treet. Left: 5. 32. men having their lunch on the s treet s idewalk. Below: 5. 33. s mall gar age is tr ans for med into a timber fur niture wor ks hop

CONTEXT

145

RESEARCH

147

PEDESTRIAN INTERVIEWS * See appendix for ethics clearance certificate and respective questionnaires *

6. 1. Left: Some of the routes dr awn by inter viewees . Top: dr awing of inter view taking place with map dr awing ex ercis e.

Each pedestrian interviewee is asked to draw their average daily journey with a red pen on a map provided. During a interview the pedestrian is also asked what their future occupational dream is. Some of the dreams included:

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WY N B E R G WAYSTATION

making bangles car dealership food business building own home playing drums own a electrical business building objects

6. 2. Map of pedes tr ians routes . T h e ro u t e d r aw i n g s b y p ed e s tr ians are over laid on top of each other in p h o t o s h o p t o cre ate the pedes tr ian routes map. RESEARCH

149

The people interviewed where asked if they currently live in Alex and Work in Sandton. The following information is from the interviewees who answered yes to both those questions Of all the people interviewed,

90% said they enjoy the new Kopanang pedestrian bridge.

Reasons for enjoying the bridge:

11% 22%

Safe from cars / traďŹ&#x192;c Feeling of freedom

Safe from crime

67%

When asked what would be nice to have (more of) on this Great-Walk route:

13% 27% 20%

Seating Water drinking points Good Lighting

Bathrooms Trees Food Shop

13% 7%

20%

When asked if they think that storage space for the day would be helpful on route, and if they would they use it,

150

78% of the interviewees said no. WY N B E R G WAYSTATION

80% of pedestrians said that they feel unsafe on this route, especially at night. 90% of interviewees said that they would like another police station on this Great Walk route. When asked what would make the pedestrian feel more safe,

70% of people said that good

Lighting and more Security on the route would make them feel more safe. The interviewees where asked where they do their food shopping.

66% said at the Pan Africa Mall

(on this Great-Walk route) and the other 30% said at the Alex Mall.

78% of interviewees said that it would be helpful to have a foodcourt with local styled meals on the route in Wynberg. Only

50% of interviewees said that they would buy coffee on the route.

When asked what is required from a space for the person to stop there and hang-out. (linger) the following three answers were given:

37%

38% Seating

Greenery

Shade

25%

Of all the people who said that they do have young children,

66% said that it would be good to

have a safe play park on the route where the kids can be left to play.

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STORIES OF ENTREPRENEURS The voice of the individual often ‘speaks’ much louder than the collective, because the story of the individual is personal and relatable. For this reason I interviewed three individuals with entrepreneurial ambitions. They were interviewed at the three extents of Wynberg and have three very different products and services to offer. These are just three stories of people who could be interested in having a ‘platform’ / workshop space in the proposed Wynberg Waystation.

6.3. Ph ot o of Ton y M ondl h an e, h i s ‘p l atf o r m ’ an d t h e l ocati on th ereof . 152

6. 4. P h o t o of Paulina S ei m el a, h er ‘ p l atfor m’ and t h e l ocat i on thereof. WY N B E R G WAYSTATION

6. 5. Photo of John M unyai, his ‘ platfor m’ and the location thereof.

TONY MABASO MONDLHANE ( F as h i on d es i gn er and founder of Alex Ar t mar ket) D at e o f inter view: 1 M arch 2018

“I was born in Alex and I grew up here. I was lucky to be given an opportunity to work as a cushion designer. They approached me after seeing one of the garments that I made for someone. So, in that way, I managed to break out of this life of poverty. I took it on myself to come back to Alex and to give back to my community with skills development. So I started doing this sewing training at the Thusong Centre. People who finish the sewing course/ training with us have gone in different directions. One guy, Zulu, already has his own small clothing factory on 8th Avenue. Another guy, Marthinus, has his own boutique on 14th Avenue. And other people are doing their work from home. We did an impact study and saw that from the 60 people who have completed this course over the pat few years, 26 jobs were created. I realised that we didn’t have a space to sell the products that we make here in the sewing class. That is when this idea came about: This is the Alex Art Market. What we are trying to achieve here, is to create a space for the creative SMME’s to sell their products. Everything in this shop, besides the clothes that we make here, are done from people’s homes.”

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“At the moment we are very challenged with space. We have two containers for this shop, and two for a possible small museum in the future. But we need more space for small SMME’s to be able to display their products. There are many people who come here looking for space to sell their products, but we cant accommodate them, because its already cluttered in here. We need more space. Our first target market is local. For the people here in Alex. But we want to attract the tourists as well. I could have done this ‘Art market’ on the other side, the Sandton side, but I did it here for people to get a job close to their home. What has been happening in Alex is, we go to work is Sandton, we get payed, but people just spend the money in Sandton again. The money isn’t invested back into our community. So I hope there are some sustainable things that will start to happen here. I think the new pedestrian bridge is good, but I hope people would start to invest here. So people can start doing things for themselves here. We have much to give, but at the moment it is scattered. I want to make this space nice, clean and classy. I want to make it look beautiful. And for it to have aircons and proper coffee shops. People must not just come here to buy things. I want people to be here, read something, and experience something.”

6 . 6. collaged photos of the s ewing tr aining rooms , r un by Tony, in the T hus ong Centre, Alex .

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Top : 6. 7. P h o t o of t h e Alex Ar t M ar ket s tar ted by Tony RESEARCH B ot t om : 6. 8. A s ewing machine us ed

155

MOKGADI PAULINA SEIMELA ( F ood ‘ t r u ck ’ o w n e r in Wynber g) D at e o f i n t er v i ew : 1 7 Augus t 2018

“13 years ago, in 2005, I was working at a company, making earrings, and earning just a little bit of money. But then I stopped working for them and needed to make an income. So I just tried making food. It worked, so I carried on doing it until today. I started selling here using just a tent. The people from the ATM company across the road used to come buy food from me. The one day the wind was so strong it blew over my whole tent structure into the street and they were looking through their window and saw what happened. They came to me and said “we are going to make you a shelter”. So they gave me this old ATM machine. I got it just like this, painted and all. It’s called ‘Terisano Fast Foods’. I sell ‘pap’, steak, ‘wors’ and cool-drinks. Plenty of people who work here in Wynberg come buy food from me, but not everyday, it changes often. My son works here with me when I’m not feeling strong to do it on my own. I dream of having a bigger space, with nice tables and chairs and tent shading for people to sit under. I don’t necessarily have to stay right here. Anywhere on this side of Wynberg would work. I feel safe here in Wynberg.”

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Top : 6. 9. p h ot o of Paulina at her ‘ foodtr uck’ B o t t om : 6. 10. food being prepared RESEARCH

157

THINAMANO JOHN MUNYAI ( S h o em ak er an d repair s in Sandton) D at e o f i n t er v i ew : 2 4 Augus t 2018

“I used to be a shoemaker for a company in Joburg CBD. This was from 1979 to 1984. They had a training course there that taught us how to repair shoes and do all the finishings etc. And then we would teach new staff at the shop again. So the company grew and as time passed the company started failing. So another company called Multisave took over, but they didn’t take us the staff, because they had their own staff. So we had had to get new jobs. I went to work for an Indian man in Sunninghill. I worked for him for three years. In 1988 I left that job, because he didn’t allow me to go on holiday. I am from Limpopo and wanted to go home for a short holiday. He just said “who’s gonna do the job if you go on holiday”. I even had to work on Saturdays. I used to live around the corner here in Sandton. The Nampak head office used to be here across the street. The one day, around 12 o’clock, I just took my wife’s shoes, and came and sat here. I thought I would rather just sit and do that. Then the Nampak employees came to me over lunchtime and said, ‘we’re just seeing you sit here in the corner and we wanted to know what you are doing?”. I said, “Im fixing my shoes.” So they ask me “where are you working?” I explained my situation of working in Sunninghill, and they told me I mustn’t work there but rather sit here and fix shoes and we will support you, and there’s a lot of people in this company.” 158

WY N B E R G WAYSTATION

Top : 6. 11. p h ot o of John at his s hoe-repair tent B ot t om : 6. 12. Johnâ&#x20AC;&#x2122;s equipment RESEARCH

159

“So they asked me how much I would charge for the repairs and after I told them the price, they gave me the money already without even giving me the shoes. The shoes only came the next day. The money I made in that one day was equivalent to 6 days work pay in Sunninghill. End of the week i made good money so I went to buy my own materials and what I need to do the work here. A man form the Licence Department saw me sitting here and said that I must go to the Civic centre in Sandton the next day, to get the papers I need to sit here. So I did that, and they gave me the paper. I’ve been working here for about 30 years and people still come to bring their shoes. Everyday I expect to have about 2 or 3 shoes to repair. But this job requires, what shall I call it, ‘a long heart’? Endurance! Because some days you wont get the customers and other days you will get more. I had a tent for shading. It was a bit broken so I tied it together with a wire. It was also much lower, and it was a problem when it was raining. The gazebo I have now is from the chap in the company behind me. I store this gazebo by the house across the street. I used to live there, so they know me. I am content with this setup. If it was bigger I would struggle when I get older and more tired. I am 64 years old now. It would be nice if this shelter could be a permanent one. Like the ones next to the Alex mall. So that I can just lock up everyday without having to move my stuff. Because at the moment I push everything around in this trolley to set up this space everyday. The people know me here, so I wouldn’t want to move. I am happy here.”

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WY N B E R G WAYSTATION

6 . 13. photo Johnâ&#x20AC;&#x2122;s equipment

RESEARCH

161

VIABILITY

163

A CIRCULAR ECONOMY The ‘material library’ in the building with its off-cut materials in, as described in the essay, will create a more circular economy in Wynberg. A circular economy is not a linear one where things are made, used and disposed. Resources are kept for as long as possible, according to Wrap (Wrap, 2018). With all the industrial activities, especially furniture upholstery, happening in Wynberg in a linear economy, the disposal of material resources can be brought to the Wynberg Waystation and kept there, to up-cycle and regenerate the materials.

7. 1. diagr am of circular / ex change economy dr awn in M arch 2018 while cons ider ing the function of the propos ed building / factor y

The building and its processes seek to function

allow us to see the spaces and practices where

in a ‘pericapitalist’ manner. This term is used by

lines between work and non-work are

Anna Lowenhaupt Tsing in her book The

blurred.” (Tsing, 2015, 63).” (Frazier, 2017)

Mushroom at the End of the World to describe what happens in-between the distinct capitalism

People in society today are beginning to

and non-capitalism. It asks people to “look

appreciate peri-capitalist initiatives, circular

around rather than ahead,” (Tsing, 2015, 22)

economies, exposed production processes, and

because the idea of the disciplined labor central

the authenticity of meeting the creator of a

to capitalist production is a problem. Frazier

product being bought. The middle-man in

writes about this distinction:

capitalism is being cut out. This is also why the metaphor described as ‘median’ is purposefully

“Tsing’s descriptions of what mushrooms mean

not called the ‘middle-man’ (which is what a

for pickers demonstrate that work is not always

median is often called in South Africa). The

understood as work, that livelihood is not

end-user is connected to the creator and vice-

always conceived as labor. Pericapitalist sites

vera.

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WY N B E R G WAYSTATION

PROGRAMME

7. 2. i n i t i al p rogr ammatic conceptual diagr ams

VIABILITY

165

7. 3 . I n i t i al p rogr am m e cl u s t er i n g f o r the Wynber g Ways tation project

166

WY N B E R G WAYSTATION

7. 4. p ro gr am m at i c ch ar t w ith key of final progr ammatic res pons e

VIABILITY

167

BUSINESS PLAN PROJECT BRIEF The project will be designed for a newly formed

by this desired outcome. A lot of the decision

Non-Profit Company, ‘Project Median NPC’,

therefore does not have to be made according to

who promote ‘start-up’s’ of small business in

the most economical decision. Therefore, the

previously disadvantaged communities. This

site will be selected where it can have the largest

specific project, the Wynberg Waystation, will

social impact and the construction will happen

be their first building. The company will have a

in two phases for a specific social purpose.

specific role in the functioning of the building.

