Dwane David Derman Architectural Dissertation
Declaration
This dissertation contains no material which has been accepted for the award of any other degree or diploma in any university. To the best of my knowledge and belief this dissertation contains no material previously published by any other person except where due acknowledgment has been made.
Curtin University of Technology Faculty of Humanities School of Built Environment Department of Architecture/Interior Architecture
Dwane David Derman 15293905 Evoking Trauma - South African Perspectives
Design Thesis Supervisor: Alejandro Gil-Herrero Word Count: 7056 Date: 7th November 2017 Signature:
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Acknowledgments
Firstly, to my parents for their undivided support throughout the Masters and Undergraduate program. Your input and interest and has helped me to achieve heights I never thought possible. My peers and educators at home in South Africa that contributed to the development of this project, it wouldn’t be what it is without your insights. Secondly, to my supervisor Alejandro. Throughout this year you have changed my perception of the possibilities that architecture and design can achieve. I am truly thankful. “Lastly, to LITY CITY (407a), the late nights, rough mornings, and everything in between. Each one of you holds your own special place in this dissertation for your input and guidance. I look forward to graduating with y’all.” (N. Allet, C. Chan, D. Derman, H. Hashim, A. Healy, T. Mackie, M. Mallon, J. Wang)
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Glossary
Rainbow Nation – “The term Rainbow Nation of South Africa, found popular appeal from the moment Archbishop Emeritus Desmond Tutu first used it to capture the multicultural nature of the country.” (Department of Tourism n.d.) Truth and Reconciliation Commission – “The South African Truth and Reconciliation Commission (TRC) was set up by the Government of National Unity to help deal with the events that occurred during apartheid. The conflict during this period resulted in violence and human rights abuses from all sides. No section of society escaped these abuses.” (Department of Justice n.d.) Wall of Names – “The 697m long Wall of Names, which is inscribed with the names of those who played a significant part in the conflicts” (Culture n.d.) Reconciliation Day – “South Africa’s first non-racial and democratic government was tasked with promoting reconciliation and national unity. One way in which it aimed to do this symbolically was to acknowledge the significance of the 16 December in both the Afrikaner and liberation struggle traditions and to rename this day as the Day of Reconciliation. On 16 December 1995, the Day of Reconciliation was celebrated as a public holiday in South Africa for the first time.” (South African History Online 2000) Great Trek (Groot Trek) – “The Great Trek was the movement of Dutch-speaking colonists up into the interior of Southern Africa in search of land where they could establish their own homeland, independent of British rule.” (South African History Online 2000) Wall of Remembrance – The memorial walls pay tribute to those who died during the conflicts that shaped present-day Southern Africa.” (Baines 2009)
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i: Inquiry
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BIRTH Project Statement
As we reflect on where we came from and how we came to be in this position, we must also not stray our eyes from the future. The future is bright. Education of young people in not only rural areas but around the country is on the increase with infrastructure programs being set into motion. Many memorials and museums that highlight South African history all have a similar theme, the story of apartheid. The story of the human plight and struggle through such a crisis is of the utmost importance for anyone, who wants to grasp what the country and the people have been though. These spaces within the built environment do not propose a future. In many instances the bright future that lies before us is not touched on or discussed. Reconciliation, respect and freedom are merely words that are used to describe the future. But how do we arrive there? Where is the vessel that is going to transport us to the utopia we so desperately crave and need? This gap is too big to fill in a master’s thesis, instead a portion of the overall idea will be explored and tested. If the project were to be hypothetically completed, the scale would be nationwide. It will form part of an urban development proposition that will align with the core values of this project, and build on one another.
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TRAUMA Problem Statement
It would be easy to blame all of the trauma that South Africa is facing on the apartheid regime, and you would be largely correct. Apartheid was single handedly responsible for the mass the relocation of a settled population, the further segregation of an already separated populace, and the ill treatment of certain cultural groups based on skin colour and origin. Apartheid however served as a spring board for the Republic of South Africa that was born in 1994 under the leadership of Nelson Mandela. We now had a basis, a criteria of everything we as humans oppose, and refuse to relive or cast upon our fellow country man. Many issues plague the modern day South Africa. The wealth gap that was established during apartheid is still prevalent, the lack of basic services such as water and electricity impacts millions of people per day. We must however be sure to ground our opinions and perceptions, South Africa is not an isolated instance of injustice and mistreatment. The second world war saw over six million Jewish people lose their lives just because of their heritage. In Rwanda the genocide of 1995 was responsible for over one million people being slaughtered in just under a month. South Africa’s past does not compare to these in terms of loss of life. But when discussing the time period or the continuation of these crimes, it supersedes both, over 80 years.
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Video
Birth:
Trauma:
“The act or fact of coming into life, or “An emotional wound leading to of being born” psychological injury” “Origin or natal background” “The beginning of anything” (Yourdictionary.com 2017)
“An event that causes great distress”
Legacy:
Recompense:
Reconciliation:
“Something handed down from an ancestor or a predecessor or from the past”
“To make repayment or requital for; compensate”
“The reestablishment of friendly relations; conciliation or rapprochement”
“Amends made, as for damage or loss”
Please download a QR scanner and watch the video
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(theology) “The end of estrangement between a human and God as a result of the process of atonement”
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Contents Declaration 2 Acknowledgments 3 Glossary 4
birth trauma
i: Inquiry Project Statement 6 Problem Statement 7 Video 8 Design Objectives 11 Methodology 11 Design Process 12
recompense
ii : The Built Environment Literature Reviews 14 Case Studies 18
legacy
iii : Site and Brief Design Brief 26 Site Analysis 27 iv : Design Proposal Design Criteria 30 Program 31 Focus Areas 38 Renders 43 Closing Remarks 49 List of Figures 50 References 53
reconciliation
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v: Appendix Past Theses Analysis 56 Diagram Palette 59 Architectural Details 60 Tree Palette 62 Principles of Design 64 “South Africa - From the Ground Up� Proposition 67 Precedent Matrix 68 Interim One Panels 70 Final Panels 75 Process Work (separate folder)
Design Objectives
There are two main objectives that drive this project, and within those three sub Objectives. To create a space that conveys the trauma that was experienced by the country, without bias or preconceived notions. The results will still into a re-conciliative ceremony which will be apart of the complex as a whole. This project will change the way people think about the past and the future. It will be a conversational piece furthermore broadening the platform of the future of South Africa.
- Redefine what a monument can and can’t stand for. - Will in no way marginalize or exclude any race or culture or people. - The exhibitions that are on display will continually forge the current and new identity of South Africa as a Rainbow Nation.
Methodology
Methodology will consist of a two-part process. Firstly, the in-depth analysis of five key projects. These will be evaluated based on a set criterion. Adjacent to that, a matrix will be established for projects around the globe which share commonalities with the main five. These will be evaluated in a matrix format. Secondly these findings will be explored through in depth sketching and analysis, and eventually built into a design.
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Design Process
Research
Sketching
Diagramming
Modeling
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Research: The main body of research took place in the first semester as part of ARCH5002 Thesis Preparation. The purpose of this subject was to gather data, tabulate it and filter it into a logical and manageable document. In my thesis preparation reports I focused on exploring architectural theories, and how these theories can influence my design. A huge part of the research revolved around understanding the South African socio-political climate in the past and present. Extensive reading and research was conducted into various cultural groups such as the Zulus, and the Khoi Khoi. Initially the direction that the thesis was heading, was focused heavily on specific cultural elements such as camp architecture, religious inclinations, cultural practices and ceremonial aspects. Sketching: Exploring the intricacies of the site and how the building would potentially sit on a site of that nature could only be explored through sketching. Using computer generated topography to define the parameters, molding the site and the project became synonymous. through a series of rough sketches exploring spaces, the building form starts to take shape. At the early stages it was necessary to draft spaces by hand, this helped to further visualize the spatial intent and emotional qualities that were sought after. Diagramming: As with the sketching process, diagramming was an integral part of determining spatial functions, qualities and adjacencies. Diagramming proved to be useful for simple resolution, for instance if there was a conflict of functions. Explaining the research in its simplest form is easiest through diagrams. A universal language that is just as powerful as fully resolved construction documentation. 3D Modeling: The nature of the thesis means that a space, or series of spaces will be produced as a result of the findings. Specific to this thesis, an accurate 3D model will be the best representation of the outcomes. By using a combination of programs to achieve this. Google SketchUp - as a massing and simple form generator, SketchUp allowed me to quickly mass, extrude and explore ideas and areas that have been developed in the sketching phase. AutoCad - Once massing and a rough layout was determined, AutoCad was used to accurately position it on the site, highlighting site specific conditions. Revit - Once the desired form had been refined, modeling in Revit could begin.
ii : The Built Environment
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Literature Reviews
Note* The following sections are extracted heavily from “Dwane Derman Thesis preparation Proposal Submission 7th June 2017”. Voortrekker Monument changes with the times IOL - 2003 In a review of the Voortrekker Monument in 2003, a journalist critiques the monument and its representation of the fascist regime that ruled the country of the time (Voortrekker Monument changes with the times 2003). The monument is a result of the promise made by the Afrikaners to God, days before The Battle of Blood River on the 16th of December 1838 (Paul Baillie n.d.). This was the first battle of its scale between the Afrikaners and the indigenous Bantustan of the African continent. If God helped the Afrikaners to defeat the Zulu people, they would commemorate that day forever more. At the time of construction, the Voortrekker monument was a symbol of the divine right granted to the Afrikaners by God to occupy Southern Africa. The monument sent a message that “the whites have a right to be here. It is their land” Andries Breytenbach (Voortrekker Monument changes with the times 2003). Over time it had to evolve. “It would be a good idea if black cultures also preserved their history like this for people to come and see” - Wilson Honu, a land surveyor who visited the monument. (Voortrekker Monument changes with the times 2003). Whilst there are no factual inconsistencies, the author only briefly mentions a crucial part of history – The Battle of Blood River. A series of quite complex events that led up to the fateful battle is key in understanding the relevance of the Voortrekker Monument. Much had changed within South Africa during the following 100 years. During the early 1800’s land ownership was much more fluid than it was in the 1900’s (Harries 1993). The Koisan, Bantustan, British and the Afrikaners all attempted to lay claim to contested land at one point or another. During this time, the first and the second Anglo Boer war took place, famine and disease also played a part in bringing the country to its knees (Paul Baillie n.d.). The relevance of the Voortrekker Monument at the time of construction should also be questioned. Whilst the stated motive to build the Voortrekker Monument was to commemorate the Battle of Blood River, it is almost as if it was used as a metaphor, a rallying point for the far right at the height of apartheid. The monument and it symbolism is a one-sided depiction, a history told by the victors. As South Africa moves forward (post 2003) it is important to have all the facts at hand, it is only then that a new more inclusive story can be told. Since then many new murals, museums and monuments have been established and constructed as the people of SA dissect the past and try to move forward, together.
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Image 1: The Apartheid Museum
Creating/Curating Cultural Capital: Monuments and Museums for Post-Apartheid South Africa Elizabeth Rankin - 2013 Elizabeth Rankin has analysed multiple memorials in the current context of SA, most of which are responses to the apartheid regime. The Hector Peterson memorial, The Red Location museum, Freedom Park and The Apartheid Museum fall under this category (Rankin 2013). The Apartheid Museum in Johannesburg was built in 2001 and is one of the first of its kind. Each visitor is given a pass which labels them white or non-white. These passes allow you access through a hall where depictions line the walls (Rankin 2013). The hallway doesn’t lead directly to the museum but instead it leads outside, into the sun (Rankin 2013). This is a key element because you exit and commence the journey up a slight gradient which symbolizes a long walk, a struggle out of the darkness (Rankin 2013). Rankin raises the most important question of all, “who actually visits museums?”. Every stone and every fibre used to create the Apartheid Museum has a symbolic narrative attached to it. From the moment you step foot into the hall, your entire experience is through the eyes of that race classification, for an older demographic that were subject to the laws in the apartheid era. This may be well and truly confronting. Just as in the scarlet letter, the sun represents innocence, honesty and freedom from sin (Hawthorn 1850). Almost as if to say, there is a way forward and this is the path that we must travel. The procession through the rest of the museum, tells the tale of apartheid, the struggles of the non-whites, and the utopia of the whites. It is a walk-through history, a chronological depiction of the events that shaped SA. During the regime, schooling if available at all, was not compulsory for non-whites. The demographic that the museum attracts,is mainly tourist, and school groups. How do we as people create a monument or a museum that deals with the past in such a way that it is inclusive of everyone affected? The harsh reality is that some of the people who were affected the most may not be able to read, forcing us to question its inclusivity. How do we extend this opportunity to those who were not fortunate enough to receive an education? Are they not the ones that need to be addressed as the country continuously tries to heal itself?