Community consultation an local procurement

The construction of the building will happen in

will also be important in the process. The Non-

two phases for a social purpose. Because the

Profit Company will approach various funders

building is purposed for social upliftment, most

with a similar interest and corporate companies

of the deciding factors in the design and the

with Social Corporate Responsibility.

construction methodologies will be influenced

CLIENT A Non-Profit Company called ‘Project Median

grants or donor-funding. A NPC must have at

NPC’ is set-up under the under The Companies

least three directors and Project Median NPC’s

Act, No 71 of 2008. It will be required to also

three directors will be defined as the executive

director, finance director, and managing director.

Social Development as an Non-Profit

(See organisational structures in figures 7.12 &

Organisation (NPO) in order to request

7.13)

government funding, a fund raising number, and

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WY N B E R G WAYSTATION

7. 5. O r g an i s at i on al s tr ucture of a Non-Profit company

STAKEHOLDERS PRIMARY STAKEHOLDERS The primary stakeholders are GEN AFRICA and

They will be a Partner and funder of the project

WBHO Group. These are defined as primary

and will use some of the workshop spaces for

stakeholder due to their relationships with the

their benefit on a contractual agreement basis.

project and the proposed building. They are both funders and users of the building.

The WBHO Group was approached by Project Median to request their Corporate Social

GEN AFRICA, known as ’22 ON SLOANE’ in

Investment (CSI). The WBHO head office in

Sandton, is the largest start-up campus in Africa.

Johannesburg is adjacent to the proposed

VIABILITY

169

building site so WBHO will also directly benefit

Responsibility. This donation will be made on a

from this social investment, though new public

monthly basis until the NPO becomes

space, and daily visible social impact

sustainable. (See the WBHO Groupâ&#x20AC;&#x2122;s CSI in

satisfaction. A percentage of their profit will be

Appendix)

donated to Project Median as a Social

SECONDARY STAKEHOLDERS Secondary stakeholders are those that fund both

The Johannesburg Roads Agency often gives

the initial capital of the project as well as the

donations to NGO's as part of the Social

ongoing operation costs.

Responsibility commitment of the JRA, The JRA endeavours to bridge the gap to

The Department of Trade and Industry (the dti)

disadvantaged communities which is the main

will be giving a government Incentive to the

objective of this project so the JRA agreed to

project, because they promote black economic

also give a donation to Project Median.

development. The food franchise Hungry Lion Fast Food (Pty) The Industrial Development Corporation (IDC)

Ltd, was approached by Project Median to be

is a state owned finance institution that falls

anchor tenants in the proposed building, because

under the Economic Development Department.

of the location and target market is prime for

It promotes balanced and sustainable growth in

them. On top of their Lease deposit, the Hungry

Africa, and therefore funds start ups and

Lion company will invest initial capital funds in

existing businesses. The IDC will also fund

order to hold a share in the premises.

Project Median.

TERTIARY STAKEHOLDERS Tertiary stakeholders are the are the regulating

regulating bodies include the South African

bodies of the NPC / NPO and therefore are

NPO Coalition and the S.A. Non-profit

concerned with companyâ&#x20AC;&#x2122;s operations, funding

Organisations Regulatory Authority.

implementation and its transparency. These

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WY N B E R G WAYSTATION

7. 6. d i ag r am of s t ak eh o l d er i n v ol v e ment in the Wynber g Ways tation project

VIABILITY

171

SITE PLANNING & ZONING In order to enable a shortcut along the journey,

premises. The buildings on Erf 171 currently

and to have a site large enough to act as a hub in

hosts the Wynberg Lights company. But the

Wynberg and provide the necessary public space

premises will be bought from them, and it wont

it was needed to selected three adjacent Erfs on

be a major shift for them to move location

either sides of Andries street. These are Erfs no.

within Wynberg. Erf 172 is currently used for

171, 172, and RE/181.

temporary shaded parking which is easily replaceable elsewhere. Both buildings will be

Bulldozing: There are two buildings currently

demolished and this won’t majorly affect any

on two of the sites. The building on Erf RE/181

persons involved and wont cause any

is currently unoccupied, so no one would be

disadvantages on the Wynberg precinct either.

effected in the process of taking over this

CONSTRUCTION METHODOLOGY Because the project is primarily for social

to use these ‘platforms’ or workshops to start

upliftment, it was decided to phase the

there own manufacturing specifically for the

construction in two phases for a social purpose

procurement of Phase 2 construction. This

rather than an economical purpose. The

includes community consultation and skills

completed building will have many workshop

exchange, so that the building itself embodies a

spaces and only a few of these basic workshops

process of community involvement and

will be in Phase 1 of construction. The purpose

ownership and invests into micro-business in the

of the phase 1 insertion is to enable local people

building process.

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WY N B E R G WAYSTATION

7.7. off i ci al zon i n g map s h o w i n g se le c ted erf s zon ed as â&#x20AC;&#x2DC; S p eci al â&#x20AC;&#x2122;

7. 8. d i ag r am b y author, s howing 3 s elected er f s on b ot h s i d e s of Andr ies s treet

7.10. diagram i n d i cat i n g p ro p os ed p o s i t i on of pha se 1 (f i rst p l at f orms) i n red an d p h as e 2 i n b l u e.

7. 9. diagr am indicating buildings to be demolis hed

7. 11. diagr am of project team dur ing phas e 2 VIABILITY

173

7.1 2. Th e s u m m ar i s ed o r gan i s at i on al s tr uctures after phas e 1 cons tr uction.

174

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7 . 13. Th e s u m m ar i s ed o r gan i s ational s tr uctures after phas e 2 cons tr uction.

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175

FINANCIAL MODELLING The estimated financial viability was modelled

received, the income generation the the building

in terms of the construction and development

operations, and the operational expenses. These

costs, which include all the professional fees,

are all weighed up to consider the financial

the initial capital funding of the building

viability of the project.

7.14. b u i l d i n g cost s Programme

Quantity

Area (m2)

TOTAL BUILT AREA

3 914

EFFICIENCY RATE

30%

1 174,2

COMPLETE BUILDING SIZE

site size

5 088,2

3 Erfs: 3716m2 + 3716m2 + 3297m2

10729

FLOOR AREA IF OVER 2 STOREYS

3 561,74

left over site space

7167,26

FLOOR AREA IF OVER 3 STOREYS

2 544,1

left over site space

8184,9

TOTAL PUBLIC SPACE

792

TOTAL PARKING SPACE

2220

(source: African Property & Construction Cost Guide 2017 by AECOM

Amount (R) Work Space/ Oï¬&#x192;ce development cost

R8 900.00/m2 x COMPLETE BUILDING SIZE

Public space development cost

R1 470/m2 x TOTAL PUBLIC SPACE

1164240

Ground floor parking development cost

R800/m2 x TOTAL PARKING SPACE

1776000

TOTAL BUILDING COST

45 284 980

48225220

EXTRA Additional : 2500l JoJo tanks

17 x R 3 300 each

Additional: Movable wall systems in workshop

80 x R 600 each

TOTAL BUILDING COST

56 100 48 000 48329320 R 48 329 320. 00

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7 .1 5. p rof essi on al f ees co s t s TOTAL BUILDING COST

R 48 329 320. 00

All amounts are inclusive of VAT *- payments are calculated in terms of the recommended Tariﬀ of Professional Fees in terms of Section 34(2) of the Architectural Profession Act no.44 of 2000 and other Acts. Professional

Base Fee

Percentage

Percentage Amount

Total

R340 000,00

8,5% of R7 000 000

R595 000,00

R935 000,00

Structural engineer

R570 000,00

7,0% of R15 000 000

R1 050 000,00

R1 620 000,00

Electrical Engineer

R280 500,00

8,5% of R4 000 000

R340 000,00

R620 500,00

R2 778 936,00

R3 588 936,00

R3 968 000,00

R5 560 000,00

Traﬃc Engineer

Fire Engineer

R1087 per hour R810 000,00

Architect

5,75%

R1 592 000,00

Quantity Surveyor Town Planner

3,1% of R128 000 000

R1546 per hour

R123 600,00

x 80 hours

Land Surveyor Soil Scientist Project Manager

R260 880,00

x 240 hours

R6 000,00

R50 000,00

R1 353 000,00

Attorney / Legal Fees

R3000 per hour

Contractor

Cost + 5 850 000

Additional: Community Liaison Person

R20 000 per month

3,6% on the balance over R60 000 000

R2 148 000,00

R3 501 000,00

R7 903 896,00

R13 753 896,00

x 5hours 3,5%

R15 000,00

x 3 months

R60 000,00

TOTAL PROFESIONAL FEES

R30 094 812,00

7. 16. total development cos ts Amount (R) Building costs

R48 329 320,00

Fees costs

R30 094 812,00

Fit Out

R13 500 000,00

TOTAL CONSTRUCTION AND DEVELOPMENT COSTS

R91 924 132,00

7.17. op erati on al i n co m e Generator Rental income of the food trading space

Monthly Income (R) R300ea @15 bays at 75% occupancy

Rental income from anchor tenant, Hungry Lion Fast Food

Annual Income (R)

3375

40500

24 300

291 600

36 000

432 000 116 400

Material shop library income

cost price + 20% profit

Percentage of sold manufactured goods from retail component.

goods sold at 20% for Project Median

9 700

Hiring out of workshop spaces for events

+- twice a month.

8 000

96 000

500 000

6 000 000

Ongoing Corporate Social Investment from WBHO Parking Public

70 000

840 000

TOTAL INCOME WITH WBHO CSI

651375

7816500

TOTAL INCOME WITHOUT WHBO CSI

151375

1816500

7. 18. oper ational ex pens es Expense

Monthly Amount (R)

Annual Amount (R)

Salaries: Part Time Salary: Managing director

15 000

180 000

Part Time Salary: Finance director

15 000

180 000

Salary: Manager of Material Library

10 000

120 000

Salary: Manager of Retail Shop

8 000

96 000

Salary: Cleaner

3 000

36 000

30 000

360 000

Electricity (excluding electricity paid by food traders)

24 000

288 000

Water

21 000

252 000

7 000

84 000

133 000

1 596 000

Purchasing Material Library shop new material purchases.

Building overheads

Building Maintenance

VIABILITY TOTAL EXPENDITURES

177

7.19. cap i t al f u n d i n g Funding organisation

Form of Funding

GEN Africa - 22 on Sloane

Investment

WBHO Group

Corporate Social Investment

The Department of Trade and Industry (the dti)

Amount (R)

Percentage of total development cost

20 000 000

22%

6 000 000

Government Incentive

17 500 000

19%

The Industrial Development Corporation (IDC)

Donation / Funds

25 000 000

27%

Hungry Lion Fast Food

Investment

TOTAL FUNDNG RECIVED

5 000 000

73 500 000

80%

100 000

0,1%

18 342 200

19,9%

91 942 200 91 942 20

100%

ONCE OFF INCOME GENERATION: Hiring out of facade as Billboard.

Space Rental Income

LOAN: National Empowerment Fund (NEF)

Loan

TOTAL

7 . 20. ci rcu l ar ch ar t d iagr am s howing p ercen t ages f u n d er s f or total development cos t s .