Image 2: Museum of the Red Location
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The Theory of Collective Memory - Maurice Halbwachs
COLLECTIVE MEMORY
Jan Assmann, a German Egyptologist, developed the theory of communicative and cultural memory based on the theory of collective memory developed by Maurice Halbwachs and Aby Warburg (Assmann 1995). Their theories move the subject focus from the biological field to the cultural field (Assmann 1995). The theory hinges on the dismissal of genetic memory, and states that a character a person develops throughout life is a product of the society or the culture to which that person has been exposed. “No one is born hating another person because of the colour of his skin or his background or his religion. People must learn to hate, and if they can learn to hate, they can be taught to love” (Mandela 1994)
CULTURAL MEMORY
COMMUNICATIVE MEMORY
Communicative memory is one of the means of defining the concept of Collective memory. Assmann states that communicative memory has a temporal horizon – this is a defined period of time that the memory or the history remains relevant (Assmann 1995). Because the memory is the product of a direct experience, it has a time limit; the lifetime of a person that experienced a certain event is the horizon. Communicative memory can however be fixed in time, if it is transferred to cultural memory (Assmann 1995). Cultural memory is the representation of memory throughout time, achieved by fixing it to tangible elements such as literature, the built environment (monuments) and rituals. The two characteristics of cultural memory quantified by Assmann are: The concretion of identity The capacity to reconstruct (Assmann 1995). These are the two anchors which confine this project. The concretion of identity could be an element within the built environment that serves as the source from which people are able to draw unity. “No memory can preserve the past” (Assmann 1995). Having the capacity to reconstruct cultural memory, means that people can manifest a past memory into physical form. This could lead to issues such as mis-representation fueled by political and sometimes personal ideals.
Diagram 1 - Theory of Collective Memory
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PHENOMENOLOGY
The Theory of Phenomenology -Edmund Husserl Phenomenology was primarily established by Edmund Husserl and his colleague Martin Heidegger (Smith 2016). It is the study of experience from the users point of view, a first-person perspective. In architecture, it relates to the perception of space through senses - touch, smell, sight, hearing, (the texture of a material, the odour of surroundings, the perspectives and fields of vision and the sound of space). These sensory experiences can evolve into a higher thinking and consideration of emotion, imagination, desire and memory (Herbert Spiegelberg n.d.). Explaining what can be achieved through this method of inquiry, Husserl wrote - “In all pure psychic experiences (in perceiving something, judging about something, willing something, enjoying something, hoping for something, etc.) there is found inherently a being-directed-toward…. Experiences are intentional….” (Herbert Spiegelberg n.d.).
Application:
The way in which people perceive memory, and the manner in which memories are recalled influences our current opinions. A enigmatic experience that does not rely on facts, can result in a misinterpreted narrative in years to come. Appealing to the emotive senses as well as the rational sense is equally important. The common language that all humans share are their senses, or the ability to interpret experiences into emotion or feeling. Considering the architectural tectonics, experiences can be cultivated or shaped based on architectural principles and standards. Physically it will be a confronting yet attractive heritage destination, which focuses on the future based on the silhouettes of the past. “Those who cannot remember the past are condemned to repeat it.” (Santayana 1905)
Diagram 2 - Theory of Phenomenology
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RECOMPENSE Case Studies
Freedom Park Pretoria – 2004 – Stefanutti Stocks Freedom Park aims to be the historic, powerful, and confronting heritage destination that South Africa needs to thrust the country out of the shadows cast by the apartheid regime (Culture n.d.). It is more than just a space, it is a cumulative response to the findings made by the Truth and Reconciliation Commission, a solution on how to deal with past trauma (Department of Justice n.d.). The park consists of 10 elements (Culture n.d.), all of which play a role in the process of healing. While striving for inclusivity and community across the nation, reference is made to South Africa’s nine provinces (Culture n.d.). Some of the elements within the site are designed to be seen from far away, this visual aspect makes a grand addition to the South African Capital’s skyline. An attempt to manifest reconciliation is made by the constructing a series of landscape interventions, architectural spaces, and physical buildings that comprise the overall program. Freedom park is distinctly not a war memorial, it does however place emphasis on the fallen heroes and heroes of South Africa’s battle for freedom through the 700m Wall of Names. Tectonics Sandstone, Limestone, Precast Concrete, Shale, Glass. Context It is situated in the Capital of South Africa, the routes that the Apartheid Government found its feet. This makes an obvious choice for the new South Africa to find its feet. Stakeholders Citizens. The normal people that you never see in the news or hear on the radio. This was intended for the average person to experience a step in the right direction. Forward.
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Image 3 - 6 : Freedom Park
Voortrekker Monument Pretoria – 1949 – Gerjard Moerdijk Designed as an altar, the Voortrekker Monument is intended to be a religious and Afrikaner national symbol (South African History Online 2000). To unite the Afrikaners and pay tribute to God for granting the Afrikaners the right to settle in South Africa, the monument needed to be filled with religious symbols and historic commemoration (South African History Online 2000). The worlds largest marble frieze depicts the Battle of Blood River told by the Afrikaners across all four interior walls of the main hall. (Voortrekker Monument n.d.) Using the sun as a symbolic message from God, it plays a pivotal role on the ceremonial front as it adds to the narrative that was told on Reconciliation Day– December 16th. (ARTEFACTS n.d.) Statues measuring 6 tons (Voortrekker Monument n.d.) Depicting life like representations of key leaders during the Great Trek (South African History Online 2000) enforce their larger than life status in their battle for independence. Initially the site was home to only the Voortrekker Monument, years later the addition of the amphitheater, turned Schanskop into a multi-dimensional site. Recent additions such as the Wall of Names and the 32 Battalion Tree of Honour (32 Battalion Veterans Association n.d.) have played a crucial role diversifying the narrative told of the new South Africa that the Voortrekker Monument is depicting. Tectonics Sandstone, Marble, Concrete, Granite Context It is situated in the Capital of South Africa, Pretoria. At the time it was the symbol of Afrikaner nationalization and Apartheid, representing the segregation from the British empire a mere 40 years prior. Stakeholders Citizens. The Afrikaner people. A symbol of their divine right to reside on the southernmost point of Africa.
Image 7 - 10 : Voortrekker Monument
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Kigali Genocide Memorial Kigali – 2004 – Aegis Trust Prevention of genocide and crimes against humanity form the basis of Aegis’s mission. The Kigali Genocide is one of seven across Rwanda all dedicated to the 1994 Genocide of the Tutsi (AEGIS n.d.). Kigali’s purpose is highly admirable, it does not only pay tribute to those who have passed on with an official burial ground, but also tells a very intricate tale of how the events that led up to the atrocities came to be. The first of three exhibitions places Rwanda in a global context, juxtaposing it to similar occurrences throughout history and documenting them in detail (Kigali Genocide Memorial n.d.). The second exhibition deals with events that have not been recognised by international law as genocide, reinforcing the educational framework (Kigali Genocide Memorial n.d.). The third exhibition focuses on the younger generation, and how their futures were stolen from them through the actions of others (Kigali Genocide Memorial n.d.). The Amphitheater hosts numerous educational and celebratory events, whilst the garden of reflection and burial grounds allows users to contemplate what they have been exposed to, and how they are responsible for the prevention of future genocides. Tectonics Untreated Concrete, Steel, Native Landscaping Context Kigali was the one of the most affected areas of the genocide, it is now also the now capital of Rwanda Stakeholders The world. One of the most significant tragedies in recent history, it serves as a basis of discussion on a worldwide platform. In terms of commemoration it serves the purpose of ceremonial events, remembering the past.
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Image 11 - 14 Kigali Genocide Memorial
Jewish Museum Berlin – 2001 – Daniel Libeskind The design was based on three insights: It is impossible to understand the history of Berlin without understanding the enormous contributions made by its Jewish citizens. The meaning of the Holocaust must be integrated into the consciousness and memory of the city of Berlin; and, finally, for its future. The City of Berlin and the country of Germany must acknowledge the erasure of Jewish life in its history. (ArchDaily n.d.) The museum cannot be considered a museum in traditional contexts, but more of an experience. Using only a handful of materials in a certain manner allowed for example the reflection of light when necessary and the absorption of light where a dark space was required. Rough finishes on surfaces where harsher environments were needed, abrupt clean viewports allow for visions of Berlin and the surrounding landscape at certain intervals. (ArchDaily n.d.) Tectonics Concrete, Steel, Glass Context Berlin has become the focal point for commemorative gestures and memorials. with the backdrop of the Brandenburg gate, projects such as the Jewish museum have an inherent importance. Stakeholders The world - it cannot be described as just a museum, it is a representation of suffering. People who visit this building do not come for here for a history lesson.
Image 15 - 18 Jewish Museum Berlin
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MCB - Tirpitz Blavand – 2017 – Bjarke Ingles Group Converting a German WWll bunker into a diverse cultural precinct merely scratches the surface. The “invisible museum” is imbedded into the landscape, and draws upon war history of Blavand to find its niche. (BIG n.d.) The cracked open edges of the museum are topped with sand, which match that of the surrounding context. Upon arrival the descent into the central convergence point grants glimpses of the adjacent exhibitions. The exhibitions are imagined by the Dutch agency Tinker Imagineers. The exhibitions range from permanent to temporary. (BIG n.d.) Connection to the existing bunker is essential for the overall theme to be realised, and thus an underground tunnel connecting the new and the old can be found. Tectonics Concrete, Stone, Steel, Glass Context Tirpitz has a historic connection to WW2, the obvious theme that would preside over a cultural entity would have a grand connection to the aforementioned. Locating the project adjoined to a WW2 bunker gives the project depth. Stakeholders As some of the exhibition spaces are temporary, a variety of functions can be hosted. This means that the intended audience can fluctuate.
22 Image 19 - 22 MCB Tirpitz
Tectonics All of the five precedents had commonalities in their material selection. Concrete, being one of the most workable, flexible and emotive material used in construction was freely used. The ability to carve smooth or rough textures allows for a consistency in materiality, but a change in visual aesthetic. Balancing light and dark through the molding of colour, adds a tonal quality that if done with most other materials appears artificial. Remaining true to its context, the use of local materials plays a big role. In South Africa, sandstone is a widely accessible material, like wise in Blavand where the earth was used as a roof covering literally cladding the building in the material it is situated in. Opening the surface and revealing what lies beneath the land, then tucking the building inside of the pocket has a quality that can rarely be achieved by placing the building on top of the land. Context Historic events often dictate the perseverance of ideals in certain geographic locations. Berlin, Pretoria, Kigali and Blavand all share this. Placement of the architectural statement can be profound or it can be subtle. For instance if the Jewish Museum was to be placed in Blavand, the impact, statement, weight and target audience would simply not be appealed to. Denmark was much less influenced by the Third Reich, as opposed to Berlin. Stakeholders Who are the people that have an investment in the project? Who are the people who will make the most use of it? Who are the people that need an architectural representation as a reminder or even a coping mechanism? Once again it boils down to the context. If the project was erected as a consequence to an action, the target audience may differ greatly from those, were to be erected as a lesson to an action. In the architecture of commemoration, monuments, memorials and statues are frequently used. In certain cases, such as the SADF memorial, they have combined all three in the complex. (Baines n.d.) “We erect monuments so that we shall remember and Memorials so that we shall never forget� (Homiski n.d.).
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iii : Site and Brief
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LEGACY Design Brief
Aspirational The project will have five phases, all linked to one another completing the circle – Birth, Trauma, Recompense, Legacy and Reconciliation. Each phase is an architectural intervention that has its own purpose. Comprehensive Four of the five phases will be detailed to a master planning level. Spatial arrangements, adjacencies, movement and materiality have been explored. The third phase – Trauma, will be covered in depth. This phase of the project is the emotive and sensory high point, its experiential nature will provide its occupants with an journey. It is not a historic telling of the past, it is an experience. Brief The spaces will each evoke a deep sensation of trauma. The abstract nature will not lead the occupants into any preconceived ideas about the experience. The nature and feeling is completely up to the individual to judge, and feel. The architectural tectonics of the spaces will match the intended emotive aspects
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Site Analysis
Pretoria
Macro Determining where to position the project is an extremely difficult decision to make. There are hundreds of potential locations, all rich with heritage and symbolic meaning. Bloemfontein was the first Capital of the Boer republic. Port Elizabeth is the birth place of Nelson Mandela. East London was the location of several anti-apartheid demonstrations and general unrest. Cape Town is the mother city as it was the first city to be claimed by the Dutch settlers. Johannesburg is one of the most densely populated cities in South Africa, where the socio-economic gap can be clearly witnessed. Pretoria, the state capital, is the home to several monuments and memorials, such as the Voortrekker Monument, Freedom Park and the Union Buildings. If there was ever a location that served as a spring board to propel South Africa into the future, it is Pretoria. (Refer to pg 67 -South Africa From the Ground Up�)
Bloemfontein
Sandton
Johannesburg
East London
Cape Town
Port Elizabeth
Image 23 - Map of South Africa
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Micro
The Union Buildings
Pretoria is located on the highveld (on top of the plateau, 1540m above sea level). The landscape does not have massive protruding mountains and steep sloped, but it does have a rolling hills. The architecture of Pretoria originated from a defensive point of view. Forts were established atop many hills to defend the Boers from the British army. These were abandoned soon after the war was won by the British, and later turned into monuments and heritage sites. Coincidentally the Freedom Park was erected on hill (Klapperkop) right next to the Voortrekker Monument (Schanskop). Along with the SADF memorial, they create a triangle of the distant past, military conquests, and future. A mere 5km away the Union Building stands proud at the base Meintjieskop. These buildings all align to create an axis of vision, they are all visible to one another despite the landscape.
Freedom Park
The Ben Schoeman Highway forms part of the Cape to Cairo route, and is one of the busiest roads in South Africa. The N14 section of it passes to the west of the proposed site. On the east, the newly built Gautrain and the M18 can be seen.