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7.21. f i n an ci al v i ab i l i t y Monthly Amount (R)

Annual Amount (R)

TOTAL INCOME WITH SCI

R651 375,00

R7 816 500,00

TOTAL INCOME WITHOUT SCI

R151 375,00

R1 816 500,00

TOTAL EXPENDITURE

R133 000,00

R1 596 000,00

SUB BALANCE WITH CSI

R518 375,00

R6 220 500,00

R18 375,00

R220 500,00

R500 000,00

R6 000 000,00

BALANCE WITH CSI In first 5 years

R18 375,00

R220 500,00

BALANCE WITHOUT CSI after 5 years

R18 375,00

R220 500,00

SUB BALANCE WITHOUT CSI

LOAN INSTALLMENTS TO NEF Captal Loan Amount

R18 342 200,00

National Empowerment Fund at 11% lending rate p/a for 5 years

R10 088 210,00

Total Loan Amount

R28 430 410,00

Loan Repayments will be payed off after 4,75 years

CONCLUSION OF VIABILITY Although the building would not be generating a

benefit from the building, money will be put

worthy profit, and a big loan would have to be

back into the previous disadvantaged

payed off in the first five years, the project is

communities through enabling start-ups of small

considered viable because of the social impact

businesses where there was none before, which

that it will have on the Alexandra and Wynberg

is what the objectives of the client is.

community. The Non-Profit Company is set-up

Furthermore, inspiration and hope is imparted,

to be economically viable with regards to just

through the building, to the people who pass by

sustaining itself. But the viability is justified

daily, and this impartation in itself adds to its

more by its social contribution. The users

social viability.

VIABILITY

179

T E CHNOLOGICAL STUDY

181

INITIAL APPROACH FLOOR

8.1. i ni t i al l y t h e p roces s of en g r av i n g on clay tiles by the community would become a p roj ect t o i n v o l v e t h e en d - u s er s i n t h e creat ion of the building and hence create a s ens e of ow n er s h i p i n t h e b u i l d i n g w h e n their par t becomes per manent.

8. 2. cl ay / t er r aco t t a t i l es car v ed by the end-us er s , as imagined in t h e m ai n p at h w ay s o f t he Wynber g Ways tation

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ROOF

8. 3. Left: cons ider ing the wall to roof connections with the more complex wall s ys tem in the initial approach

8. 4. Bottom: dr awings of tr us s connections and pos itions above the main public â&#x20AC;&#x2DC; linger ingâ&#x20AC;&#x2122; s pace.

T E CHNOLOGICAL STUDY

183

WALLS

8.5 i n i t i al op t i on of u s i n g cor r u gat ed s h eets as ex ter nal wall for mwor k s hutter ing and t h en re- u s ed f o r act i v ities in the wor k-s hops .

8. 6. Left: s tar ting with wattle & dope architecture cons ider ations 8. 7. Below: wor king with s tandard s izes of cor r ugation s heets to deter mine reinforcement s pacing.

184

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8 . 8 i n i t i al co n s i d er at i ons for wall cor ner s in plan and wall s ection

8. 9. initial wall s ection des ign with cor r ugated s heets us ed as ex ter nal s hutter ing to achieve hor izontal s tr iped walls . T E CHNOLOGICAL STUDY

185

8.10. d et ai l ed secti o n al p l an of i n i ti al wal l d et ai l s

8 .1 1. sect i on al axon o m et r i c w i t h sp eci f i c cal l o u t s

186

8. 12. d et ai l ed section from callout 1 on left

WY N B E R G WAYSTATION

8. 13. detailed s ection from callout 2 on left

RAMMED EARTH RESEARCH

rammed earth has layers and can curve with chreods 8. 14. N k â&#x20AC;&#x2122; Mi p D es er t C u l t u r al Centre, Canada, by DIALOG Architects , 2006 p h ot o b y Nic Lehoux Photogr aphy

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RAMMED EARTH After further investigations for the Wynberg

area also plays a role because moderate external

Waystation, it was decided that rammed earth

temperatures are required. This construction

walls with a separate concrete frame structure

method has been successful in South Africa.

would have the same visual effect desired. It would also be even more environmentally

It is considered a ‘green’ material because soil

friendly and has many social benefits with

from the immediate environment can be used. It

regards to teaching the local workforce this new

therefore has a low embodied energy and the

skill. This construction method is investigated to

use of local soils supports sustainability

decide on the necessary details required for this

practices. Because it is such a densely

project.

compacted material, it is considered to help to regulate humidity and can be airtight. In other

Rammed earth walls are constructed by

words, if constructed properly, it would reduce

compacting (or ramming) moistened soil

heating and cooling costs, making a building

between temporary formwork panels. When the

more energy efficient.

soil is dried, it is a hard, dense wall. According to Sandy Patience who established ‘GreenSpec’,

It is also considered a traditional form of

although rammed earth is an ancient form of

construction. But it is not yet well known in

construction, usually associated with arid areas,

South Africa, so this material can contribute to

it has become is a vernacular green building

the ‘outland’ emotions as described in the essay.

material, “popular amongst environmentallyconscious architects as well as those seeking an

The shortcomings associated with the durability

element of exoticism” (Patience, 2018). There

of rammed earth walls are strength, shrinkage,

are plenty of examples of rammed earth walls

external surface protection and water resistance.

tried and tested around the world, especially in

These shortcomings can be prevented by adding

Australia, which shows that it is a successful

a stabiliser, usually cement of up to 7% of the

and durable way of building. Though it is

mix (Patience, 2018). These walls are usually

becoming more known, it is still limited to

reinforced with steel re-bars to reduce risks. It is

becoming a mainstream construction material

then called stabilised rammed earth (SRE).

because of the formwork and labour costs

These stabilisers do compromise the

involved. (Patience, 2018). The climate of an

environmental credentials, but are recommend.

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Rammed earth walls require careful detailing,

DPCâ&#x20AC;&#x2122;s that preferably sit on plinths. Horizontal

high level of construction control and the

damp is stopped through absorption in the soil

construction period would take longer than

and the evaporation later. High clay contents can

average. The image below explains the steps of

cause moisture movement, therefore structures

the construction process.

would need to accommodate for this, especially in the details where the wall meets floor. That is

Rammed earth walls have effective acoustic

why not all soil types are appropriate. The

separation. It is classified as a non-combustible

fitness of the soil for this construction is

material and has a fire resistance of at least 90

determined by sampling and lab testing of

minutes. Rising damp must be stopped with

materials or taken from past experience.

8 . 15. S t ep s o f t h e con s tr uction proces s of r ammed ear th walls . i mage by Green Spec

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Unfortunately rammed earth walls have poor

externally. An optional detail for internal

thermal performance and extra insulation will be

insulation is free-standing stud-work with infill

required. This insulation has to be on either side

insulation as seen in the detail below.

of the wall. For this project, internal insulation is chosen in order to maintain the external

With regards to water drainage, all water should

appearance and because internal insulation

be drained away from the walls and the walls

specifications are much more flexible. This is

should be built on top of raised footings. Detail

because vapour permeability is not an important

of footing below.

factor if moisture is already able to evaporate

8. 16. D et ai l p l an of i n t er n al free-s tanding s tud-wor k w i t h i n f i l l i n s u l at i on n ex t to r ammed ear th wall i m ag e b y G reen Spec

8. 17. D et ai l s ect i on of rammed ear th wall on f o ot i n g, D P C and dr ainage i m age b y G reen Spec

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8.18. Th e rammed ear t h w al l t e xtu res th at are gi ven as o p t i on s b y t h e comp an y Si rew al l are rep resen ted h ere

8. 19. Detailed s ection of r ammed ear th wall as cons tr ucted in the Nkâ&#x20AC;&#x2122; M ip Des er t Cultur al Centre detail by DIALOG Architects , 2006 T E CHNOLOGICAL STUDY

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WYNBERG WALLS In the hunt for a suitable soil for a rammed earth

soil colour.” (Easton, 2007). The soil for the

wall building, one can look at the oldest rammed

Wynberg Waystation rammed earth walls will

earth constructions that have lasted for a century

have 7% cement in the mix as a stabiliser

or more. David Easton did an extensive study on

(Stabilised Rammed Earth). Samples of the soil

rammed earth walls in his book The Rammed

mixes will be tested to ensure that they meet

Earth House, and he writes that most of these

minimum structural standards. The colour of the

oldest rammed earth walls consists of the same

soil will still dominate the stabiliser. The

soil composition - roughly 70 percent sand /

stabiliser also makes it more water resistant,

gravel and 30 percent clay / silt. Three examples

allowing for shorter or no roof overhangs.

of potentially suitable soil types are ‘sandy clays’, ‘gravelly clays’ and ‘clayey sands

A study on soils in South Africa and

’ (Easton, 2007). Soils can be amended by

Johannesburg specifically was done to propose

mixing other soils with it, to improve its

what the Wynberg Waystation walls would look

gradation. “The quality of a finished will vary

like.

based on the soil type, the workmanship, and the

8 .2 0. Th e d i agram sh o w s t h e w al l s i n t h e W y n b er g Way s tation that will be r ammed ear th walls ( dar ker lines ) . 192Th ese wal l s are sel ect ed s o t h at t h e r amWY N Bear E RtG WAYSTATION m ed h w al ls indicate the main movement path and emphas is e t h e h o r i z o n t al direction.

8.21. L ayers o f al l t h e gro u n d f o u n d i n S ou t h A fr ica. The layer s with tick mar ks are the ground found in and arou n d J o h an n es b u r g . I m ag e b y A u t h or. I n for mation bas ed on res earch by M ar tin V. Fey. ( Fey, 2010)

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8.22.On l y t h e l ayers of g ro u n d t y p es f o u n d i n J o h an n es b ur g and could be suit a b l e f or rammed ear t h w al l s are g ro u p ed an d t h en co nver ted into a tex ture t ha t assu mes wh at th e s e g ro u n d t y p es w o u l d l ook l i k e i n r ammed ear th for m.

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8. 23. Oppos ite page: The layer s conver ted in figure 8. 22 are WY N B E R G WAYSTATION multiplied and imagined in an ur ban application where indus tr ial par ts are ins er ted into the r amming of the wall.

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MULTI-STOREY RAMMED EARTH WALLS “The limitations to wall height are both

“A third method is to build the walls full height

structural and economic. With conservative

and of uniform width. Rather than supporting

slenderness ratios and strong connections for

the floor joists on a shelf where the wall changes

intermediate floors, two- and three-story

thickness, the joists are attached to a wooden

buildings of rammed earth can be constructed

ledger bolted to the side of of the wall. Anchor

safely. The difficulty of setting formwork and

bolts are inserted through the formwork at the

transporting earth increases with the distance

floor level and rammed into the wall. Size and

form the ground. There are three basic methods

spacing of the anchor bolts varies depending on

for building multi-story walls: The first is to

the loads, as does the dimension of the ledger. In

build all of the walls for the lower storey, cast a

all cases where walls are built taller than one

concrete bond beam around the perimeter, then

story, the intermediate floors become part of the

reset formwork and build the next story walls

structural system. They help distribute the forces

with a second beam on top. The walls for the

to all directions.” (Easton, 2007)

second story are typically 80 to 150 millimetres thinner than the first story, thus creating a ledge

The first option is chosen for the Wynberg walls

around the inside perimeter for supporting floor

for structural security with the concrete bond

joists.” (Easton, 2007)

beams and the economic reason of less soil on higher levels. (figure 8.24). To disguise the

"A second method is to build each wall section

concrete beams, they will be poured (with

full height, using an end-board as tall as the wall

reinforcing) like the other layers to not make it

but with a change in width at the second story.

distinctly straight. More cement colour layers

Form panels are stacked one on top of the other

will also be created in the soil too. (figure 8.27)

as each is filled, all the way to the top. The

The window and door openings all end at a

plane of the outside surface of the wall remains

specifically chosen layer in which a reinforced

straight and the inside wall reduces 80 to

concrete layer will be rammed into the wall

150mm in thickness where the intermediate

replacing a soil layer. This will act as a lintel

floor intersects. A wooden sill plate can be

above all the openings. See figure 8.27.

attached to the shelf in the earth to distribute the loads from the floor joists. “ (Easton, 2007)

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8.24 . Met h od 1 of mu l t i - s t o r y r am m ed earth w al l co n s t r u ct i on

8. 25. M ethod 2 of m u l t i-s tor y r ammed ear t h wall cons tr uction

8. 26. M ethod 3 of multi-s tor y r ammed ear th wall cons tr uction

T E CHNOLOGICAL STUDY 8 . 27. E l ev at i on f rom w i t h i n the main pathway s howing the co n cret e an d cement layer heights

197

8 . 28. E l ev at i on al d r aw i n g of j u nction between r ammed ear th w al l an d ot h er ( p recas t co ncrete panel) walls . This is al w ay s d on e w i t h a s l i m v er t i cal window from floor to ceiling i n s er t ed b et w een t h e r am m ed ear th wall and other wall.