SADF Memorial
N14 Voortrekker Monument
Gautrain M18
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Image 24 - Map of Pretoria
iv : Design Proposal
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R E C O N C I L I AT I O N Design Criteria
The aim of the design criteria is to set out the objectives and the controls to manage the physical development of the proposed project. These can be broken down further into Site Design Criteria, and Architectural Design Criteria. Site Design Criteria Location The situation of the project within proximity of other surrounding elements of significance both visually and emotionally is key. As established through mapping, diagramming and critical research, only three possible sites are viable for a project of this nature. Access The project aims to make an impact on all visitors, regardless of their background. This implies that anyone who wants access, can have it. It is thus a requirement that the project be located near a major transport hub. If this proves to be an unattainable goal, detailed investigation into the additional infrastructure required will be undertaken, and proposed as an alternative. Architectural Design Criteria The project should be appropriate to its context, it should not deduct from its surrounding elements, neither should it overshadow (physically/ emotionally) them. It should be a proportionate expression of the findings of the site analysis regarding the urban fabric and the cities character. The responsibility of the designer ensures that the project will remain unique, and build its own character over time. The project will be executed in such a way as to reinforce the concepts and design intent – past, pathway, destination and future. Every aspect is to be accessible by every member of public (the design will make provision for all ages and abilities).
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Program
The program of the building follows the five stage theme that presides over the whole project. Birth, Trauma, Legacy, Recompense, Reconciliation. 1.0 Birth The journey of arrival is jolted, and disjointed experience. A slight glimpse at the building structure provides you with a means of orientating your journey, but the paths that take you there say otherwise. From the furthest parking lot, a 650m long path will guide you to the right hand side of the structure. In the process of doing so you are able to glimpse two of the framed references, Freedom Park and the Voortrekker Monument. Whilst the path is differentiated from the surrounding landscape, a venture off the path is not discouraged. The 460m long path guides users through the center of the site, sampling views of the Union Building as they make their journey to the main entrance of the structure. The shortest of the pathways will take you on a 180m long journey, with the views focusing on the SADF war memorial. Eventually you will need to make your way off of the path as it ends, and you are forced to move towards the entrance.
Walkway 1 - 180m Lot 2 Lot 1 Walkway 2 - 450m Walkway 3 - 650m Lot 3
Image 25 - Site Map 01
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2.0 Trauma Trauma is the first point of contact with the interior of the building. As you descend into the first domain - called isolation, the first part of your journey commences. Each part within each domain has its own emotive palette, defining the intricacies which make each space unique. Materiality, lightness, mood, emotion and ambience are some of the defining differences between the spaces. Isolation is a space of loneliness, solitary and coldness. Light guides you throughout the space. Glimpses of the exterior bewilder you as a stark contrast from the experience within. Mfecane (Zulu - The Crushing) suffocates its inhabitants vertically with the space bearing down the deeper you go. Darkness surrounds you, and the senses are tested. Ezilahlekileyo (Xhosa - Lost) confuses and distorts perceptions. Overwhelming steel panels become formidable opponents as you negotiate and wade through past experiences and rewrite your own narrative. Mararankodi (Sotho – Confusion) uses the senses to create a disharmony is what is being seen, and what is experienced. The boundaries of the interior space are challenged, and the exterior and interior are blended. Versmoor (Afrikaans – Suffocate) draws its inhabitants in with clear blue reflections and lightness, before to long the insensitive weight above is realized. The need to escape is hampered by the nonlinear pathways which are intertwined. Movement throughout the spaces is one directional. Once you choose a path, left or right, you move into and inhabit the spaces you are in. Eventually surfacing at the end in the next phase, Recompense. Domain 1 - Isolation Domain 2 - Mfecane Domain 3 - Ezilahlekileyo Domain 4 - Mararankodi Domain 5 - Versmoor
32
Image 26 - Site Map 02
3.0 Recompense Recompense is the cumulation of experiences, which are later transformed into lessons. Each space can operate independently, and consequently 4 different exhibitions can be hosted (one domain being the outdoor water feature). The spaces can also become one, all linked by a central theme. The exhibition centres are the lifelike incarnations, the post trauma experiences that educate and promote moving forward. The spaces can be temporary or permanent.
Exhibition Spaces
Image 27 - Site Map 03
33
4.0 Legacy
Legacy is the history and the actions as a result of that history, that is left behind for others to see and interpret in their own unique way. It is the story that is passed down from generation to generation. A tree is a symbol of life, it represents peace, serenity, and growth, just like the tree The Terrace of Contemplation is also a symbol. It is a tailored African scape that speaks about the transparency between human interaction. The convergence point of the axis emphasizes the gathering - a meeting point.
Terrace of Contemplation
34 Image 28 - Site Map 04
5.0 Reconciliation
The final stage of the precinct. Ideologies, celebration, festivities and education. It comprises of four components – the amphitheater, the stage, the workshop and the restaurant. The Amphitheater is a place where people can come together in celebration. Seating 1000 people, it serves as a viewing platform for the framed references across Pretoria as well as the stage. The Stage is the platform on which reconciliation will be launched, it is where ceremonies such as the presidential address will be delivered on the Day of Reconciliation (16th December). It can also serve a concert or public speaking venue. The Workshop is a place that the younger generations will be able to put to use their newly found knowledge. The premise is that the exhibition spaces is to be informative. The Workshop will be a space where children (school groups / scheduled classes) can practice age old methods in fields such as construction and baking, it uses a practical grassroots approach. The Restaurant will serve as a function venue, one that can be hired to interested parties, and serve the general crowd on a normal day of operation. Stage Restaurant Amphitheater Workshop
Image 29 - Site Map 05 35
1:1000 A1
Site Plan
The journey of arrival is one of jolted, and disjointed experience. A slight glimpse at the building structure provides you with a means of orientating your journey, but the paths that take you there say otherwise. From the furthest parking lot, a 650m long path will guide you to the right hand side of the structure. In the process of doing so you are able to glimpse two of the framed references, Freedom Park and the Voortrekker Monument. Whilst the path is differentiated from the surrounding landscape, a venture off the path is not discouraged.
Recompense is the cumulation of experiences, which were later transformed into lessons. Each space can operate independently, and consequently 4 different exhibitions can be hosted (one domain being the outdoor water feature). The spaces can also become one, all linked by a central theme. The exhibition centres are the lifelike incarnations, the post trauma experiences that educate and promote moving forward. The spaces can be temporary or permanent.
The 460m long path guides users through the center of the site, sampling views of the Union Building as they make their journey to the main entrance of the structure.
Trauma is the first point of contact with the interior of the building.
The shortest of the pathways will take you on a 180m long journey, with the views focusing on the SADF war memorial. Eventually you will need to make your way off of the path as it ends, and you are forced to move towards the entrance.
As you descend into the first domain - called isolation, the first part of your journey commences. Each part within each domain has its own emotive palette, defining the intricacies which make each space unique. Materiality, lightness, mood, emotion and ambience are some of the defining differences between the spaces.
Legacy is the history and the actions as a result of that history, that is left behind for others to see and interpret in their own unique way. It is the story that is passed down from generation to generation.
me
ort Vo
ke rek
u on rM
nt
m 60
22
The tree is a symbol of life, it represents peace, serenity, and growth. The Terrace of Contemplation is such an asset. It is a tailored African scape that speaks about the transparency with nature whilst remaining true to the theme.
Freedom Park 2757m
Unio n Bu
CONNECTION
PROGRAM
HISTORY
AXIS
MEETING PLACE
The final stage of the precinct. HARMONY
BALANCE
SCALE
MFECANE
EZILAHLEKILYO
CONTRAST
ISOLATION
MARARANKODI
MODELLING
SKETCHING
MULTIPLICITY
VERSMOOR
Ideologies, celebration, festivities and education. It is comprised of four components – the amphitheater, the stage, the workshop and the restaurant. The Amphitheater is a place where people can come together in celebration. Seating 1000 people, it serves as a viewing platform for the framed references across Pretoria as well as the stage. The Stage is the platform on which reconciliation will be launched, it is where ceremonies such as the presidential address will be delivered on the Day of Reconciliation (16th December). It can also serve a concert or public speaking venue.
SINGULARITY
5m
36 Image 30 - Site Map 06
27 l2
The Restaurant will serve as a function venue, one that can be hired to interested parties, and serve the general crowd on a normal day of operation.
oria
The Workshop is a place that the younger generations will be able to put to use their newly found knowledge. The premise is that the exhibition spaces is to be informative. The Workshop will be a space where children (school groups / scheduled classes) can practice age old methods in fields such as construction and baking, it uses a practical grassroots approach.
em
DIAGRAMMING
DOMINANCE
M DF SA
RESEARCH
HIERACHY
ildin gs
5 97 5 m
40m 40mm 0mm V Vlleeii Bririst risstlee grass asss ass 120m 200mm T 20m Tooppsoi soil 3m 3mm mm m m Old Oldr Oldr ld oyy membr embranee embrane 30mm 30m 0mm mm x 4 Lamba Lam ambba babo bor or
700 70 700m 700 00mm Re R in info nff rced nnfo eed con concret concre c e sl slaabb slab
(Be (B (Bet Bettw ween een 900 9000/60 0/6000)m 0/60 00)mm 00)m m x 40mm 40m 0mm Alu 0mm Aluumini minium min um panel um panel ane s
Plan
Ezilahlekileyo (Xhosa - Lost) confuses and distorts perceptions. Overwhelming steels panels become formidable opponents as you negotiate and wade through past experiences and rewrite your own narrative. Having just escaped the crushing, the threshold throws you off once more. A jagged pathway with sharp turns allows for no preview of the next phase. Suddenly you enter Ezilahlekileyo, vertically overwhelmed as you can glimpse the nine-meter-high ceiling. Scathed stainless-steel panels reflect the minimal light source located on the end of each leaf. The creaking of panels being swung and moved by fellow occupants echoes through the space. This space challenges you spatially in ways the previous ones haven’t. Making your way through the panels, pushing and pulling where you see fit symbolizes wading through the past. You cannot ignore it, it is part of your being, you must face it in your own way and create your own path. Just like history, the struggle must be acknowledged to be able to move past it.
1:500 A1
The maze has sections and turns where there is no possible access, and you must find an alternate route, further driving home the idea of carving your own perception. 2 0m 200m mm x 10mm 0mm 0mm m Ste teeel poole llee
Finally, relief overcomes you as you emerge past the smallest threshold in the program, a 800x2100mm opening that opens up into the exhibition spaces. Now there is an opportunity to educate yourself through knowledge osmosis, as the exhibition on a more focuses on factual representation, over emotive experience.
Ceentrral Cen Cent raal swiv swivel beari swivel bearing eariringg ear Bein ingg anchor in cho hor poi hor oint nt to sl s ab 2 0m 250m mm Re R innnfo ffoorced rc cco con oonncre crette sl s ab ab
Paane P ane ne l S Sw wivvel el Dettai ail 1:50 1: 500
Mfecane (Zulu - The Crushing) suffocates its inhabitants vertically with the space bearing down on its occupants, the deeper into it you go. Darkness surrounds you, and the senses are tested. If you enter the opening on the left, you are immediately challenged. The ceiling is bearing down on you, you are now in a space where the pressure of the past dictates your movement. The higher ceiling offer relief out from under the lower spaces. Initially you can navigate away from the lower spaces, avoiding confrontation. But towards the end of the section the space tightens, as they are all lowered. You cannot help feeling confined as choices narrow, and you will inevitably need to face the darkness.
Stee e l bbeam am frrame m me DG G MD1 D1 elect e ect ecctric ctricc hois hoist
2mm Tens 2mm 2m Tenssile ile fa fabr abb ic abr ic ffacad acade acad aca
As you view the space from the threshold, you subconsciously plan your journey using the lights as markers. When you start moving, all of this the changes, the contrast between the underside of the bulkhead – a dark hard surface, and the softly lit panels thwarts the earlier plans of journey.
1000 10 00 m 000 mm Reinf einf nforce orcc d cooncre ncc ete retai ncr etaining eta ning nnin ingg wa wa l wal Osra Osr Os sra raam T8 T Flo Floures res re escent cen ce ent Lig Lightin htinng ffiixtur htin xture xture Ste St tteeel ffram ame m cei me ce ing ceil ngg box boxx bo
Tamboti Spirostachys africana
115mm 15m 5mm m Pl Plaaste Pla sster te t boa boar o d
Umbrella Thorn Acacia tortillis
Oper Op e able er able Cei ab eillilingg Det etai tai aill 1 50 1:
(Bet (Between Betw ween we wee en 60 60/ 0 25mm 255m 5mm m) di ddiamet iame amet me err lig met iight ght gh ght ht ent entryy per en erfo erforati f rat attition on
Isolation is a space of loneliness, solitary and cold. Light guides you throughout the space. Glimpses of the exterior bewilder you as stark contrast from the experience within. As you descend a 9.5m vertical shaft, the surroundings transform from a nature scape, to a concrete chamber. a dark room awaits as you take your final step off the stairs. You are greeted by smooth, slightly reflective materials. Staff members issue you with the required information, and you are asked to remove your shoes(which will be returned to you at a later stage). You may now enter the space, a constellation liker wall of light greets you as you look forward. The darkness is only broken up by the beams of light that cast a light footprint on the floor. Upon closer inspection it is revealed that the light on the floor highlights stories, stories of people from all walks of life. As you stand in the center of the indefensible space, you draw comfort from the wall of light. When you peer through the holes a glimpse of the stark contrast between the exterior – a garden scape (The Terrace of Contemplation), and the interior – an Isolation chamber flashes through your mind.
Mopane Colophospermum mopane
Mararankodi (Sotho – Confusion) uses the senses to create a disharmony is what is being seen, and what is experienced. The boundaries of the interior space are challenged, and the exterior and interior are blended.
Boabab Adansonia digitata
Marula Tree Scelerocarya birrea
11000 000 00mm m Reinf e force rce cedd con ce conc ncreette w wall all
115mm 5m mm m Pla Plaster ste sster terbo te boar o d 15mm 15mm mm m Ste Steel teel frami ram aam ming ng 10m 10mm 0 m Cor C te Co ten e ste en ste tee eeel pa pane nel e Wall W alll ffo all al foo oo ooting ooting inn lig liight ightt entry 250m 25 2250 50m 0mm mm Deep D Deeeepp poond nd 2500mm 250m 25 0mm Re 0m R in info info f rc rced ce con ced ooncret e e ssllabb
LLiigghht wa wallll Detai wal ettaaiil 11::50 :5500
50000m 5500 mm De D epp water Deep ater te rruun un 250mm 250m mC Cooncrete ncre rete st stair tairi s
When exit Isolation to the right, you are greeted with the outside environment blending its way into the interior. The sand squeezing through your toes, the small African thicket you must negotiate, the chirps of the Lilac-Breasted Roller all calm your senses as you move towards a calming pond, accompanied by Acacia Tortillis’s (African Umbrella). You can walk through the shallow water, and embrace the relief of being washed clean.
100mm 100m 00mm Co C nntin tineen enta ntal sa nt s nd nd / To Top op so soi oill
Something draws your attention to the base each of the trees, inscriptions on plaques circling the trees subtly reflect light, curiosity draws you in closer to inspect the odd placement of the tales. Mere seconds into reading the inscriptions you are confused, the factual yet non specific accounts of historic events of betrayal and human plight drips down your spine.
Waate W ter Fe Feat eatture ure Deettaaili ur 1:50 1: 50
1000 10 0000mm 000 mm m Rei eein inf nfforce oorce rced co concre n tee reet ncre etai tainingg wal tai walll wa
Jackalberry Diospyros mespiliformis
Realising that the comfort of the nature scape experienced at the start was an illusion, the whole space is tainted with the gruesome acts that we as humans have inflicted upon or fellow brothers and sisters. The confusion of what the architecture is portraying and what the literature is voicing, conflicts within the senses. The space is not what it seems.
Waaate Wate W at r bbodyy
Steel Stee tee e l cceeilin ee ililingg fframin am ng 500m 00 m La 00m Laminaated te glas glasss panels gla p nels pa n nel ne
Movement throughout the spaces is one directional. Once you chose a path, left or right, you move into and inhabit the spaces you are in. Eventually surfacing at the end in the next phase, Recompense. Confused, weathered and upset, you leave Mararankodi and embark on a journey descending 1.5m down a narrow access ramp. Whilst descending, glimpses of water-refracted sunlight dance through the glass ceiling. The descent is a journey under water. The route has ever changing widths, but you are never confined vertically as glimpses of the sky allow you to breath, temporarily.
500m 00m 00mm 0mm Re R info nfoorrced cced edd loooaad ad bbear aarin rinng ng cooncre ncre reetee w waal allll all
Reinforc Rein forc forced r ed concret rc onn ete ffoun oncr fou ooundat datiion
Glass Gl ass C as Ceeili ililin liinng D Deettaaill 1:50 1: 5
The journey is jagged, consisting of sharp turns and multiple routes variations make it a deviating experience. This combined with an infinite view of the universe, it is not long before the weight of the water bears upon your shoulders. Hard but manageable at first, the texture of the floor starts to pressure the soles of your feet, uncomfortably you actively start to seek the exit. Subconsciously however, you have been led straight there. The sloped floor is guides you uphill, and eventually out of the space granting you a deep breath of air as you enter the exhibition phase. It is here that you are given back your belongings, and the rest of your journey can commence.
Image 31- Plan 37
Focus Areas
Isolation
Light vs. Dark
Emotion
Materiality
Mood
Diagram 3- Isolation Board
38 Image 32 - Isolation Section
As you descend a 9.5m vertical shaft, the surroundings transform from a nature scape, to a concrete chamber. A dark room awaits as you take your final step off the stairs. You are greeted by smooth, slightly reflective materials. Staff members issue you with the required information, and you are asked to remove your shoes (which will be returned to you at a later stage). You may now enter the space, a constellation light greets you on the wall ahead. The darkness is only broken up by the beams of light that cast a light footprint on the floor. Upon closer inspection it is revealed that the light on the floor highlights stories, stories of people from all walks of life. As you stand in the center of the indefensible space, you draw comfort from the wall of light. When you peer through the perforations, a glimpse of the stark contrast between the exterior – a garden scape (The Terrace of Contemplation), and the interior – an Isolation chamber flashes through your mind.
Mfecane (Zulu - The Crushing) If you enter the opening on the left, you are immediately challenged. The ceiling is bearing down on you, you are now in a space where the pressure of the past dictates your movement. The higher ceiling offers relief out from under the lower spaces. Initially you can navigate away from the lower spaces, avoiding confrontation. Towards the end of the section the space tightens, as they are all lowered. You cannot help feeling confined as choices narrow, and you will inevitably need to face the darkness. As you view the space from the threshold, you subconsciously plan your journey using the lights as markers. When you start moving, this the changes, the contrast between the underside of the bulkhead – a dark hard surface, and the softly lit panels thwarts the earlier plans of journey.
Light vs. Dark
Emotion
Materiality
Mood
Diagram 4- Mfecane Board
Image 33 - Mfecane Section 39
Ezilahlekileyo (Xhosa - Lost)
Light vs. Dark
Emotion
Materiality
Mood
Diagram 5- Ezilahlekileyo Board
40 Image 34 - Ezilahlekileyo Section
Having just escaped the crushing, the threshold throws you off once more. A jagged pathway with sharp turns allows for no preview of the next phase. Suddenly you enter Ezilahlekileyo, vertically overwhelmed as you can glimpse the nine-meter-high ceiling. Scathed stainless-steel panels reflect the minimal light source located on the end of each leaf. The creaking of panels being swung and moved by fellow occupants echoes through the space. This space challenges you spatially in ways the previous ones haven’t. Making your way through the panels, pushing and pulling where you see fit symbolizes wading through the past. You cannot ignore it, it is part of your being, you must face it in your own way and create your own path. Just like history, the struggle must be acknowledged to be able to move past it. The maze has sections and turns where there is no possible access, you must find an alternate route, further driving home the idea of carving your own perception. Finally, relief overcomes you as you emerge past the smallest threshold in the program, a 800x2100mm opening that opens up into the exhibition spaces. Now there is an opportunity to educate yourself through knowledge osmosis, as the exhibition on a more focuses on factual representation, over emotive experience.
Mararankodi (Sotho – Confusion) When exit Isolation to the right, you are greeted with the outside environment blending its way into the interior. The sand squeezing through your toes, the small African thicket you must negotiate, the chirps of the Lilac-Breasted Roller all calm your senses as you move towards a calming pond, accompanied by Acacia Tortillis’s (African Umbrella). You can walk through the shallow water, and embrace the relief of being washed clean. Something draws your attention to the base each of the trees, inscriptions on plaques circling the trees subtly reflect light, curiosity draws you in closer to inspect the odd placement of the tales. Mere seconds into reading the inscriptions you are confused, the factual yet non specific accounts of historic events of betrayal and human plight drips down your spine. Realising that the comfort of the nature scape experienced at the start was an illusion, the whole space is tainted with the gruesome acts that we as humans have inflicted upon our fellow brothers and sisters. The confusion of what the architecture is portraying and what the literature is voicing, conflicts within the senses. The space is not what it seems - Mararankodi.
Light vs. Dark
Emotion
Materiality
Mood
Diagram 6 - Mararankodi Board
Image 35 - Mararankodi Section 41
Versmoor (Afrikaans - Drowning)
Light vs. Dark
Emotion
Confused, weathered and upset, you leave Mararankodi and embark on a journey descending 1.5m down a narrow access ramp. Whilst descending, glimpses of water-refracted sunlight dance through the glass ceiling. The descent is a journey under water. The route has ever changing widths, but you are never confined vertically as glimpses of the sky allow you to breath, temporarily. The journey is jagged, consisting of sharp turns and route variations make it a deviating experience. This combined with an infinite view of the universe, it is not long before the weight of the water bears upon your shoulders. Hard but manageable at first, the texture of the floor starts to pressure the soles of your feet, uncomfortably you actively start to seek the exit. Subconsciously however, you have been led straight there. The sloped floor guides you uphill, and eventually out of the space granting you a deep breath of air as you enter the exhibition phase. It is here that you are given back your belongings, and the rest of your journey can commence.
Materiality
Mood
Diagram 7 - Versmoor Board
42 Image 36 - Versmoor Section
Image 37 - Terrace of Contemplation - Mid-Morning 43
44 Image 38 - Mararankodi - Summer Midday
Image 39 - Versmoor - Mid-Morning 45
46 Image 40 - Ezilahlekileyo
Image 41 - Terrace of Contemplation - Afternoon 47
48 Image 42 - Isolation - Afternoon
Closing Remarks
Actions made by our forefathers have shaped our existence. We are directly and indirectly accountable for those actions today. One of the first steps to be taken in the right direction is to take ownership of our current state. Only once we have accepted the past can we move forward. The emotive nature of the project does just that. By exploring human vulnerability through space and architecture, a dialogue can begin based on those experiences. This is however just the beginning; the circle needs to be completed. The time for lip service and beautifully crafted words is over. The people of South Africa need to stand up and become the nation that people such as Nelson Mandela worked and bled so hard to lay the foundations for. After immigrating to Australia 7 years ago, I can look back on my past life and the lives of people near to me through a more objective lens. For many years I have been contemplating me and my family’s direct role in the direction the country was/is headed in, and how actions of the past have set a course. I am now more than ever aware that we are the generation of change, the generation of policy makers and influencer’s. The deeper I research into the injustices of apartheid and the present, turns my stomach and fuels me to do my part, through architecture. I don’t know if a fully reconciled nation will ever be achieved, it has never in the past. But If people can come together despite our obvious cultural differences, through conversation, insights and exposure we can surely make a stand, and ultimately bring about change.