8. 29. s ect i o n al p l an j u n ct i o n b etween r ammed ear th wall to ot h er w al l , as d escr ibed above. 198

WY N B E R G WAYSTATION

8. 30. Wy n b er g Way s tation wall s ection detail.

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8. 31. ed ge con d i t i o n b et w een r ammed ear th wall and p recas t co n cret e p anel s ys tem wall. A n al u m i n i u m f r am e f l oor- t o -ceiling window always s ep ar at es t h e t w o d i ff erent wall s ys tems .

200

8 . 32. t h e p recas t , h ol l ow co re, concrete panels s lide into each o t h er t o s eal . Th ey are s t a cked on top of one another an d are k ep t i n p os i t i on w i t h s itcom des igned s teel endp i eces t h at s l i d e o v er t h em an d are bolted to the concrete f rB am k behind WY N E Rew G or WAYSTATION

8. 33. z oom ed i n , ex ploded is ometr ic detail of the cus tom d es i g n ed s t eel e nd-pieces to be fix ed to concrete f r am ew or k b eh i n d . T he hollow-core concrete panels can t h en s l ot i n b et ween a top and bottom end-piece.

8. 34. s h o p f ron t w i n d o w v a r iations - appropr iated to bus ines s need

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S U S TA I N A B L E S Y S T E M S

8.35. f i rst sk etch of sect i o n t h rou gh p rop osed b u i l d i n g

202

8. 36. r ai n w at er h ar i n gWAYSTATION s ys tem in the Wynber g Ways tation WY N Bv es E RtG

8. 37. m ai nTareas of water reticulation E CHNOLOGICAL STUDY

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8.38. wi n d ows f or t h e w o r k s h o p s are d es i gn ed t o h av e top and bottom openings that will enable natur al v e nti l ati on . Th e d omi n an t w i n d d i rect i o n i n W y n b er g i s Nor th-Eas t, and Nor th-Nor th-Eas t. The wor ks hops are a rran ged sou t h wes t w i t h t h e m ai n p at h w ay, gi v i n g each wor ks hop direct wind. Thes e windows will be on bo t h op p osi te p l aced n o r t h eas t f acad es . T h e w o r k s h o p tenants will be infor med that the nor ther n window b ottom s i d e op en an d t h e s ou t h er n w i n d ow top o pen will create natur al ventilation.

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8 . 39. L ef t : m od el i n s i d e a 3D s t ere ogr aphic s un path model. This s tudy is done with the M arch s ol ar p at h s o f J o h an n es b u r g . The middle top image is 8am ( walking to wor k) ( s un in p ub l i c s p aces ) . Th e m i d d l e b ot t om i m age is 5pm ( walking home. ) ( s haded s paces ) . The r ight si d e t w o i m ag es s h ow t h at m o s t of t he wor ks hops receive s unlight between 10am ( top) and 3pm ( bottom)

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DESIGN RESPONSE

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CONCEPT

To simplify the concept, what we are dealing with is basically a journey between Alex and Sandton, a daily journey from point A to point B. Conceptually, it is a linear transition from ‘home’ to ‘work’ in the morning and back in the evening. When considering how people ‘linger’ in an urban context, we see that people usually do not linger in the morning because of a time pressure to get to work, but rather in the afternoon after work. The programmatic needs on this journey in the morning and the evening are thus different. People who live in Sandton, would typically stop for a coffee somewhere after work. To expand this coffee shop example, such spaces of lingering are available and require the minimum cost of the price of a cappuccino. What would make people who walk this ‘great-walk’ journey daily, stop and linger along the why? A space with the social qualities of a coffee shop (meet, greet and wait space) that one does not have to pay for. A space with programmes that fit the needs of the end-user. The architectural intervention is placed on this linear transition, and the user would not have to take any detour to engage with this space. 9 .1 C on cep tu al d i agram s of l i n ear t r an s i t i on of th e ‘Great-Wal k ’ an d h ow t h e p ro p os ed inte rven t i on i s p l aced o n t h i s l i n ear t r an s i t i on . 208

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Wynberg does not currently have a distinct public

Residents of Alexandra experience a lack of

space or convenient food shops. Many people who

opportunities to improve their lives and pursue

work in Wynberg currently don’t have a nice place

their dreams. This project proposes

to spend their lunch breaks. This project proposes a

‘platforms’ (see architectural terminologies in

public space for people who work in Wynberg. It is

introduction) which will enable people to start

placed in the centre of this precinct to act as a

the businesses they dream of. It investigates what

central hub for everyone.

such ‘platforms’ might look like architecturally.

9.2 Con ce p t u al d i ag r am s o f p eo p l e w h o work i n wyn b er g h av i n g l u n ch o n s i d ew al k , t h e si t e l ocati on b ei n g cen t r al t o Wy n b er g an d a p rop os ed n ew p u b l i c s p ace

9. 3 Conceptual diagr ams of per s on ques tioning the realis ation of their dream, a platfor m for a s mall bus ines s and platfor ms together in architectur al for m. DESIGN RESPONSE

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9.4. I m age p res en t i n g t h e co n cep t o f t h e linear tr ans ition, a inter vention in the middle, new platfor ms f or t h e p ed es t r i an s an d a p u b l i c s p ace in wynber g as des cr ibed in figure 9. 1, 9. 2, and 9. 3.

DESIGN RESPONSE

211

DEVELOPMENT MODELS

Process of abstraction and experimenting with chreods 9.5. Top : f i r s t card b o ard q u i ck - s t u d y m o d el of br idge ex tens ion cur ving over s ite. 9.6. Bot t om: fo u r ab s t r act m o d el s w i t h p ap er, p l a s ticine, fabr ic and golden cr ys tallis ed res in.

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pathways through puzzle tiles 9 . 7 . Top : s k et ch es o f t h e u n i q u el y des igned puzzle pieces in order to build pathways in w h i ch ev er d i rect i o n . I t al s o repres ents the tiles propos ed on the main pathways 9 . 8. B o t t om : con t o u red s i t e m od el at 1: 500 s cale, made with white card. The imagined p at h w ay s are b u i l t w i t h t h e p u z z l e pieces on top of the s ite to ex plore path var iations . DESIGN RESPONSE

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Urban Chreods 9.9. Ab s t r act u r b an m od el rep res en t i n g i ndividual jour neys between Santon and Alex

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DESIGN RESPONSE

215

Pathways through puzzle tiles 9 . 10. d i ff eren t t i l e i n t er l ock i n g s y stem des igned and made with p ap er t o ex p l ore p athway var iations . 216

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Canyon Model 9. 11. b ro w n c ard 1: 500 s cale model ex plor ing b uilding in canyon for m. DESIGN RESPONSE

217

DESIGN DEVELOPMENT

9.12. i n i t i al con cep t u al p l an s h ow i n g j o u r n ey moving s tr aight through propos ed building

9.13. i n i ti al con cep t u al p er s p ect i v e s h o w i n g b r i d g e meeting building and how pathway moves through.

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9 . 14. p l an s development done in Apr il 2018

9. 15. s ect i o n al development done in Apr il 2018

DESIGN RESPONSE

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9.16. p l an d evel op m en t d on e i n March 2 018. con cep tu al p rogr am at i c l ay ou t an d a c on cep tu al d rawi n g o f cu r v es al o n g t h e p at h an d ri gh t an g l es t o t h e ed g es

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9. 17. plan development done in Apr il 2018. The ur ban res pons e of ‘ pas tor alis m’ and ‘ chreods ’ (s ee es s ay) are introduced

9.18. p l an d evel op m en t d on e i n J u n e 2 018. More th an on e p at h w ay i s ex p l o red .

9. 19. plan development done in July 2018. The â&#x20AC;&#x2DC; canyonâ&#x20AC;&#x2122; notion is developed. The ( water ) pedes tr ian movement s lows down around the bends

DESIGN RESPONSE

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9.20. p l a n w i t h f reed cu r v es l i k e a ‘can yon ’ a s d r aw n i n J u l y 2018, w i t h sect i on l i n es f or cro s s - s ect i on s t u d i es

9. 21. cros s -s ection s tudies through building creating different s patial ex per iences though the ‘ canyon’ effect. Pos itions of s ections indicated on plan to the left

s ection G

s ection F

s ection E

C s ection D

s ection C

s ection B

s ection A

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9.22. p l an d evel op m en t d on e i n A u gu s t 2018. T he ext reme mean der i n g of t h e ‘ can y on ’ n ot i on wou l d sl ow t h e p ed es t r i an d ow n an d t h e cu rves are n ot i n f o r m ed b y f u n ct i o n . Th eref ore th e p l an ch an g ed h ere t o on l y h av e cu rves i n f ormed b y f u n ct i on . ( h ard l y an y )

DESIGN RESPONSE

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9.23. el ev at i o n al d ev el op m en t s d on e i n J u l y 2018. Top: Nor th elevation. M iddle: Wes t el ev at i on . B o t t om : s ect ional South elevation.

9.24. secti on al d ev el op m en t s d on e i n J u l y 2018. Top: s ection through length of the main pathway s h owi n g wh ere b r i d ge en t er s b u i l d i n g an d ex i s t s b u i lding onto plaza. Bottom: cros s -s ection through s o m e of t h e w o r k s h o p p l at f o r m s and ablutions at the bottom.

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9 . 2 5. R et u r n i n g t o t h e s i m p l e d i ag r am. After des ign became ver y complex , the s i m p l e d i agr am of t h e f u n ct i o n an d progr amme of the building was re-vis ited to s i m p l i f y t h e d es i g n t o t h e es s en t i a l and clear layout. The pink repres ent the p u b l i c / ou t d o or an d t h e l i g h t brown repres ent the wor ks hop / indoor

i n d u st ri al yard

stock l i b rary

wor ks hop platfor ms

ci rcu l at i on core

indus tr ial green par k

outdoor public

9 . 26. R et u r n i n g t o t h e s i m p l e diagr am. Different oppor tunities of linger ing or i n h ab i t at i o n al o n g t h e j ou r n ey, depending on the need of the pedes tr ian.

DESIGN RESPONSE

225

L AT E S T D E S I G N

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9.27. b i rds - ey e p er s p ect i v e d r aw i n g of l at est des ign s howing the Kopanang pedes tr ian br idge continuing strai gh t t h ro u gh t h e b u i l d i n g on f i r s t l ev el . Pedes tr ians and people who wor k in Wynber g are s een in the d rawi n g. Th e p at h o f t h e â&#x20AC;&#x2DC; G reat - Wal k â&#x20AC;&#x2122; co n t i nues up Rautenbach Avenue between the factor ies in Wynber g

DESIGN RESPONSE

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9.2 8. S i t e o n F i g u re g ro u n d p l an , w i t h light aer ial photogr aph under lay

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DESIGN RESPONSE

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9. 29. C i rcu l at i on diagr am

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9 . 30. Photos hop per s pective of the South Wes t elevation from the b eg inning of Andr ies s treet. Direction of view indicated on the left.