49
List of Figures
Dissertation Images 1 - Apartheid Museum - (https://en.wikipedia.org/wiki/Apartheid_Museum#/media/File:South_Africa-Johannesburg-Apartheid_Museum001.jpg) 2 - Museum of the Red Location - (https://www.noeroarchitects.com/project/red-location-museum/) 3 - 6 - Freedom Park - (http://www.freedompark.co.za/ ) 7 – 10 - Voortrekker Monument (https://en.wikipedia.org/wiki/Voortrekker_Monument) 11 – 14 - Kigali Genocide Memorial (http://www.kgm.rw/ ) 15 – 18 - Jewish Museum Berlin (https://www.jmberlin.de/en/libeskind-building ) 19 – 22 - MCB Tirpitz (https://www.big.dk/#projects-mcb) Images 23 to 31 Have Google Earth images as the background, and have been modified (Google Earth 2017) 23 - Map of South Africa (Authors Own 2017) 24 - Map of Pretoria (Authors Own 2017) 25 - Site Map 01 (Authors Own 2017) 26 - Site Map 02 (Authors Own 2017) 27 - Site Map 03 (Authors Own 2017) 28 - Site Map 04 (Authors Own 2017) 29 - Site Map 05 (Authors Own 2017) 30 - Site Map 06 1:1000 on A1 (Authors Own 2017) 31 - Plan 1:500 on A1(Authors Own 2017) 32 - Isolation Section 1:200 on A1 (Authors Own 2017) 33 - Mfecane Section 1:200 on A1 (Authors Own 2017) 34 - Ezilahlekileyo Section 1:200 on A1 (Authors Own 2017) 35 - Mararankodi Section 1:200 on A1 (Authors Own 2017) 36 - Versmoor Section 1:200 on A1 (Authors Own 2017) 37 - Terrace of Contemplation - Afternoon (Authors Own 2017) 38 - Mararankodi - Midday (Authors Own 2017) 39 - Versmoor - Mid-Morning (Authors Own 2017) 40 - Ezilahlekileyo - Midday 41 - Terrace of Contemplation (Authors Own 2017) 42 - Isolation (Authors Own 2017) 50
Diagrams (refer to appendix) 1 - Theory of Collective Memory (Authors Own 2017) 2 - Theory of Phenomenology (Authors Own 2017) 3 - Isolation Board (Authors Own 2017) 4 - Mfecane Board (Authors Own 2017) 5 - Ezilahlekileyo Board (Authors Own 2017) 6 - Mararankodi Board (Authors Own 2017) 7 - Versmoor Board (Authors Own 2017) Research Maps (refer to appendix) Panel 1 1 - World Map (Authors own 2017) 2 - Groot trek Diagram https://www.pinterest.com.au/pin/418482990348903407/ 3 Battles throughout South Africa Diagram http://www.sahistory.org.za/article/conquest-eastern-cape-1779-1878 4 - Diagram of Cultures https://showme.co.za/facts-about-south-africa/south-african-culture/south-african-culture/ 5 - History of Apartheid https://www.pinterest.com.au/pin/331999803773290469/ Panel 2 1 - Diagram and images of concentration Camps (https://www.ushmm.org/wlc/en/article.php?ModuleId=10005263) 2 - Diagram of Rwandan genocide (https://www.google.com.au/search?q=map+of+rwandan+genocide&sa=X&hl=en-AU&biw=1920&bih=949&tbm=isch&source=iu&pf=m&ictx=1&fir=qbtJZSag5coitM%253A%252CUvkRuxN125OKpM%252C_&usg=__DcxXKhQB9Pz2agPWwuIogbGAMvc%3D&ved=0ahUKEwjrzOnSoprXAhUBRpQKHUUeBhEQ9QEILjAC#imgrc=Q0w59CwMHx9IqM:) 3 - Images of Rwanda - https://www.google.com.au/search?q=rwanda+memorials&rlz=1C1ASRW_enAU685AU685&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjSrpjwoprXAhVEjZQKHVLQCpUQ_AUICigB&biw=1920&bih=949
4 - Images of Marikana (https://www.google.com.au/search?rlz=1C1ASRW_enAU685AU685&tbm=isch&q=marikana+mining+massacre&spell=1&sa=X&ved=0ahUKEwig9NCGo5rXAhWFsJQKHecJDeAQvwUIOygA&biw=1920&bih=949&dpr=1) 5 - Apartheid laws (http://www.sahistory.org.za/article/apartheid-legislation-1850s-1970s) 6 - Apartheid images (https://www.google.com.au/search?rlz=1C1ASRW_enAU685AU685&ei=Xyv4WYTlEYLH0gSprqPACg&q=apartheid+images&oq=apartheid+images&gs_l=psy-ab.3..0i67k1j0i7i30k1l4j0j0i8i30k1l4.1798.1798.0.2262.1.1.0.0.0.0.326.326.3-1.1.0....0...1.1.64. psy-ab..0.1.326....0.OQU1qOXrr4I ) Panel 3 1 - Jewish Museum Berlin (https://www.archdaily.com/91273/ad-classics-jewish-museum-berlin-daniel-libeskind/5037ed9e28ba0d599b0004d4-ad-classics-jewish-museum-berlin-daniel-libeskind-photo) 2 - Memorial to the murdered Jews of Europe (https://www.google.com.au/search?q=memorial+to+the+murdered+jews+of+europe&hl=en-AU&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjL6NSKnJrXAhWBRJQKHe14C3MQ_AUICigB&biw=1920&bih=949#imgrc=Hgbn2S261S8ASM:) 3 - 9/11 Memorial Complex (https://www.archdaily.com/272338/national-september-11-memorial-museum-davis-brody-bond/north-pool-looking-southeast) 4 - Metro De Medellin (https://thinkprogress.org/medellins-amazing-metro-system-colombia-uses-public-transport-to-drive-societal-change-1a4186f6c3c6/) 5 - The Gugulethu Seven Memorial (https://en.wikipedia.org/wiki/The_Gugulethu_Seven) 6 - Museum of the Red Location (https://www.noeroarchitects.com/project/red-location-museum/) 7 - Freedom Park (https://www.freedompark.co.za/) 8 - Apartheid Museum (https://en.wikipedia.org/wiki/Apartheid_Museum#/media/File:South_Africa-Johannesburg-Apartheid_Museum001.jpg)
9 - Hector Pieterson Memorial (https://www.brandsouthafrica.com/south-africa-fast-facts/news-facts/22-monuments-for-22years-of-freedom#Hector) 10 - Voortrekker Monument (https://en.wikipedia.org/wiki/Voortrekker_Monument) 11 - La Grange Injudinah Memorial (http://monumentaustralia.org.au/themes/conflict/indigenous/display/60490-la-grange-injudinah-massacre) 12 - La Grange Memorial (http://monumentaustralia.org.au/themes/conflict/indigenous/display/60490-la-grange-injudinah-massacre) 13 - ANZAC Memorial Sydney (http://www.anzacmemorial.nsw.gov.au/) 14 - World Map - (Authors Own 2017) 15 - Events around the world (https://www.factmonster.com/world/world-history-timelines/news-and-events-yearyear-1900-2012) Panel 4 1 - South African Townships https://www.google.com.au/search?q=south+african+townships+during+apartheid&hl=en-AU&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjD4tLpj5rXAhXLl5QKHcUuBu8Q_AUICigB&biw=1920&bih=949#imgrc=cDOYHpEWwYS5vM: 2 - Apartheid Planning (https://www.google.com.au/search?q=apartheid+planning&rlz=1C1ASRW_enAU685AU685&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjIscSXkJrXAhUDFJQKHYxYBk8Q_AUICigB&biw=1920&bih=949#imgrc=8YMlb21Um4UjPM:) 3 - Map of apartheid banthustans (http://www.statssa.gov.za/?page_id=3836) 4 - Map of population break down (http://www.statssa.gov.za/?page_id=3836) 5 - Minerals Across South Africa ( h t t p s : / / w w w. g o o g l e . c o m . a u / s e a r c h ? q = g e o l o g y + o f + s o u t h + a f r i c a & s a = X &hl=en-AU&biw=1920&bih=949&tbm=isch&source=iu&pf=m&ictx=1&fir=k4Hd5Cfwd_ofbM%253A%252CF1qGMxb888d1UM%252C_&usg=__l4InhI60UhIk7LU_pflht4qKT_g%3D&ved=0ahUKEwiy36PykZrXAhWCipQKHc5oAj8Q9QEIUjAH#imgrc=k4Hd5Cfwd_ofbM 51
6 Township populations of South Africa (http://www.statssa.gov.za/?page_id=3836 ) 7 - Township population diagram (Authors own 2017) 8 - Timeline Diagram (https://www.saps.gov.za/services/final-crime-stats-release-02september2016.pdf) Panel 5 1 - MCB Tirpitz (https://www.big.dk/#projects-mcb) 2 - Apartheid Museum (https://en.wikipedia.org/wiki/Apartheid_Museum#/media/File:South_Africa-Johannesburg-Apartheid_Museum001.jpg) 3 - Jewish Museum (https://www.jmberlin.de/en/libeskind-building ) 4 - Google Earth Image (Google Earth 2017) 5 - The Union Buildings (http://www.sahistory.org.za/places/union-buildings) 8 - Freedom Park (http://www.freedompark.co.za/ ) 7- Voortrekker Monument (https://en.wikipedia.org/wiki/Voortrekker_Monument) 8 - Sandton Square (https://nelsonmandelasquare.co.za/) 9 - Theory of Collective Memory (Authors Own 2017) 10 - Theory of Phenomenology (Authors Own 2017)
52
Appendix Images 1 - Diagram Palette (Authors Own 2017) 2 - Detail 01; Detail 02; Detail 03 (Authors Own 2017) 3 - Detail 04; Detail 05 (Authors Own 2017) 4 - Tree Palette (Authors Own 2017) 5 - Tree arrangement (Authors Own 2017) 6 - Principles of Design Harmony (Authors Own 2017) 7 - Principles of Design Balance (Authors Own 2017) 8 - Principles of Design Hierachy (Authors Own 2017) 9 - Principles of Design proportions (Authors Own 2017) 10 - Principles of Design Contrast (Authors Own 2017) 11 - Principles of Design Dominance (Authors Own 2017) 12 - Precedent matrix (Authors Own 2017) 13 - Week 4 - Interim One Panel 1 (Authors Own 2017) 14 - Week 4 - Interim One Panel 2 (Authors Own 2017) 15 - Week 4 - Interim One Panel 3 (Authors Own 2017) 16 - Week 4 - Interim One Panel 4 (Authors Own 2017) 17 - Week 4 - Interim One Panel 5 (Authors Own 2017) 18 - Week 15 - Final Panel 1 (Authors Own 2017) 19 - Week 15 - Final Panel 2 (Authors Own 2017) 20 - Week 15 - Final Panel 3 (Authors Own 2017) 21 - Week 15 - Final Panel 4 (Authors Own 2017)
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v: Appendix
55
Past Theses Analysis
By studying past thesis, a set of evaluative criteria can be established. What methods were used to complete the projects, and what is the impact and relevance of those methods on my topic. 1. From the Ground Up – Design as a tangible medium for memory 2. Making of Monument– A cultural monument for the city of Perth 3. Museums, Memorials and Memory; Museums acting as memory institutions, educate the public and generates memories of Perth migration histories 1.From the Ground Up – Design as a tangible medium for memory (Volume One).(2014) Sarah Dillon “How can immersive interiors encapsulate and communicate memories of significant events or place?” The author designed a space to commemorate and depict the events of the Pinjarra massacre. Practical methodology of implementation included, critique of other monuments and memorials, a site analysis to gain an understanding of the past events and the current context, self-directed study into the cultural characteristics of the people of Pinjarra, and finally consultation with indigenous elders regarding the need and requirement for such a project. By critiquing precedents that deal with the representation of memory, the architectural best practice can be established. Each case study deals with its parameters, these parameters can draw parallels between one another and themes such as; Symbolism, Directional, Immersive and Framing could become evident. These themes could form a design criterion, which can be applied globally.
56
2.Making of Monument– A cultural monument for the City of Perth.(1997) Sel Dauti The author intends to design a space consisting of ground manipulation and built form, that will be interpreted as a series of monuments. The following considerations are made towards the project: 1. Site and Insight A site analysis is conducted around the Perth foreshore, exploring elements such as function and surrounding structure(s). 2. Ritual Ritual is not a habit, nor is it a set of guidelines. It is described as an invisible power that is not physical, and does not counter another ritual, they must coexist. The power of representation is crucial, it is not about making a monument, but making a building that is a representation of something. 3. Monument The author delves into the classifications of monuments such as Deliberate Monuments and Accidental Monuments, whilst exploring various characteristics. The approach to the final design resolution has outlined specific considerations; these can form the basis as further investigation is undertaken to site specific conditions that may change the overall outcome.
57
3. Museums, Memorials and Memory; Museums acting as memory institutions, education the public in generating memories of Perth migration histories. (2006) Anna Hill The aim is the development of an architectural idea of a Migration Museum of Perth. Consideration needs to be given to three perspectives; 1.The museum acting as a monument of the city, 2.The archive of the society it encompasses, 3.The memorial of a place and landscape. Four focus areas have been explored – Museum as monuments, museum as archives, museum as memorials, and migration museum as a theme. Through these explorations the author has surmised the historical development of museums, how people learn through experience of space, and gained an understanding of Perth’s cultural history. As site is of the utmost importance, an in-depth site analysis was conducted, with specific focus on access and the historical relevance of place. The context which I will locate my final design must be derived from a strict analysis of multiple sites. The way the site is explored with relation to the “adaption of existing”, “threading through site” and the “building gesture and urban impact” has provided another layer of consideration as I start mapping and diagramming comparative prospective sites.
58
Diagram Palette Diagrams that have been used throughout the project to explain and or detail elements have been compiled into a palette. These are also used throughout the report.
HARMONY
DOMINANCE
HIERACHY
PROPORTION
BALAN C E
CONTRAST
I S O LAT I O N Diagram
Proximity
Similarity
Colour
Trees
Highlight
Size
Ratio
Radial
Asymmetry
Light / Dark
Varience
H I STO R I C R E PR E S E NTATI O N
BIRTH
Battles fought across RSA
The start of the journey
SITE AXIS
TRAUMA Issues plaguing survival
Ezilahlekileyo
Repetition
Size
Materiality
Emotion
Mood
Darkness
Location
CONNECTION
MEETING PLACE
Connections across Gauteng
RECOMPENSE Attoning for past wrongs
Mfecane
Rhytmn
2125 x 800
2125 x 1000
LEGACY Future generations
Isolation
2700 x 1100
RESEARCH
2700 x 1500
R E C O N C I LIATI O N One nation
Mararankodi
3000 x 2500
SKETCHING
3000 x 2000
MULTIPLICITY The point of entry into the building
Versmoor
DIAGRAMMING
2500 x 5000
MODELING
4000 x 4000
S I N G U LAR I T Y The point of entry into the building
I S O LAT I O N
MFECANE
E Z I LAH LE K I LY O
MARARANKODI
VERSMOOR
INQUIRY
BUILT ENVIRONMENT
SITE AND BRIEF
DESIGN PROPOSAL
APPENDIX
1 - Diagram Palette 59
Architectural Details
Detail - 01 Panel
60
2 - Details
Detail - 02 Ceiling
Detail - 03 Light Wall
Detail - 04 Glass Ceiling
Detail - 05 Interior Water Pond
3 - Details 61
Tree Palette The Natural scape is a crucial factor in the success of the project. Gathering a palette of trees provides an insight into the visual production of the site. Strategically arranging them on site based of density and size alludes to the views that can be created by further framing the elements.