DESIGN RESPONSE

231

9. 31. F i r s t f l o or ( b r i d g e l ev e l) plan of the Wynber g Way s t at i o n i n s u r ro unding contex t

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DESIGN RESPONSE

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9. 32. G rou n d f l oor plan of the Wynber g Ways tation s h ow i n g A n d r i es s t reet moving through the building at gro u n d l ev el , u n d er neath the main movement route

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9 . 33. F ir s t level/ br idge level plan

DESIGN RESPONSE

235

9 .3 4 . West El evat i on wi th S an d t o n C B D S k y l i n e i n t h e b ack g round

9 .3 5 . East El evati on

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DESIGN RESPONSE

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9. 36. S eco nd level plan

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9.37. Th i rd & F or t h l ev el p l an

9. 3 8. F i f t h l ev el p l an

DESIGN RESPONSE

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9. 39. p os i t i on of i n d u s t r i al yard and mater ial s tock cen t re & l i b r ar y on gro u n d floor, below br idge level.

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9.40. p o s i t i on s o f t h e an ch or t en an t b l o cks on either s ide of the building, the ab l u t i o n b l o ck s i n t h e m i d d l e, g ro u n d floor, and the ex hibition & events WY N B E R G WAYSTATION sp ace i n t h e m i d d l e on t h e f i r s t f l o or, as well as on the tower rooftop.

9. 41. p os itions of wor ks hop platfor ms

9. 42. p os i t i on of g reen indus tr ial/ agr icultur al par k and DESIGN rooftop RESPONSE play-par k

241

9 .4 3 . Se cti on al Sou t h Wes t el ev at i o n t h rou gh cen t re p at h w ay of building

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DESIGN RESPONSE

243

PLATFORMS

9.44. zoom ed i n p l an of w or k s h o p - ‘ p l at f or m s ’ s ur rounding the main pathway t h rou gh t h e b u i l d i n g, s h o w i n g ex pected activity.

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9.45. d i agr am s s h o w i n g h ow p l at f or m s cl os e at night with s liding gates that RG WAYSTATION s t ack b eh i n dWY t hNeBrEam m ed ear th walls .

9. 46. Photos hop per s pective of the wor ks hop-‘ platfor ms ’ s ur rounding the main pathway through the building. Direction of view indicated on the left. DESIGN RESPONSE 245

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9.47. Th e b asi c el em en t s t h at m ak e t h e p l at f o r m s . The platfor ms are not only the plinths on which th e work sh ops are b u i l t b u t al s o t h e p l at f or m s o f which to wor k, like the appropr iated fur niture. Work sh op s are p ro v i d ed em p t y an d a cer t ai n amount of thes e elements are provided to each b u si n ess own er, an d can b e ret r i ev ed f rom t h e m a ter ial s tock centre on the ground floor. Thes e can b e ap pWY ro pNr iB atEed whatever us e required. R Gt oWAYSTATION

9.48. Th e s e el em en t s can al s o b e u s ed f or room divider s too. The floor /ceiling I-beams are fitted wi th h an g er s an d p o l es t h at en ab l e el ements to hang, therefore enabling wor ks hops to be su b d i vi d ed . Mu l t i p l e b u s i n es s es can i n h ab i t a wor ks hop. Ins tead of walls that pres ume the us er â&#x20AC;&#x2122;s sp at i al n eed s , room s i z es can b e ap p DESIGN ropr iatedRESPONSE and als o grow as the bus ines s grows .

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9 .4 9 . Platf orms on p l atf o r m s . A W y n b er g Way s t at i on ‘ p l at f o r m’ begins as a s imple concrete ‘ plinth’ , mos tly 400-450mm hight to be c o me exter n al seat i n g aro u n d t h e p at h w ay an d d i s t i n g uis h it from the pathway. Concrete column and beam fr amewor ks a re h i d d en b eh i n d t h e r am m ed ear t h w al l s . I - b eam s an d I-columns are us ed to fill in the double volume fr amewor k with pla tforms of vari ou s h e i gh t s . Th i s d ou b l e v o l u m e s p ace cater s for bus ines s es with equipment taller than a s ingle s torey.

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9.50. Th e work sh op s ca n b e co m p l et el y cu s t o m i s ed . Th e provided elements can be us ed as hanging s ubdivider s or a piece of fa bric, cu rtai n or b ead s can b e u s ed as s u b d i v i d er s . F o r co-wor king s paces , the elements can be rotated to make 1500mm h i g h ro om / table divider s . The d ou b l e vol u me f ram ew o r k s are s ep ar at ed t o creat e outdoor meeting s paces between them, acting as quite alleys off of t h e m ai n pedes tr ian pathway

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9.51. Ph otosh op p ersp ect i v e o f t h e f o od - t r ad i n g - ‘ p l at f or m s ’ on the public p l aza as an ext en s i o n of t h e m ai n p ed es t r i an p at h way. The c lockt ower acts as a h al f w ay m ar k s y m b ol o n t h e ‘ G reat Walk’ , a st opping / l i n geri n g p oi n t , a ci v i l s p ace. I t al s o i n d i cat es t h e pos ition of th e w a te r d ri n ki n g p oi n t at t h e b ot t om of t h e t o w er.N A n iG g hWAYSTATION t i t lights up 250 WY B tE R the pla za wi th sp otl i gh t s. D i rect i on of v i ew i n d i cat ed on t h e r ight.

9.52. F ood t r ad i n g ‘ p l at f o r m s ’ ag ai n s t t h e p l aza wall. Per manent robus t concrete tables placed and l ockab l e cu p b oard s are f i x ed t o t h e w al l . I n s i d e are s helves and a counter high platfor m with a optional gas st ove. Bel o w t h i s p l at f o r m i s an ot h er l ock able cupboard where per s onal gas bottles can be s tored. Th i s en ab l es t o s t ore al l t h ei r i n gred i en t s an d equipment and ‘ lock-up-and-go’ . Two s tandard poles s ize h ol es are ma d e i n t h e gro u n d 3m ap ar t an d 3 mDESIGN from theRESPONSE wall, fro tr ader s to provide their own s hading. St ac k ab l e p ol es , s h ad i n g f ab r i c an d t a ble cloths can als o be s tored ins ide cupboard.

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9.53. Ph ot osh op p erspect i v e of t h e v er t i cal g reen u r b an -par k ‘platf orms’ ab ove t h e b ack p l az a w i t h a s l op ed gr as s h ill. 252 RtG WAYSTATION Posi t i on of p l at f or m s i n d i cat ed onWY t h eN B riE gh

9.54. Desi gn o f t h e green p ar k , v er t i cal , agr i cu l tur al platfor ms . Thes e s ituated r ight behind the food trad i n g p l aza w al l an d f i x ed t ab l es an d ch ai r s ( o f s imilar element mater ials as wor ks hop elements ) b ecome p l atf o r m s w h ere p eo p l e can t ak e w o r kDESIGN breaks and have their meals in ur ban green s pace. RESPONSE

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9.55. Pl i n th s t o p l an t s p l at f or m s . T h e w at er d r ainage holes of ever y planter box , water s the planter b el ow i t , etc. T h e p l at er b ox es are co n t i n u es o n the wes t s ide to for m par t of the fence, and on the eas t s i d e t h e p l an t er b o x es create door high openings .

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9. 56. S o uth Elevation

9 . 57. Nor th Elevation

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9. 58. P ar t - C ros s -Section A

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9. 59. Par t-Cros s -Section B

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9.60. Ph otosh op p ed p er s p ect i v e o f cen t r al p u b l i c s pace with lar ge concrete roof s hading and ci rcu l ar l i g h t - s h af t s p en et r at i ng to ground floor below.

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9 . 61. Detail E

9 . 62. Detail F

9. 63. Detail G

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9.64. Diagr am of w h ere r am m ed ear t h w al ls are s ituated. Thes e walls indicate t h e m ai n m ov em en t p at h an d em p h as is e the hor izontal direction.

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9. 65. Photos hop night render of building as s een when approaching it from the Kopanang br idge at night. The building becomes a s afe beacon of light. The clocktower acts as a lighthous e to pedes tr ians . Direction of view indicated on the left. DESIGN RESPONSE 261

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Cros s Section C WY N B E9R. 66. G WAYSTATION

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9.6 7. E x am p l es of b u s i n es s an d w or k s hops imagined to occupy the platfor ms .

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9 . 68. B i rd s ey e v i ew f rom t h e top of the Kopanang br idge approaching the Wy n b er g Way s t at i on with Wynber g in the background

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9.69. Street p ersp ect i v e i n s i d e t h e W y n b er g Way s t at i on . To sp eak to th e d rawn s t reet p er s p ect i v e o f A l ex i n t h e contex t chapter on page 114; t h i s d rawi n g s u g ges t s t h at s am e s t reet v i b r a ncy within t he m ai n p ath way th rou g h t h e b u i l d i n g. V i ew l ook i n g f rom Nor th Wes t dire c ti on toward s cl ock t ow er i n t h e b ack g ro u n d

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9. 70. B i rd s ey e v i ew of t h e Wynber g Ways tation

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9 . 71. Z oom ed i n B i rd s e ye view from the Wynber g Ways tation

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REFERENCES Benjamin, Walter,, Jephcott, E. F. N.,, Demetz, Peter,,Wieseltier, Leon,, . 1986. "Paris, Capital of the Nineteenth Century". In Reflections : essays, aphorisms, autobiographical writings. 146-149. Biko, S. & Stubbs, A. 1979. Black Souls in White Skins?. In I write what I like. New York: Harper & Row. Borden, Iain., RĂźedi, Katerina. 2006. The dissertation : an architecture student's handbook. Amsterdam; Boston: Architectural Press. Bremner, Lindsay.,Law-Viljoen, Bronwyn.,. 2010. Writing the city into being : essays on Johannesburg, 1998-2008. Johannesburg: Fourthwall Books Burden, A. 2014. TED Talk: How public spaces make cities work. Available: https://www.youtube.com/watch? v=j7fRIGphgtk&t=1s [May 4, 2018]. Darley, G. 2003. Factory. London: Reaktion. De Botton, A. 2006. The architecture of happiness. London: Hamish Hamilton. Dillon, N. 2012. "James Gowan on the Engineering Building at the University of Leicester". Available: https:// sounds.bl.uk/Oral-history/Architects-Lives/021M-C0467X0101XX-0001V0? _ga=2.246363844.1198999968.1525515396-1272688114.1525515396 [May 5, 2018]. Drury, J. . 1999. Factories. In Metric handbook : planning and design data. Jordan Hill, Oxford: Architectural Press. Easton, D. 2007. The rammed earth house. White River Junction, Vt.: Chelsea Green Pub. Co. Fey, M. V., Hughes, Jeff.,. 2010. Soils of South Africa : their distribution, properties, classification, genesis, use and environmental significance. Cambridge: Cambridge University Press. Frazier, C. 2017. Work and Nonwork in Pericapitalist Sites. Available: https://culanth.org/fieldsights/1128-workand-nonwork-in-pericapitalist-sites [May 7, 2018]. Frearson, A. 2013. Steven Holl to design four museums for new complex in China. Available: https:// www.dezeen.com/2013/10/30/steven-holl-museum-complex-china/ [May 4, 2018]. Frishberg, H. 2013. The Failed Paradise: Pruitt-Igoe. Available: https://www.atlasobscura.com/articles/pruittigoe [May 3, 2018].

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Frith, A. 2011. Census of the City of Johannesburg Available: https://census2011.adrianfrith.com/place/798013 [May 4, 2018]. Grozdanic, L. 2013. Steven Holl Unveils Solar-Powered Geothermal ‘Art Islands’ for China’s Qingdao Culture and Art Center. Available: https://inhabitat.com/steven-holl-unveils-solar-powered-geothermal-art-islands-forchinas-qingdao-culture-and-art-center/ [25 August, 2018]. Hall, S.M. 2012. Book Review:&nbsp;Writing the City into Being: Essays on Johannesburg, 1998–2008 by Lindsay Bremner Available: https://onlinelibrary.wiley.com/doi/full/10.1111/j.1467-8330.2012.00986.x. [25 August, 2018]. Holmes, J.S. & Gutiérrez de Piñeres, S A. 2014. Medellín’s Biblioteca España: Progress in Unlikely Places. Stability: International Journal of Security and Development. Available: http://doi.org/10.5334/sta.cz. JDA. 2017. Corridors of Freedom for a people-centred city. Available: http://www.jda.org.za/index.php/ whatwedo/programmes?id=1429 [Sept 13, 2018]. Kahn, A. 1991. The Invisible Mask. In Drawing/building/text : essays in architectural theory. New York: Princeton Architectural Press. Kiaer, C. 2009. “Into Production!”: The Socialist Objects of Russian Constructivism. Available: http://eipcp.net/ transversal/0910/kiaer/en [May 4, 2018]. Koolhaas, R. 1995. Whatever Happened to Urbanism? Design Quarterly. (164):28-31. Kostof, S. 2010. A history of architecture : settings and rituals. New York: Oxford University Press. Kwinter, S. 1995. Politics and Pastoralism. Assemblage Assemblage. (27):25-32. Le Corbusier. 1986. Towards a new architecture. New York: Dover Publications. Linsell, N. 2015. To hell with good intentions. Available: https://www.architectsjournal.co.uk/news/culture/tohell-with-good-intentions/8678190.article [May 3, 2018]. Ludbrook, K. 2014. &nbsp; "The Alexandra township trampoline club – in pictures". The Guardian Sep 8, 2014. Maki, Fumihiko,, Mulligan, Mark,. 2012. Nurturing dreams : collected essays on architecture and the city. Murphy, M. 2016. Architecture that's built to heal. Available: https://www.ted.com/talks/ michael_murphy_architecture_that_s_built_to_heal [May 3, 2018].

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Nilsson, W. & Bonnici, F. 2016. Becoming a changemaker: Introduction to Social Innovation Available: https:// www.coursera.org/learn/social-innovation/home/info. Olivier, B. 2013. Was Heidegger right about technology? Available: http://thoughtleader.co.za/bertolivier/ 2013/07/24/was-heidegger-right-about-technology/ [August 14, 2018]. Onatu, G. 2015. &nbsp;"Alexandra Urban Renewal Project and Neighbourhood development: Unanswered questions". Available: http://www.sahf.org.za/Images/2013%20Proceedings/Power%20Points/ONATU, %20GEORGE.pdf [May, 2015]. Patience, S. Rammed earth. Available: http://www.greenspec.co.uk/building-design/rammed-earth/ [Aug 26, 18]. Rauch, Martin, Kapfinger, Otto, Sauer, Marko,. 2017. Martin Rauch : refined earth, construction & design with rammed earth. Rittel, Horst W. J., Webber,Melvin M.,. 1973. Dilemmas in a general theory of planning. Berkeley: Institute of Urban and Regional Development, University of California. Smith, M. 2016. Interment: re-framing the death of the Red Location Museum building (2006 - 2013). Kronos. 42(1):155-173. Sullivan, Louis H. 1896. "The Tall Office Building Artistically Considered". Lippincott's Magazine (March 1896): 403â&#x20AC;&#x201C;409. Tsing, A.L. 2017. The Mushroom at the end of the world : on the possibility of life in capitalist ruins. UN. 2015. Sustainable Development Goals. Available: https://www.un.org/sustainabledevelopment/sustainabledevelopment-goals/ [Aug 25, 2018]. Venter, I. 2008. Sandton, the continentâ&#x20AC;&#x2122;s richest square mile, could double in size over the next decade". Available: http://www.engineeringnews.co.za/article/sandton-the-continentrsquos-richest-square-mile-coulddouble-in-size-over-the-next-decade-2008-06-20 [May 4, 2018]. Vidler, A. 2000. Diagrams of Diagrams: Architectural Abstraction and Modern Representation. Representations Representations. (72):1-20. Walker, P. 2005. Rammed Earth Design and construction guidelines. Watford: BRE Bookshop. WID. 2016. Wynberg Improvement District. Available: http://www.wynbergdistrict.org.za. Wrap. 2018. What is a circular economy? Available: http://www.wrap.org.uk/about-us/about/wrap-and-circulareconomy [May 7, 2018].

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LIST OF FIGURES * all images produced by the author unless otherwise specified. * PROLOGUE 1.1 The great economic divide 1.2 Rammed earth walls as imagined in the urban setting of the Wynberg Waystation, Johannesburg 1.3 Mutual dependence is necessary to social well-being 1.4 Dreaming about Blank-ed 1.5 Jackets made by author. photo by Michelle Dutoit 1.6 Each jacket has a personalised story to tell 1.7 If ‘Blank-ed’ was a factory, drawing based on factory layout as suggested by Jolyon Drury 1.8 Initial ‘changemaker’ thoughts about the wynberg waystation 1.9 The complexity of bringing different spheres together

INTRODUCTION 2.1 Cut & paste all the first thought together 2.2 Unequal scenes. Sandton, Wynberg & Alex around the M1 highway. Photo by Johnny Miller 2.3 More than 10 000 people walk this journey daily. Photo by Delwyn Verasamy

MEDIAN OF WYNBERG 3.1 This simple piece of infrastructure has an underestimated presence. Drawing of a ‘median’. 3.2 Power was seen in the formal and symbolic expressions of civic and institutional buildings. Public Library, Johannesburg, designed by by architect John Perry, 1935. Image from Koopman Collection. 3.3 Invisible power is no longer there to inspire good. Elevation, section and plan of Jeremy Bentham's Panopticon prison. Drawing by Willey Reveley, 1791 3.4 It was intended to replace entire neighbourhoods of slums with better living conditions. Pruitt-Igoe Housing, Missouri,1954. Image by Michael R. Allen 3.5 The residents of the township were not in favour of the building. The Red Location Museum, Port Elizabeth, 2006. Photo by Wolf-architects 3.6 An urbanism that flows 3.7 The simple act of adding a roof can be radical. Galleria Vittorio Emanuele, Milan, 1877, designed by Giuseppe Mengoni. Image by Piero Cruciatti 3.8 A pathway that punctures the building allows pedestrian to engage. Tenerife Espacio De Las Artes, Spain, designed by Herzog & de Meuron, 1995. Image by Duccio Malagamba 3.9 Visually clarified as an established route for water movement. The Grand Canyon, carved by the Colorado River, Arizona, U.S. Photo by Sam Barberie 3.10 Collage: Meandering Pathway 3.11 Collage: Pathway through building 3.12 Urban Chreods. Abstract model representing individual journeys between Santon and Alex 3.13 ‘diagram architecture’. Rolex Learning Centre, Switzerland, designed by Kazuyo Sejima, 2010. Photo by Julien Lanoo 3.14 A process of abstraction is required in order to let go of some control 3.15 Different approaches to ‘public space’. An empty public plaza. Photo by Amanda Burden 3.16 Different approaches to ‘public space’. Paley Park in Midtown Manhattan. Photo by Amanda Burden

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3.17 It represented workers' spatial rights in the new socialist economy. The Rusakov Workers’ Club, Moscow, designed by Konstantin Melnikov, 1929. Image by Universal Images Group 3.18 They wanted to make a statement, and indicate their presence, and make a splash. The Engineering Building, Leicester University, designed by James Gowan & James Stirling, 1963. Photo by Arquiscopio 3.19 The building is very distinct and clearly stands out in the landscape. The Biblioteca España, Colombia, designed by Giancarlo Mazzanti, 2007. Photo by José F. Loaiza Bran 3.20 Unfamiliar materials feed the demands of the imagination for new associations. Odawara Festival Hall, Japan, designed by by Shigeru Ban, 1990. Photo by NCSU Libraries 3.21 Familiar materials along the ‘Great-Walk’ 3.22 Materials like a ‘canyon’. Earlier perspective exploration of the Wynberg Waystation 3.23 Lingering space. Earlier perspective exploration of the Wynberg Waystation 3.24 Good lingering; Chreods can contribute to the sense of safety 3.25 Public spaces with the solitude of modern urbanities. Painting: ‘A Sunday Afternoon on the Island of La Grande Jatte’ by Georges Seurat 3.26 Collage: I feel I truly have a place of my own when I am quietly surrounded by paintings 3.27 It can be assumed that infrastructure will be appropriated as ‘platforms’. Elements such as tree planters can be designed with appropriation in mind. 3.28 A curb became seating for children in Kayelitsha. 3.29 A ‘platform’ can become a space for the embedded potential within a community to emerge. A study on platforms. 3.30 Semi-public. Earlier perspective exploration of the Wynberg Waystation.

PRECEDENTS 4.1 Perspective of pathway at Escadaria Selarón, Brazil, created by Jorge Selarón, 2013 4.2 Layout of tiles by Jorge Selarón. 4.3 Positioning of pathway through buildings in context of Lapa in the city Rio De Janeiro. 4.4 View of pathway entering the Tenerife Espacio De Las Artes, Spain, designed by Herzog & de Meuron, 1995. Photo by Duccio Malagamba. annotations by author 4.5 Section of pathway through building. Drawing by Herzog & de Meuron 4.6 First floor plan showing how pathway (textures) follows function like chords 4.7 Perspective of the Engineering Building, Leicester University, designed by James Gowan & James Stirling. Photo by architects. annotations by author. 4.8 Isometric by James Gowan & James Stirling 4.9 View of pedestrian bridge over Warwick Junction Traders Market, Durban, 2010. photo by UIA. Annotations by author 4.10 Sectional aerial perspective of market, showing shading device, ‘platforms’ and drainage, Image by Smithsonian Cooper Hewitt, National Design Museum 4.11 Perspective of Park ‘n’ Play, Denmark, designed by JAJA Architects, 2016. Photo by Rasmus Hjortshoj. 4.12 Site plan of Play ’n’ Park in its urban context. Image by JAJA Architects 4.13 Perspective of Alexandra Interpretation Centre, Alex, designed by Peter Rich, 2010 photo by Agency2017. annotations by author 4.14 Axonometric and plan in context showing how building bridges the road. Drawings by Peter Rich 4.15 View of foyer of the Spiral Building, Japan, designed by Fumihiko Maki, 1985. Photo by Maki. Annotations by author 4.16 First floor plan, area (3) is the ‘esplanade’ studied above. Drawing by Fumihiko Maki 4.17 View of context of the Biblioteca España, Colombia, designed by Giancarlo Mazzanti, 2007. Photo by architects. Annotations by author 4.18 Site plan showing library and park in the crowded context of the Medellin city. Drawing by Giancarlo Mazzanti. 4.19 Perspective of outside of the Olympic Archery Range, Barcelona, designed by Enric Miralles & Carme Pinos, 1991. Photo by Dieter Janssen. Annotations by author

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4.20 Plan by Architects. Bottom Right: Elevations by Architects 4.21 Plan of the Palafolls Public Library, Spain, designed by Miralles EBTM, 2007. Drawing by architect. Annotations by author 4.22 Palafolls public library. Photo by Jordi Miralles