25m
Jackalberry Diospyros mespiliformis
62 4 - Tree Palette
20m
20m
Boabab Adansonia digitata
Mopane Colophospermum mopane
18m
Marula Tree Scelerocarya birrea
10m
Umbrella Thorn Acacia tortillis
6m
Tamboti Spirostachys africana
Arrangement
5 - Diagram Palette 63
Principles of Design
6 design principles were developed over the course of the research and investigation phase, and the design resolution phase. The design principles are overarching parameters which define certain aspects of the project, ranging from urban scale to human scale. They are applicable to multiple areas and/or only certain areas of the design. HARMONY
5 - Principle of Design - Harmony
Harmony 1. Proximity In the urban scape, the proximity to other monuments and memorials was essential in order to facilitate and provide the users with an experience of the future, silhouetted against the past. The South African Defense Force Memorial, The union Buildings, The Voortrekker Monument and Freedom Park are all within line of sight of the proposed location. 2. Similarity The project is based on a number of precedents all dealing with the theme of loss, and the commemoration of death. This project draws on elements from all of those, and adapts them to the climate of the socio-political state of South Africa 3. Repetition “Redefine what a monument can and can’t stand for.” This project is not merely a repetition of past practices in commemoration and memory. It strives to be the bringer of change in a landscape of one track minded built forms. 4. Rhythm The rhythm of the site journey is key. The approach, the visual connections, the connection to place and the pace at which experiences are had form the rhythm of the project Balance
BALANCE
1. Radial In African cultures, a radial formation is often used for settlement layouts. This allows for a central convergence and gathering point. In combination with the Proximity factor, a radial formation is established on the site. 2. Asymmetry The sight lines dictate the alignment of the buildings, they result into an off center asymmetrical axis.
64 7 - Principle of Design - Balance
HIERARCHY
Hierarchy 1. Trees Spaces are arranged based on importance eg. the experience of the trauma spaces needs to be had before the experience of the recompense spaces. Therefore the journey is a climactic experience.
Proportion 1. Ratio Small intricacies such as the openings are an example of ratios being applied. The function of the space dictates the ratio of aspects such as the openings and cast materials, the bigger the space – the more bigger the opening.
8 - Principle of Design - Hierachy
PROPORTION
2. Size The functions of the intended spaces inform their relative size eg. an amphitheater is built based on an expected number of attendees.
Contrast 1. Light / Dark Making use of natural sunlight, depending on the design intent thereof, sections can either be well lit or they can be dark and brooding.
9 - Principle of Design - Proportions
CONTRAST
4. Variance Sensory experiences are how most of the spaces will be interpreted. Variences in aspects like materiality further express the progress of the journey.
10 - Principles of Design - Contrast 65
DOMINANCE
Dominance 1. Colour Just as variances in texture evoke experiences, changes in colour will have the same sensory effect. 2. Size Importance of spaces are inferred by the size of the built form, the thickness of the walls, and the heaviness of the roof.
66 11 - Principles of Design - Dominance
South Africa “From the Ground Up”
The nation doesn’t function on separate state basis the laws and the customs are free flowing from one side to the other. The country is fluid despite its topographic and distance parameters. To this end the proposition is to scale and expand the project nationwide. As illustrated in the Macro scale map of South Africa, many potential sites have been identified. The principles that have guided the project down this route, will form the criteria for a nationwide scale development. Each identified city will have its version of the memorial complex, making it accessible to every person in South Africa. If the project came into fruition, it would be a place of learning, teaching, listening, hearing, portraying, sadness, happiness and lastly reconciliation. The concept of commemoration often goes hand in hand with ceremonial proceedings. Many dates in south Africa bear a heavy connotation, and are thus handled with delicacy. The 24th of September is known as “National Braai Day”. This was changed from “Heritage Day” back in 2007. It’s a public holiday where nationals are encouraged to rejoice in what it means to be South African, a ceremonial address by the leading political party accompanies this. Similarly, on December 16th The Day of Reconciliation has an even deeper ceremonial component. It is days like these that will bring each of the complexes around the nation together. In a “Road Show” of ceremonies, all stitched together, the future can be made brighter and brighter.
67
Precedent Matrix The matrix explores a wide variety of projects which all share one or more commonality with the 5 main precedents. Some projects are inbedded into the ground like “Aloni”, a residence which responds to the landscape of Antiparos – Greece. Other examples such as the “Metro de Medellin” are not purely architectural projects. They engage with social and community issues through transportation development. All these projects tabulated, allows me to make assumptions on architectural best practice – taking into consideration – purpose; typology; type and materiality to name a few. Project
Type
Typology
Purpose
Size
Location
Trollstigen National Tourist Route Project
Visitor Center
Intergrated, protruding
Tourist Center
800m2
ROMSDALEN, Norway
Tirpitz
Museum
Scraping, intergration into landscape
Tourism, exhibi�on and gallery spaces
2800m2
Blavand, Denmark
Guguletu Seven
Memorial/ Statue
Statue
Commemora�on of the an� apartheid group known as the Guguletu Seven
Cape Town, South Africa
Museum of the red Location
Museum
Building
Anti Apartheid museum
East London,South Africa
Voortrekker monumnet
Monument/ Statue
Protruding
Commemora�on of the Groot Trek
Pretoria, South Africa
Hector Petersen Memorial
Memorial, museum
Building
Commemoration of the soweto uprising
Johannesburg, South Africa
Apartheid Museum
Museum
Building
Illustrates the rise and fall of apartheid.
Johannesburg, South Africa
Freedom Park
Memorial/ Ceremonial grounds
Scraping, intergration into landscape
The results of the findings from the Truthe and reconcilia�on commision
Pretoria, South Africa
Kigali Goinocide Memorial
Memorial
Building
Commemorate the Rwandan genocide
Kigali, Rwnada
Aloni
House
Intergrated
Instead of designing residencies, Deca redesigns the landscape so that can be inhabited.
Memory of Reflections
Pergola
Columns
Competition
Paris, France
Memorial to the Murdered Jews of Europe
Memorial
Protruding, landscape exten�on
Commemorate the murdered jews across euorpe
Berlin, German
Jewish Museum
Museum
Building
Commemorate the Jewish struggle in Europe
Berlin, German
Mirror
Fear of Columns competition
Protruding / Columns
Competition
Barcelona, Spain
House
Intergrated, protruding
Meditation space
125m2
Gunwi-gun, Gyeongsangbuk-do, South Korea
Oklahoma City Na�onal Memorial & Museum
Memorial, Museum
Building
The creation of a memorial to remember those who were killed, those who survived and those changed forever
3500m2
Oaklahoma, USA
9/11 Memorial and Museum
Memorial, Precinct
Buried
Commemoration of the 9/11 terrorost a�acks
New York, USA
Indjudinah Massacre Plaque
Plaque
Statue
Opposing the view of the Maitland Brown memorial
Perth, Australia
Maitland Brown Memorial
Memorial
Statue
Paying tribute to Maitland Brown
Perth, Australia
ANZAC war memorial
Memorial
Protruding
Commemoration of the ANZACS
Sydney, Australia
Transport Initiative
Transportation
To reconnect outlying flavellas to the city centre
Medellin, Colombia
Scandanavia
Africa
Western Europe 240m2
Antiparos, Greece
Asia HYUNAM America
Australia
South America Columbia
68 12 - Precedent Matrix
angbuk-do, South Korea
Architect
Year
Reiulf Ramstad Architects
2010
BIG
2017
Facilities
Spaces
Target Audience
Transport / Walkability
Public vs private
Café, information
Tourists
Private transport
Public
Concrete, Steel, Glass
Exhibition, Café, Services, Histolarium, Administra�on
Tourists
Private transport
Both, spaces can be booked
Conrete, stone, steel, glass,
Public
Walkable - city center
Public
Granite, concrete
2000
Access
Materiality
Types
Neoro
2010
Café, Exhibition, planned to expand into an urban development
Tourists
Private transport
Public
Corrugated iron, Steel, Glass
Gerjard Moerdyk
1948
Moseleum, amphitheater, wall of names
Afrikaners
Private transport
Public
Limestone, Marble
2002
Museum, outdoor areas
Tourists
Transport required
Public
Masonry, Concrete, Steel
Egoli
2001
Café, Exhibitions, garden
Tourists
Transport required
Public
Rustic Steel, Timber, Concrete
Steffanuti and Stocks
2010
Museum, amphitheater, walkways, wall of names
Locals, Tourists
Private transport
Public
Concrete, Stone,Timber
Garden of rememberance, Musuem, Amphitheater
Tourists
Transport required
Public
Concrete, Stone,Timber
Aegis
decaARCHITECTURE
2010
Coutryards, accomodation, swimming pools, farmable garden
Home owner
Private transport
Private
Stone, Steel
YODA
2016 - NC
Courtyard
Passerby
Walkable - city center
Public
Mirror, Steel, Glass
Peter Eiseman
2005
Outdoor intervention
Tourists
Walkable - city center
Public
Concrete
Daniel Libeskind
2001
Garden of exile, holocaust tower, voided voids
Tourists
Walkable - city center
Public
Concrete, Steel, Glass
FAT
2016 - NC
Public Sphere
Passerby
Walkable - city center
Public
Mirror, concrete
Ironje Architects & Planners
2015
House, gardens
Home owner
Private transport
Private
Corten steel, concrete, timber
Garden, Memorial centre
Locals, Tourists
Walkable - city center
Public
Granite, steel, forsted glass, concrete, water
Botanic Garden, Memorial with reflective pools
Tourists
Walkable - city center
Public
Concrete, Steel, Glass
1994
Passerby
Walkable - city center
Public
Steel
Pietro Porcelli
1914
Passerby
Walkable - city center
Public
Limestone, Steel
Bruce Dellit
1934
Park, hall of memory,
Tourists, ANZACs
Walkable - city center
Public
Limestone, Marble
2010
Community centres, transport facilities
Locals
Walkable - city center
Public
Daniel Libeskind
2011
69
Colonisation of the Earth
1652 - Dutch East India trading company, Jan van Riebeeck colonize the Cape
5
1818 - Shaka Zulu unites all Zulus into one tribe
1835 - The great Trek commences and so does the fight for independence and multiple bloody battles including - The Battle for Blood River.
16th December 1877 - Anglo Zulu war sees the Chestwayo the Zulu king forced into exile as the Zulu kingdom is annihilated and dispersed
1880 - The first Anglo Boer war takes place, the Boers winning and declaring Transvaal independent.
1899 - The discovery of Gold prompts the invasion by the British and thus the second Anglo Boer was takes place. Around 59 000 people lost their lives, the Boers concede as Pretoria fell.
Influence EIC - English Empire VOC - Dutch Empire Combined Colonisation
1
Ethnic Groups in South Africa 1943 - The National Party wins the general election, and thus marks the start of the Apartheid era.
Nguni
1945 - The inauguration of the Voortrekker Monument marks a mementos date for Afrikaner Nationalism - The day of the Covenant.
SothoTswana
Basotho / South Sotho - Pedi / North Sotho - Tswana
Tsonga
Hlengwe - Xika - N’walungu - Gwamba - Twsha - Rhonga - Nhlave - Bila - Dzonga - Copi - Ndzawu - Thonga
Venda
Ngona - Lemba
16th December
4
Bantu
Bhaca - Bhele - Fengu - Hlubi - Ndebele - Pondo - Swazi - Ndwandwe - Thembu - Xhosa - Zulu Khoi San
Asian
San
White
Khoikhoi
Chinese - Indian - Japanese - Koreans - Pakistanis
1961 - Umkhonto we Sizwe is founded, the paramilitary wig of the African National Congress Party.
2
16th December
Afrikaner - British - Germans - Greeks - Irish - Italians - Jews - Lebanese - Portuguese
Coloured
Cape Coloureds - Cape Malay - Griqua - Oorlams
Major Conflict throughout South Africa 1652 - 1901
3 1964 - Nelson Mandela is imprisoned for the terrorist attacks against the state and is sentenced to life in prison on Robben Island.
The Union of Southern Africa 1910 - 1960
First Contact Battle of Muizenberg Battle of Blaauwberg Cape of Good Hope war First Khoikhoi Dutch War Second Khoikhoi Dutch War
Transvaal
Ndwandwe–Zulu War Battle of Gqokli Hill Battle of Mhalathuze River
1964 - By now 104 Apartheid Laws have been passed by government, including - (Reservation of Separate Amenities Act, Act No 49 of 1953) and (The Mixed Marriages Bill of 1937)
Ndebele (kalipi) - Dutch Battle of Vechtkop Attack on Mosego
1976 - Hector Petersen is murdered along with 176 other children in a silent protest against an education bill, that turned violent.
Natal
The Basotho Wars Seqiti War Senekal Third War
Orange Free State
First Anglo Boer War Brokhortspruit Battle of Laings Nek Battle of Roohuiskraal Battle of Schuinshoogte Battle of Majuba Hill
1973 - The South African government denies allegations of any involvement in Angola. The Border war had begun. Basutoland
1960 - 69 People were gunned down in Sharpeville. A misunderstanding between police and protesters led to the police opening fire without warning into a crowd of around 5000 people.
Cape of Good Hope
1975 - 32 Battalion was formed, consisting of a majority of MPLA members, and afew South African officers. 32Bn was the first and last defence against the communist incursion into South Africa. With trade sanctions imposed, countries such as the USA and GB were not officially allowed to be involved, but provided aid where necessary.
1975 - Far right wing parties such as the AWB often created chaos and civil unrest with public displays of violence and disruption.