CONTEXT 5.1 The halfway mark. Map of Sandton, Wynberg, Alexandra, indicting 5km of the ‘Great-Walk’ with selected site in the middle 5.2 The landscape. Photo taken from a Sandton skyscraper, with Sandton in the foreground, the Marlboro pedestrian bridge to the left, the Kopanang pedestrian bridge (and selected site) to the right, showing the whole Wynberg precinct, and Alexandra in the background. Photo by Benj Kollenberg 5.3 Figure ground map of Wynberg, with Sandton and Alex on either sides. Here the building densities of the different communities are visible 5.4 A sense of community and local identity has been continually reinforced. A street in Alexandra showing the typical street activity in the community. 5.5 The site is intentionally selected at the ‘gateway’ into the Wynberg industrial area. The north facing street view of the selected site. 5.6 Map indicating all streets and prominent movement routes through Wynberg and surroundings. 5.7 Map indicating zoning of Wynberg and surroundings. 5.8 The currently built-up area with wall-to-wall factories and hardly any good public space. Aerial photo of Wynberg precinct. Photo by 5th Avenue 5.9 Photo of mapping process during study on Wynberg. 5.10 Map indicating programmes in the buildings in Wynberg. 5.11 Map indicating natural features of precinct, as well as some public facilities. 5.12 Site along highway. 5.13 Site as gateway. 5.14 Site as central hub. 5.15 Site creates short-cut on the ‘Great-Walk’. 5.16 Panoramic view of selected site. 5.17 The site has the opportunity of creating a small short-cut. 5.18 The Kopanang bridge leading into the selected site in Wynberg. Aerial photo by Gustavo Triana Martinez 5.19 Two men walking onto the beginning of the Kopanang bridge towards Sandton from the Wynberg side. The bridge is seen in the background on the left. The beginning of the selected is on the right of the photograph. 5.20 Pedestrians crossing the Kopanang bridge before sunset. The Sandton skyline is seen in the background 5.21 Pedestrian cycling in the cycling lane across the Kopanang bridge. Photo taken looking South over the M1 highway. 5.22 Both photos are taken from the Kopanang bridge looking east, directly onto the selected site. 5.23 The opposite economy is in your face. The Sandton CBD skyline as seen from Wynberg and specifically from the selected site. 5.24, 5.25, 5.26 Visual analysis of industrial typology in Wynberg with specific locations. 5.27 Photomontaged and drawn street elevations showing street context and indication selected site position with indicated positions of views. 5.28, 5.29 Visual analysis of industrial typology in Wynberg with specific locations. 5.30 Forms of inhabitation in the Wynberg district. Locations of spotted scenarios. Children waiting and playing on the grass patch of the patrol garage next to the selected site 5.31 Man carrying industrial materials across the street. 5.32 Men having their lunch on the street sidewalk. 5.33 Small garage is transformed into a timber furniture workshop

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RESEARCH 6.1 Some of the routes drawn by interviewees and drawing of interview taking place. 6.2 Map of pedestrians routes. 6.3 Photo of Tony Mabaso Mondlhane, his ‘platform’ and the location thereof. 6.4 Photo of Mokgadi Paulina Seimela, her ‘platform’ and the location thereof. 6.5 Photo of Thinamano John Munyai, his ‘platform’ and the location thereof. 6.6 Collaged photos of the sewing training rooms, run by Tony, in the Thusong Centre, Alex. 6.7 Photo of the Alex Art Market started by Tony 6.8 A sewing machine. Photo by Jayden Brand 6.9 Photo of Paulina at her food ‘truck’. 6.10 Food being prepared. Photo by Frederik Trovatten 6.11 Photo of John at his shoe-repair tent 6.12, 6.13 John’s equipment

VIABILITY 7.1 Diagram of circular / exchange economy drawn in March 2018 7.2 Initial programmatic conceptual diagrams 7.3 Initial programme clustering for the Wynberg Waystation project 7.4 Programmatic chart with key of final programmatic response 7.5 Organisational structure of a Non-Profit company 7.6 Diagram of stakeholder involvement in the Wynberg Waystation project 7.7 Official zoning map, showing selected erfs zoned as ‘Special’ 7.8 Diagram showing 3 selected erfs on both sides of Andries street 7.9 Diagram showing buildings to be bulldozed 7.10 Diagram indicating proposed position of phase 1 (first platforms) in red and phase 2 in blue. 7.11 Diagram of project team during phase 2 7.12 The summarised organisational structures after phase 1 construction. 7.13 The summarised organisational structures after phase 2 construction. 7.14 Building costs 7.15 Professional fees costs 7.16 Total development costs 7.17 Operational income 7.18 Operational expenses 7.19 Capital funding 7.20 Circular chart diagram showing percentages funders for total development costs. 7.21 Financial viability

TECHNICAL STUDIES 8.1 The process of engraving on clay tiles by the community. 8.2 Clay / terracotta tiles as imagined in the main pathways of the Wynberg Waystation. 8.3 Considering the wall to roof connections 8.4 Drawings of truss connections and positions above the main public ‘lingering’ space. 8.5 Initial option of using corrugated sheets as external wall formwork shuttering and then re-used for activities in the workshops. 8.6 Starting with wattle & dope architecture considerations 8.7 Working with standard sizes of corrugation sheets to determine reinforcement spacing. 8.8 Initial considerations for wall corners in plan and wall section

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8.9 Initial wall section design with corrugated sheets used as external shuttering. 8.10 detailed sectional plan of initial wall details 8.11 sectional axonometric with specific callouts 8.12 detailed section from callout 1 on left 8.13 detailed section from callout 2 on left 8.14 Rammed earth has layers and can curve with chreods. Nk’Mip Desert Cultural Centre, Canada, by DIALOG Architects, 2006. Photo by Nic Lehoux Photography 8.15 Steps of the construction process of rammed earth walls. Image by Green Spec 8.16 Detail plan of internal free-standing stud-work with infill insulation next to rammed earth wall. Image by Green Spec 8.17 Detail section of rammed earth wall on footing, DPC and drainage. Image by Green Spec 8.18 The rammed earth wall textures that are given as options by the company Sirewall are represented. 8.19 Detailed section of rammed earth wall as constructed in the Nk’Mip Desert Cultural Centre. Detail by DIALOG Architects. 8.20 These diagrams shows the walls in the Wynberg Waystation that will be rammed earth walls. 8.21 Layers of all the ground found in South Africa. The layers with tick marks are the ground found in and around Johannesburg. Image by Author. Information based on research by Martin V. Fey. (Fey, 2010) 8.22 Only the layers of ground types found in Johannesburg converted into a rammed earth texture. 8.23 The layers as imagined in an urban application where industrial parts are inserted into the ramming of the wall. 8.24, 8.25, 8.26, Three methods of multi-story rammed earth wall construction 8.27 Elevation from within the main pathway showing the concrete and cement layer heights 8.28 Elevational drawing of junction between rammed earth wall and other (pre-cast concrete panel) walls. 8.29 Sectional plan junction between rammed earth wall to other wall. 8.30 Wynberg Waystation wall section detail. 8.31 Edge condition between rammed earth wall and precast concrete panel system wall. 8.32 The precast, hollow core, concrete panels slide into each other to seal. 8.33 Exploded isometric detail of the custom designed steel end-pieces to be fixed to concrete framework. 8.34 Shopfront window variations - appropriated to business need 8.35 First sketch of section through proposed building 8.36 Rainwater harvesting system in the Wynberg Waystation 8.37 Main areas of water reticulation 8.38 Window openings and natural ventilation diagram. 8.39 Model inside a 3D stereographic sun path model with sunlight and shading images.

DESIGN RESPONSE 9.1 Conceptual diagrams of linear transition of the ‘Great-Walk’. The proposed intervention is placed on this linear transition. 9.2 Conceptual diagrams of people who work in wynberg having lunch on sidewalk, the site location being central to Wynberg and a proposed new public space 9.3 Conceptual diagrams of person questioning the realisation of their dream, a platform for a small business and platforms together in architectural form. 9.4 Image presenting the concept of the linear transition, a intervention in the middle, new platforms for the pedestrians and a public space in wynberg as described in figure 9.1, 9.2, and 9.3. 9.5 First cardboard quick-study model of bridge extension curving over site. 9.6 Four abstract models with paper, plasticine, fabric and golden crystallised resin. 9.7 Pathways through puzzle tiles. Sketches of the uniquely designed puzzle pieces 9.8 Contoured site model at 1:500 scale, made with white card. The imagined pathways are built with the puzzle pieces on top of the site to explore path variations. 9.9 Urban Chreods. Abstract urban model representing individual journeys between Santon and Alex 9.10 Pathways through puzzle tiles. A different tile interlocking system designed and made with paper.

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9.11 Canyon Model. Brown card 1:500 scale model exploring building in canyon form. 9.12 Initial conceptual plan showing journey moving straight through proposed building 9.13 Initial conceptual perspective showing bridge meeting building and how pathway moves through. 9.14 Plans development done in April 2018 9.15 Sectional development done in April 2018 9.16 plan development done in March 2018. Conceptual programatic layout and a conceptual drawing of curves along the path and right angles to the edges. 9.17 Plan development done in April 2018. The urban response of ‘pastoralism’ and ‘chreods’ (see essay) are introduced 9.18 Plan development done in June 2018. More than one pathway is explored. 9.19 Plan development done in July 2018. The ‘canyon’ notion is developed. The (water) pedestrian movement slows down around the bends 9.20 Plan with freed curves like a ‘canyon’ as drawn in July 2018, with section lines for cross-section studies 9.21 Cross-section studies through building creating different spatial experiences though the ‘canyon’ effect. Positions of sections indicated on plan. 9.22 Plan development done in August 2018. The extreme meandering of the ‘canyon’ notion would slow the pedestrian down and the curves are not informed by function. Therefore the plan changed here to only have curves informed by function. (hardly any) 9.23 Elevational developments done in July 2018. 9.24 Sectional developments done in July 2018. 9.25 Returning to the simple diagram of the function and programme of the building to simplify the design to the essential and clear layout. 9.26 The simple diagram. Different opportunities of lingering or inhabitation along the journey. 9.27 Birds-eye perspective drawing of latest design showing the Kopanang pedestrian bridge continuing straight through the building on first level. 9.28 Site on Figure ground plan. 9.29 Circulation diagram 9.30 Photoshop perspective of the South West elevation from the beginning of Andries street. 9.31 First floor (bridge level) plan of the Wynberg Waystation in surrounding context. 9.32 Ground floor plan of the Wynberg Waystation showing Andries street moving through the building at ground level, underneath the main movement route 9.33 First level/ bridge level plan 9.34 West Elevation with Sandton CBD Skyline in the background 9.35 East Elevation 9.36 Second floor plan 9.37 Third & Forth floor plan

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WY p h ot o of d es k N d uBrEi nRgGmWAYSTATION odel building. by author

9.38 Fifth level plan 9.39 Position of industrial yard and material stock centre & library 9.40 Positions of the anchor tenant blocks, the ablution blocks and the exhibition & events space. 9.41 Positions of workshop platforms. 9.42 Position of green park and rooftop play-park 9.43 Sectional South West elevation through centre pathway of building 9.44 Zoomed in plan of workshop-‘platforms’ surrounding the main pathway through the building, showing expected activity. 9.45 Diagram showing how platforms close at night. 9.46 Photoshop perspective of the workshop-‘platforms’ surrounding the main pathway through the building. 9.47 The basic elements that make the platforms. 9.48 These elements can also be used for room dividers too. 9.49 Platforms on platforms. 9.50 The workshops can be completely customised. 9.51 Photoshop perspective of the food-trading-‘platforms’ on the public plaza 9.52 Food trading ‘platforms’ against the plaza wall 9.53 Photoshop perspective of the vertical green urban -park ‘platforms’ above the back plaza with a sloped grass hill. 9.54 Design of the green park, vertical, agricultural platforms. 9.55 Plinths to plants platforms. 9.56 South Elevation 9.57 North Elevation 9.58 Part-Cross-Section A 9.59 Part-Cross-Section B 9.60 Photoshopped perspective of central public space 9.61 Detail E 9.62 Detail F 9.63 Detail G 9.64 Diagram of where rammed earth walls are situated. 9.65 Photoshop night render of building as seen when approaching it from the Kopanang bridge. 9.66 Cross Section C 9.67 Examples of business and workshops imagined to occupy the platforms. 9.68 Birds eye view from the top of the Kopanang bridge approaching the Wynberg Waystation 9.69 Street perspective inside the Wynberg Waystation. 9.70 Birds eye view of the Wynberg Waystation 9.71 Zoomed in birds eye view of the Wynberg Waystation.