1990 - Nelson Mandela is pardoned by F.W. De Klerk, and the remaining Apartheid laws are repealed. 1994 - The first democratic election is held, and the ANC win with a majority vote. 1995 - The first Day of Reconciliation is celebrated
70 13 - Interim One Panel 1
16th December
The Groot Trek Routes 1835 - 1846 LouisTrichart Hans Van Rensburg Hendrik Potgieter Gerrit Maritz Piet Retief Piet Uys
Second Anglo Boer War Battle of Kraaipan Siege of Kimberley Battle of Talana Hill Battle of Elandslaagte Battle of Belmont Battle of Ladysmith Battle of Modder River Siege of Ladysmith Relief of Ladysmith Battle of Poplar Grove Battle of Driefontein Battle of Sanna's Post Battle of Diamond Hill Battle of Elands River Battle of Bergendal Battle of Bothaville Battle of Leliefontein Battle of Rooiwal
Zulu - Dutch Battle of Italeni Battle of Blood River Battle of Maqongqe Xhosa Wars First War Second War Third War Fourth War Fifth War Sixth War Seventh War Eight War Nineth War Anglo Zulu War Battle of Isandlwana Battle of Rorkes Drift Battle of Intombe Battle of Hlobane Battle of Kambula Battle of Gingindlovu Siege of Eshowe Battle of Ulundi
Battle of Stormberg Battle of Magersfontein Black Week Battle of Colenso Battle of Spion Kop Battle of Vaal Krantz Battle of the Tugela Heights Battle of Paardeberg Siege of Mafeking Battle of Nooitgedacht Battle of Groenkloof Battle of Elands River or Modderfontein Battle of Blood River Poort or Scheeper's Nek Battle of Bakenlaagte Battle of Groenkop (Battle of Tweefontein) Battle of Tweebosch or De Klipdrift
Location of and Death Toll at NAZI Concentration Camps
Rwandan Genocide
3
Uganda
1
DRC Concentration Camps - WW2 Neuengamme Belsen Ravensbrück Sachsenhausen Stutthof Chełmno Treblinka Belzec Sobibór Majdanek Theresienstadt Auschwitz - Birkenau Flossenbürg Dachau Buchenwald Natzweiler-Struthof Mauthausen
Tanzania
Areas Most Highly Effected
1
2 Areas Where Mass Graves Were Found Monuments Erected Post Genocide
Burundi
World War 2 Holocaust Casualties 1932
Apartheid Offially Begins 1948
Rwandan Genocide Against the Tutsi 1994
Marikana Minning Massacre 2012
Apartheid Laws 4
6
Masters and Servants Acts of 1856 Mines and Works Act No 12 of 1911 Black Land Act No 27 of 19 June 1913 The Native Affairs Act of 1920 The Durban Land Alienation Ordinance, No 14 of 1922 The Natal Provincial Council passes three ordinances of 1922 The Class Areas Bill of 1923 The Natives (Urban Areas) Act No 21 of 1923 Boroughs Ordinance No 189 of 1924 The Industrial Conciliation Act No 11 of 1924 The Township Franchise Ordinance of 1924 The Rural Dealers Ordinance of 1924 The Transvaal Dealers (Control) Ordinance No 11 of 1925 The Minimum Wages Act of 1925 The Class Areas Bill of 1925 The Areas Reservation and Immigration and Registration (Further Provision) Bill 1925 The Mines and Works Act (Colour Bar Act) No 25 of 1926 The Mines and Works Act (Colour Bar Act) No 25 of 1926 The Local Government (Provincial Powers) Act of 1926 The Immigration and Indian Relief (Further Provision) Bill of 1927 The Asiatics in the Northern Districts of Natal Act of 1927 The Liquor Act of 1927 The Women’s Franchise Bill of 1927 The Riotous Assembly Act of 1927 The Immigration and Indian Relief (Further) Provision: Act no 37 of 1927 The Nationality and Flag Act of 1927
The Old Age Pension Act of 1927 The Black Administration Act No 38 of 1927 The Liquor Bill Section 104 of the Liquor Bill of 1928 The Transvaal Asiatic Land Tenure of 1930 The Industrial Conciliation Act of 1930 The Wage Amendment Act of 1930 The Women's Enfranchisement Act of 1930 The Riotous Assemblies (Amendment) Act No 19 of 1930 The Asiatic Immigration Amendment Act of 1931 The Native Service Contracts Act of 1932 Masters and Servants Acts of 1856 Mines and Works Act No 12 of 1911 Black Land Act No 27 of 19 June 1913 The Native Affairs Act of 1920 The Durban Land Alienation Ordinance, No 14 of 1922 The Natal Provincial Council passes three ordinances of 1922 The Class Areas Bill of 1923 The Natives (Urban Areas) Act No 21 of 1923 Boroughs Ordinance No 189 of 1924 The Industrial Conciliation Act No 11 of 1924 The Township Franchise Ordinance of 1924 The Rural Dealers Ordinance of 1924 The Transvaal Dealers (Control) Ordinance No 11 of 1925 The Minimum Wages Act of 1925 The Class Areas Bill of 1925 The Areas Reservation and Immigration and Registration Bill 1925
The Mines and Works Act (Colour Bar Act) No 25 of 1926 The Mines and Works Act (Colour Bar Act) No 25 of 1926 The Local Government (Provincial Powers) Act of 1926 The Immigration and Indian Relief (Further Provision) Bill of 1927 The Asiatics in the Northern Districts of Natal Act of 1927 The Liquor Act of 1927 The Women’s Franchise Bill of 1927 The Riotous Assembly Act of 1927 The Immigration and Indian Relief (Further) Provision: Act no 37 of 1927 The Nationality and Flag Act of 1927 The Old Age Pension Act of 1927 The Black Administration Act No 38 of 1927 The Liquor Bill Section 104 of the Liquor Bill of 1928 The Transvaal Asiatic Land Tenure of 1930 The Industrial Conciliation Act of 1930 The Wage Amendment Act of 1930 The Women's Enfranchisement Act of 1930 The Riotous Assemblies (Amendment) Act No 19 of 1930 The Asiatic Immigration Amendment Act of 1931 The Native Service Contracts Act of 1932 The Transvaal Asiatic Land Tenure (Amendment) Act No 35 of 1932 The Slums Act: Demolition of Slums of 1934 The Rural Dealers Licensing Ordinance Natal of 1935 Representation of Blacks Act No 12 of 1936 The Representation of Natives Act No 16 of 1936 The Development Trust and Land Act No 18 1936
The Aliens Registration Act No 26 of 1936 The Asiatic Land Tenure Amendment Act No 30 of 1936 The Native Trust and Land Act of 1936 The Development Trust and Land Act No 18 of 1936 The Aliens Act No 1 of 1937 The Industrial Conciliation Act No 36 of 1937 The Black (Native) Laws Amendment Act No 46 of 1937 The Marketing and Unbeneficial Land Occupation Act No 26 of 1937 The Native Administration Amendment Act No 9 of 1937 The Industrial Conciliation Act No 36 of 1937 The Transvaal Asiatic Land Tenure (Further Amendment) Act of 1937 The Mixed Marriages Bill of 1937 The Provincial Legislative Powers Extension Bill of 1937 The Transvaal Asiatic Land Bill of 1937 The Marketing and Unbeneficial Land Occupation Act of 1937 The Asiatics (Transvaal Land and Trading) Bill of 1938 Electoral Laws Amendment Act of 1940 Factories, Machinery and Building Works Act of 1941 The Pegging Act of 1943 Pensions Laws Amendment Act 1944 The Asiatic Land Tenure and Indian Representation/Ghetto Act of 1946 Industrial Conciliation (Natives) Bill 1947 The Prohibition of Mixed Marriages Act, Act No 55 of 1949 Immorality Amendment Act, Act No 21 of 1950 Amended in 1957 as Act 23. Suppression of Communism Act, Act No 44 of 1950
The Group Areas Act, Act No 41 of 1950 The Population Registration Act, Act No 30 of 1950 The Bantu Authorities Act, Act No 68 of 1951 Bantu/Native Building Workers Act, Act No 27 of 1951 Separate Representation of Voters Act, Act No 46 of 1951 Prevention of Illegal Squatting Act, Act No 52 of 1951 Natives Laws Amendment Act of 1952 Natives (Abolition of Passes and Co-ordination of Documents) Act, Act No 67 of 1952 Natives Labour (Settlement of Disputes) Act of 1953 Public Safety Act of 1953 The Criminal Law Amendment Act, Act No 8 of 1953 Bantu Education Act, Act No 47 of 1953 Reservation of Separate Amenities Act, Act No 49 of 1953 Natives Resettlement Act, Act No 19 of 1954 Riotous Assemblies and Suppression of Communism Amendment Act, Act No 15 of 1954 Criminal Procedure Act, Act No 56 of 1955 Black Labour (Settlement of Disputes) Amendment Act, Act No 59 of 1955 Natives (Prohibition of Interdicts) Act, Act No 64 of 1956 The Industrial Conciliation Amendment Act of 1956 South Africa Act Amendment Act, Act No 9 of 1956 Riotous Assemblies Act, Act No 17 of 1956 The Natives Taxation and Development Act, Act No 38 of 1958 Extension of University Education Act, Act No 45 of 1959
Bantu Investment Corporation Act, Act No 34 of 1959 The Promotion of Bantu Self-Government Act of 1959 Extension of University Education Amendment Act No 32 of 1960 Unlawful Organisations Act No 34 of 1960 Urban Blacks Council Act No 79 of 1961 General Law Amendment Act No 39 of 1961 Indemnity Act No 61 of 1961 General Law Amendment Act (Sabotage Act) No 76 of 1962 Terrorism Act No 83 of 1962 General Law Amendment Act No 37 of 1963 Transkei Constitution Act No 48 of 1963 Extension of University Education Amendment Act No 67 of 1963 General Law Amendment Act No 80 of 1964 Transkei Authorities Act No 6 of 1964 Black Labour Act No 67 of 1965 Education Act No 2 of 1965 Criminal Procedure Amendment Act No 96 (180-Day Detention Law) of 1965 Transkeian Authorities Amendment Act No 7 of 1966 Group Areas Act No 36 of 1966 Industrial Conciliation Further Amendment Act No 61 of 1966 General Law Amendment Act No 62 of 1966 Education Act No 9 of 1967 Transkeian Police Act No 5 of 1967 Environmental Planning Act No 88 of 1967 Suppression of Communism Act No 24 of 1967 Labour Laws Amendment Act No 4 of 1967
Separate Representation of Voters Amendment Act No 50 of 1968 Prohibition of Political Interference Act No 51 of 1968 South African Indian Council Act No 31 of 1968 Prohibition of Mixed Marriages Amendment Act No 21 of 1968 Dangerous Weapons Act No 71 of 1968 Public Service Amendment Act No 86 of 1969 Bantu Homelands Citizens Act of 1970 Pre-Union Statute Law Revision Act, 1970 (Act 42 of 1970) South African Law Reform Commission Act, 1973 (Act 19 of 1973), Companies Act, 1973 (Act 61 of 1973). General Law Amendment Act, 1973 (Act 62 of 1973) Prescribed Rate of Interest Act, 1975 (Act 55 of 1975) Petition Proceedings Replacement Act, 1976 (Act 35 of 1976) Pre-Union Statute Law Revision Act, 1976 (Act 36 of 1976) Abolition of Civil Imprisonment Act, 1977 (Act 2 of 1977) Indemnity Act, 1977 (Act 13 of 1977), Prohibition of the Exhibition of Films on Sundays and Public Holidays Act, 1977 (Act 16 of 1977), Recognition and Enforcement of Foreign Arbitral Awards Act, 1977 (Act 40 of 1977) Pre-Union Statute Law Revision Act, 1977 (Act 43 of 1977) Criminal Procedure Act, 1977 (Act 51 of 1977) Dissolution of Marriages on Presumption of Death Act, 1979 (Act 23 of 1979) Attorneys Act, 1979 (Act 53 of 1979), Divorce Act, 1979 (Act 70 of 1979) Bantu Homelands Citizenship Act (National States Citizenship Act) No 26 of 1970
Death Toll: 47 Wounded: 78 This was the single most lethal use of force by South African security forces against civilians since Sharpville massacre in 1960. It was later reported by Al Jazeera that the conditions in the mine led to "seething tensions" as a result of "dire living conditions, union rivalry, and company disinterest."
14 - Interim One Panel 2 71
Timeline Across the Globe Case Studies
14 15
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1
ANZAC War Memorial
Jewish Museum
Sydney - 1934 - Bruce Dellit
Berlin - 2001 - Daniel Libeskind
The ANZAC Memorial, is the main commemorative military monument of Sydney. The interior is largely faced in white marble, and features a domed ceiling adorned with 120,000 gold stars – one for each of New South Wales' military volunteers during World War I. The building's exterior is adorned with several bronze friezes, carved granite relief panels and twenty monumental stone figural sculptures symbolising military personnel.
The design was based on three insights: it is impossible to understand the history of Berlin without understanding the enormous contributions made by its Jewish citizens; the meaning of the Holocaust must be integrated into the consciousness and memory of the city of Berlin; and, finally, for its future, the City of Berlin and the country of Germany must acknowledge the erasure of Jewish life in its history.
“In front of the Hall of Memory is a narrow courtyard with a memorial pool surrounding an eternal flame.”
“A Void cuts through the zigzagging plan of the new building and creates a space that embodies absence.”
.
12
2
Maitland Brown Memorial
Memorial to the Murdered Jews of Europe
Fremantle - 1913 - Pietro Porcelli
Berlin - 2005 - Peter Eisenman
The Maitland Brown Memorial was erected to the memory of Maitland Brown an explorer, politician and pastoralist in colonial Western Australia. The memorial is approximately six meters high, and consists of a head and shoulders statue of Maitland Brown, sitting on granite pedestals on a granite base inset with plaques honouring three explorers, Frederick Panter, James Harding and William Goldwyer.