X p h ot o of d es k d u r i n g model building. by author

281

APPENDICES APPENDIX A - ETHICS CLEARANCE CERTIFICATE

282

WY N B E R G WAYSTATION

APPENDIX B - PARTICIPANT INFORMATION SHEET AND CONSENT FORM

Grayston Median The new gateway to Wynberg, uplifting ‘the-great-walk’-pedestrians through architecture.. by Diana Kuhn 1 Jan Smuts Avenue, Braamfontein, Johannesburg, 2000

I agree to participate in this research project. The research has been explained to me and I understand what my participation will involve. Please circle the relevant options below.

Dear Sir / Madam My name is Diana Kuhn and I am a Masters student in Architecture at the University of the Witwatersrand in Johannesburg. As part of my studies, I have to undertake a research project, and I am investigating how people experience the ‘Great Walk’ over the Grayston bridge. The aim of this research project is to find out what is needed for an improved lifestyle on the pedestrian route between Alexandra and Sandton, and what architectural contribution can provide this. You have been selected to participate simply because you are busy walking across this pedestrian bridge and this research investigates how a possible architectural intervention could serve you on this route. As part of this project, I would like to invite you to take part in an interview or answering a questionnaire and drawing a quick diagram. This activity will involve just sharing with me your experience or filling out a short questionnaire form, or drawing a quick diagram. It will take around 10 minutes. With your permission, I would also like to record the interview using a digital device and with your permission I would like to photograph you. This is completely optional. You will not receive any direct benefits from participating in this research, and there are no disadvantages or penalties for not participating. You may withdraw at any time or not answer any question if you do not want to. The interview /questionnaire will be completely confidential and anonymous (upon your request below), in which case the information you give to me will be held securely and not disclosed to anyone else. I will be using a pseudonym (false name) to represent your participation in my final research report. If you experience any distress or discomfort at any point in this process, we will stop the interview or resume another time. If you have any questions during or afterwards about this research, feel free to contact me on the details listed below. This study will be written up as a research report which will be available online through the university library website. If you wish to receive a summary of this report, I will be happy to send it to you. If you have any concerns or complaints regarding the procedures of this study, you are welcome to contact the supervisor of this research. See contact details below.

I want my participation to remain anonymous

YES

| NO

I agree that the researcher may use anonymous quotes in her research report

YES

| NO

I agree that the interview may be audio recorded

YES

| NO

I agree that the researcher may take photos of me

YES

| NO

The researcher may use the photo of me, with my face revealed, in their research report

YES

| NO

I agree that the researcher may use my diagram / drawing in her research report.

YES

| NO

NAME:…………………………………………… Yours sincerely, Diana Kuhn Researcher: Diana Kuhn, Supervisor: Hilton Judin,

1939362@students.wits.ac.za hilton.judin1@wits.ac.za

SIGNATURE:……………………………………. DATE:……………………………….. Tel: (011) 717-7703

283

APPENDIX C - QUESTIONAIRE TO PEDESTRIANS

Where do you do your food shopping?

Questionnaire to pedestrians on Grayston Bridge. Please circle correct answer: Do you work in Sandton or in an area around Sandton? Do you live in Alexandra

YES | NO

Are you looking forward to walking on the new pedestrian bridge?

YES | NO

Would it help to have a foodcourt with local styled meals on the route (in Wynberg)

YES | NO

Would you buy coﬀee from a coﬀee shop if there was one on the route (in Wynberg)?

YES | NO

What type of place would you want to hang out at for a few minutes on your journey? to meet up with friends?

Why?

What do you think it would be nice to have on the route? (please circle)

Water points? | Seating? | Bathrooms? | Food Shop? | Trees?

Anything else?

Do you think it will be good to have a safe play park for

kids on this route where kids can be left to play?

Would it help to have a place to store some of your things for the day? like safe lockers?

YES | NO

Do you sometimes feel unsafe on this route?

Do you have young (primary school) children?

YES | NO

Do you do sewing? or something creative? or performance arts?

OR do you have a dream do do something like this? please describe…

If YES, Where do you (or would you) currently work on this creative hobby?

Do you think it would be nice to have another small police station on this route (in Wynberg)?

YES | NO

What would make this route feel more safe?

284

Would you want to work in a co-working space that has enough space required for you?

YES | NO

WY N B E R G WAYSTATION

APPENDIX D - QUESTIONAIRE TO WYNBERG EMPLOYEES

Questionnaire to people in Wynberg.

Do you think Wynberg needs more good public space?

Please circle correct answer: Do you work in Wynberg?

YES | NO

What type of place would you consider good public space?

YES | NO

Do you pack your own lunch or buy lunch in Wynberg?

Are you excited about the new pedestrian bridge? Where do you sit to eat over lunch time?

YES | NO

Why?

Do you sometimes feel unsafe in Wynberg?

YES | NO

If a crime were to happen in Wynberg, which police station do you call?

Where do you do your food shopping?

Would it help to have a foodcourt with aﬀordable

local styled meals in Wynberg?

YES | NO

Do you drink coﬀee in the mornings?

YES | NO

Do you think it would help to have a small satellite police station in Wynberg?

YES | NO

Do you have young (primary school) children?

If yes, where do you get it?

YES | NO

Do you think it will be good to have a safe play park

for kids in Wynberg where kids can be left to play?

YES | NO

Do you do sewing? or something creative? or performance arts?

(As a hobby) OR do you have a dream do do something like this?

please describe…

If you want to meet up with someone if Wynberg, where do you meet?

Would you want to work in a co-working space that

has enough space required for you?

YES | NO

285

APPENDIX E - PROGRAMATIC SQUARE METERAGE BREAKDOWN

Square meterage breakdown Programme

notes

amount

m2 per unit

Total m2

MATERIAL LIBRARY 3

storage

material display

120

seating atrium

230

1280

offloading garages

a medium sized truckâ&#x20AC;&#x2122;s dimension are about 7,5m x 2,5m in plan

120

WORKSHOPS flexible workshops

workshops around 8m x 8m each

individual storage spaces

large enough to store basic machinery or table away

144

150

anchor tenant front-public

anchor tenant back-staff

1,4

retail shop

FOOD TRADING

smaller food trading spaces individual storage spaces

700mm deep cupboard spaces

MICRO FARMING -

2,4

16,8

offices

kitchenette

1,5

empty land

not considered as built space - included in outdoor space below

individual storage spaces rainwater collection space

2500l JoJo tanks are almost 1,5m diameter

grey water collection space

OFFICE / ADMIN SPACE

ABLUTION public toilet cubicles

cubicles are about 950mm x 1500mm

public bathroom circulation & basins

about 2,5m2 for every cubicle

office use toilet cubicles

office use circulation & basins

50 1,5

6 10

SUB TOTAL

2533,8

pathways / circulation

45% of total

public areas within building, along pathways

1140,21 40

TOTAL BUILT AREA

240

3914,01

TOTAL

OUTDOOR PUBLIC SPACE seating / meeting areas

100

water drinking points

micro farming land plots

8m x8m land plots

TOTAL PUBLIC SPACE

TOTAL PARKING SPACE

792

if 74 required - 30m2 per bay

TOTAL BUILT AREA INCLUDING OUTDOOR SURFACES

286

700

2220

6926,01

WY N B E R G WAYSTATION

APPENDIX F - WBHO VALUE ADDED STATEMENT FROM 2017 INTEGRATED REPORT

VALUE ADDED STATEMENT

2017

2016

35 586

34 497

(29 065)

(26 572)

CLIENTS Revenue* SUPPLIERS Cost of materials and services*

WEALTH CREATED

6 521

7 925

3 778

4 744

277

243

1 729

2 124

WEALTH CREATED

EMPLOYEES Payroll costs Share-based payment expense INVESTORS Dividends paid to shareholders FINANCIAL INSTITUTIONS Interest and finance charges Lease costs

WEALTH DISTRIBUTED

GOVERNMENT Taxes and duties* COMMUNITIES 6

5 865

7 184

Attributable earnings (less dividends paid)

445

483

Depreciation

211

258

WEALTH RETAINED

656

741

Corporate social investment

WEALTH DISTRIBUTED WBHO

WEALTH RETAINED

* Including value-added tax and sales tax where applicable

WBHO 2017 INTEGRATED REPORT

287

APPENDIX G - WBHO SOCIAL INVESTMENT POILCY

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.7:5)4 )/:--5-6< 5=;< *- ;1/6-, *A *7<0 8):<1-; <0)< 16+7:87:)<- )44 <0- 1<-5; )*7>- ;7 <0)< <0-:- 1; *- 67 51;=6,-:;<)6,16/ 7: =6:-)41;-, -@8-+<)<176; .:75 <0- *-6-.1+1):A ;+0-,=4- 7. 5--<16/ ,)<-; 5=;< *- )/:--, <7/-<0-: ?1<0 576<04A :-87:<; ,-<)1416/ 8:7/:-;; 7. <0- 8:72-+< 16 <-:5; 7. -@-+=<176 )6, *=,/-< 641;< <0- ;=887:< 7. )44 +755=61<A 4-),-:; )6, +755=61<A 41)1;76 7..1+-:; <7 ,->-478 *=A 16 )6, ;=887:< .7: <0- 8:72-+< .:75 <0- 47+)4 +755=61<A 6 /716/ ;=;<)16)*141<A +)6 *- /)16-, ?1<0 168=< .:75 7=: 41-6<; )6, )44 ; 16>74>-, 16 ;1514): 8:72-+<; #01; 5=;< *- )+<1>-4A 8=:;=-, *A 7=: 16<-:6)4 8:72-+< 4-),-: ,=:16/ <0- +7=:;- 7. <0- 8:72-+< 16)6+1)4 +76<:74 5=;< *- 3-8< *A % ?07 ):- )++7=6<)*4- <7 ;0):-074,-:; .7: <0- -@8-6,1<=:- +7551<<-, <7 <0-;- 161<1)<1>-; #0- 8:72-+< 4-),-: 5=;< 16>74>- <0- 07;< 5)6)/-: ,=:16/ <0- +7=:;- 7. <0- 8:72-+< ;7 <0)< <01; 8-:;76 0); <0- 6-+-;;):A <:)1616/ )6, -@8-:1-6+- <7 +76<16=- ).<-: +7584-<176 44 8:72-+<; ?144 *- :-87:<-, 76 )< 7):, 4->-4 47;- 7=< :-87:<; 16 )44 ):-); ?144 *- ,76- ;7 <0)< <0- -@8-:1-6+- /)16-, 16 <0- +7=:;- 7. -)+0 16<-:>-6<176 1; 67< 47;< <7 <0- 758)6A ! C % ! $ ' $ # ! $ ! ! # " ! " " #' "

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