The Memorial to the Murdered Jews of Europe in the center of Berlin is the German Holocaust Memorial honouring and remembering the up to six million Jewish victims of the Holocaust. The Memorial consists of the Field of Stelae designed by Peter Eisenman. “The enormity and scale of the horror of the Holocaust is such that any attempt to represent it by traditional means is inevitably inadequate ... Our memorial attempts to present a new idea of memory as distinct from nostalgia ... We can only know the past today through a manifestation in the present.”
11
3
Maitland Brown Memorial - Injudinah Massacre
9/11 Memorial & Museum
Fremantle - 1994
New York- 2011 - Michael Arad, Peter Walker, Daniel Libeskind
The city of Fremantle erected a plaque to commemorate all Aboriginal people killed in the invasion of their country, and in particular the people of La Grange. It was placed on the Explorers Monument, giving balance to what was previously a one sided history. In doing so it also challenged the general European view of Australia`s colonization, which in so many instances ignored Aboriginal involvement and perspectives
The 9/11 Memorial is located at the site of the former World Trade Center complex and occupies approximately half of the 16-acre site. The Memorial features two enormous waterfalls and reflecting pools, each about an acre in size, set within the footprints of the original Twin Towers. Honoring the lives of those who were lost is at the heart of our mission. Occupying eight of the 16 acres at the World Trade Center, the Memorial is a tribute to the past and a place of hope for the future.
“This Plaque Was Erected By People Who Found The Monument Before You Offensive.”
4
5
6
7
8
9
10
Metro de Medellín
The Gugulethu 7 Memorial
Museum of the Red Location
Freedom Park
Apartheid Museum
Hector Pieterson Memorial
Voortrekker Monument
What was once known as the worlds murder capital, is on the road to enlightenment. Progressive and ground breaking urban planning and public transport initiatives have paved the way for inclusion, community and sense of place. With an $88 million budget in 2014, the plan provides transportation at critical points and promotes education, culture, health and the deployment of security forces. The connection from the outlying shanty towns to the urban centers has reinstilled a sense of purpose and belonging back into the population.
The sculpture takes the form of a discontinuous wall-like structure, in which seven figures are cut out from the concrete and granite slabs, suggestive of play, dance and resistance. Whilst the bronze plaques beneath each figure do not all hold portraits and dates of birth, the cut-outs project onto the road surface in a play of sunlight and shadow that brings them back to life. The work not only commemorates the death of seven youths, but is also representative of nation building.
It is designed to challenge conventional views of museum design. The conventions of representing history as a single story are challenged through the design of the museum spaces. The past is represented as a set of memories that are disconnected yet bound together by themes. Red Location offers the opportunity to draw together the strands of struggle that mark the attempts by different groups in South Africa to free themselves.
Freedom Park aims to be the historic, powerful, and confronting heritage destination that South Africa needs to thrust the country out of the shadows cast by the apartheid regime. The park consists of 10 elements, all of which play a role in the process of healing. While striving for inclusivity and community across the nation, reference is made to South Africa’s deep rooted culture.
It is the first of its kind, and illustrates the rise and fall of apartheid. A series of 22 individual exhibition areas takes the visitor through a dramatic emotional journey that tells a story of a state-sanctioned system based on racial discrimination and the struggle of the majority to overthrow this tyranny.
Not far from the spot where 12 year-old Hector was shot on the 16 June 1976 during the Soweto Student uprising, you can find the Memorial. Today it is a symbol of resistance to the brutality of the apartheid government. The museum contains a moving collection of oral testimonies, pictures, audiovisual displays and historical documents relating to the events of 1976. The exhibits also provide background to the reasons for the protests while illustrating what happened in their aftermath.
Designed as an altar, the Voortrekker Monument was intended to be a religious and Afrikaner national symbol. A tribute to God for granting the Afrikaners the right to settle in South Africa. The worlds largest marble frieze depicts the Battle of Blood River told by the Afrikaners across all four interior walls of the main hall. Recent additions such as the Wall of Names and the “32 Battalion Tree of Honour” have played a crucial role in the narrative of the new South Africa that the Voortrekker Monument is depicting.
"This displaced population didn't feel like they were part of the city"
“It combines elements of ruin or incompleteness with parts that seem to have just been constructed”
Medellin - 2010
72 15 - Interim One Panel 3
Cape Town - 2000
Port Elizabeth - 2005 - Noero
“The museum closed nine months ago in the face of threats by residents to assault visitors and efforts to reopen it have been met with violent protests.”
Pretoria - 2004 - Steffanutti Stocks
Freedom park is distinctly, not a war memorial.
Johannesburg - 2001 -
“The museum is a beacon of hope showing the world how South Africa is coming to terms with its oppressive past and working towards a future that all South Africans can call their own.”
Soweto - 2002 - Steffanutti Stocks
“Since its erection, the memorial plaque for Hector Pieterson has been repeatedly vandalized; ironically it seems due to children who don’t understand the relevance or important historical implications of the memorial.”
Pretoria - 1949
Zuid Afrikaanse Republiek 1961 - 1992
Republick of South Africa 1994 - Present
4
5
Mine Location Map of RSA
6
Township Locations in Gauteng 2016
Population per Townships 2016
7
em
za
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s
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a
Diepslo
Ga_rankuwa Orang
rk
Sebokeng
e Farm uza le Dud vil a rp Sh
Davey
ton
50k
Ee rs
Cape
dra
Ivory Pa
ot
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Lesotho
Th ok o
aTh
ville
Natal
Kw
Evaton
uls Sa
Orange Free State
e opan
Swaziland
Kagiso
Mab
Transkei Bophuthatswana KwaNdebele Ciskei Venda Gazankulu KaNgwane KwaZulu Lebowa QwaQwa
Transvaal
Tsak ane
Population Growth Per Province
Homelands / Population Statistics
Me a
3
Ma me lod
100k
i
gu an sh So ve
e Katl ho n g
Heritage Listed Buildings by Province
4
First Languages Spoken
500k
sa
Population within Homelands
Tembi
Population outside Homelands
Afrikaans
1500 1200
English
900
Isindebele
600
IsiXhosa
300 0
IsiZulu 1mil
Soweto
Sepedi Sesotho Setswana
1
4
Siswati Tshivenda Xitsonga Other Sign Language Koi, Nama, San
1
1 2010 Jackie Selebe Former Police Commisioner convicted on corruption and bribery allegations. 2009 Scorpions Disbanedment disbanded 2009 by President Kgalema Motlanthe, after coming into conflict with the Police Commisioner Jackie Selebi.
1999 Arms Deal R30 billion spent / $4.8 billion Approx $15million in bribes
Apartheid Museum Johannesburg
1996 Cencus
2001 Cencus
Hector Pieterson Memorial Johannesburg
Freedom Park Pretoria
2010 Travelgate Saga 40 MP’s found to have used R18 million of parliamentary travel vouchers for personal use.
2013 Tshwane Prepaid Meters R830 million spent on services that were not rendered, and the were continuely paid inspite of the cancellation of the contract.
2014 Nkandla Scandal R246 million of tax payers money used for Zuma private residence.
2017 Gupta Email Leak Email leak implicates President Zuma and the Gupta family in the process of state capture.
Red Location Port Elizabeth
2011 Cencus
2016 Cencus
8
60 820 RDP Houses Built
235 635 RDP Houses Built 235 635 RDP Houses Built
White
40 583 573 Million Population Growth Racial Classification
Indian / Asian Coloured Black
44 819 778
51 770 560
55 653 654
16 - Interim One Panel 4 73
5
PHENOMENOLOGY
PROJECTED OUTCOMES
The Union Buildings - Pretoria The Nelson Mandela Statue symbolizing the first speech given by the new president after the reign of apartheid. The famous walk out of the front of the buildings to deliver the speech symbolizes the re appropriation and resymbolizes of a specific monument of ideal.
10 6 ARCHITECTURAL THEORIES Freedom Park - Pretoria A scraped form that blends into the Klapperkop and the horizon, cementing its own meaning into the fabric of Pretoria. The culmination of the Truth and Reconciliation Commissions findings, it draws on multiple elements to represent facets or steps to reconciliation. It is however not without flaw, the refusal to represent the fallen soldiers of the South African Border War clutters and confuses the messages of reconciliation being sold.
9
PROXIMITY
7 SITE CONSIDERATIONS
COLLECTIVE MEMORY
Globally Accessible
CULTURAL MEMORY ACCESS
The Voortrekker Monument - Pretoria An addition to the landscape, it sits proudly on top of the Schanskop. As time passes, the voortrekker monument becomes less of a symbol of oppression, its location in terms of the new Freedom Park, place it with in our eyesight and consciousness, but we also understand its ever increasing irrelevance. What was once a symbol of oppres-
COMMUNICATIVE MEMORY
8
Language Boundaries
Human Accessibility Nelson Mandela Square - Sandton Symbolizing hope, freedom, Equality and triumph, the Madiba statue towers over Sandton Square, luring people in. On one side private accommodations, the other a shopping complex with restaurants that only the high end of society can afford, and the other a library. The price of the pain that was paid during the apartheid struggle is made cheap by the residents and coffee drinkers watching over the general public as they flock to the statue. Arrival
Entrance
2
1
I
Apartheid Museum - Johannesburg The Museum was one of the first instances of the coming to terms with apartheid through education and learning. It is located next to the theme park Gold Reef City, a play on words given that The City of Johannesburg is called the City of gold. The theme park and its adjacency to the museum stand in stark contrast, attracting attention to the past through consumerism and appealing to unbeknown-st thrill seekers and families.
Preparation BUILDING CONSIDERATION
Immersion
Egress
II
2
III
? Realization Contemplation
3
Reflection
Assessment
After immigrating to Australia 7 years ago, I am able to look back on my past life and the lives of people near to me with a more objective lens. For many years I have been contemplating me and my families direct role in the direction the country was/is headed in, and how actions of the past have set a course. I am now more that ever aware that we are the generation of change, the generation of policy makers and influencers. The deeper I research into the injustices of apartheid and the present, it turns my stomach and makes urges me to do my part - Architecture. A fully reconciled country will never be achieved, it has never in the past. The goal is to bring people closer together despite our obvious cultural differences, through conversation, speech and exposure.
3 Travelled - 32 Lived - 4
74 17 - Interim One Panel 5
40m 40mm 0mm V Vlleeii Bririst risstlee grass asss ass 120m 200mm T 20m Tooppsoi soil 3mm 3m mm m m Old Oldr Oldr ld oyy membr embranee embrane 30mm 30m 0mm mm x 4 Lamba Lam ambba babo bor or
700 70 700m 700 00mm R Rein info nff rced nnfo eed con concret concre c e sl slaabb slab
Ezilahlekileyo (Xhosa - Lost) confuses and distorts perceptions. Overwhelming steels panels become formidable opponents as you negotiate and wade through past experiences and rewrite your own narrative.
(Be (B (Bet Bettw ween een 900 9000/60 0/6000)m 0/60 00)mm 00)m m x 40mm 40m 0mm Alu 0mm Aluumini minium min um ppanel um ane s anel
1:500 A1
Having just escaped the crushing, the threshold throws you off once more. A jagged pathway with sharp turns allows for no preview of the next phase. Suddenly you enter Ezilahlekileyo, vertically overwhelmed as you can glimpse the nine-meter-high ceiling. Scathed stainless-steel panels reflect the minimal light source located on the end of each leaf. The creaking of panels being swung and moved by fellow occupants echoes through the space. This space challenges you spatially in ways the previous ones haven’t. Making your way through the panels, pushing and pulling where you see fit symbolizes wading through the past. You cannot ignore it, it is part of your being, you must face it in your own way and create your own path. Just like history, the struggle must be acknowledged to be able to move past it. The maze has sections and turns where there is no possible access, you must find an alternate route, further driving home the idea of carving your own perception.
2 0m 200m mm x 10mm 0mm 0mm m Ste teeel poole le le Ceentrral Cen Cent raal swiv swivel beari swivel bearing eariringg ear
Finally, relief overcomes you as you emerge past the smallest threshold in the program, a 800x2100mm opening that opens up into the exhibition spaces. Now there is an opportunity to educate yourself through knowledge osmosis, as the exhibition on a more focuses on factual representation, over emotive experience.
Bein ingg anchor in cho hor poi hor oint nt to sslab 2 0m 250m mm Re R innnfo forced fo rc cco con oonncre crette sl s ab ab
Paane P ane nel S Sw wivvel el Dettai ail 1:50 1: 500
Mfecane (Zulu - The Crushing) suffocates its inhabitants vertically with the space bearing down on its occupants, the deeper into it you go. Darkness surrounds you, and the senses are tested.
Stee e l be b am am frrame m me DG G MD1 D1 elect e ect ecctric ctricc hois hoist
If you enter the opening on the left, you are immediately challenged. The ceiling is bearing down on you, you are now in a space where the pressure of the past dictates your movement. The higher ceiling offers relief out from under the lower spaces. Initially you can navigate away from the lower spaces, avoiding confrontation. Towards the end of the section the space tightens, as they are all lowered. You cannot help feeling confined as choices narrow, and you will inevitably need to face the darkness.
2mm Tens 2mm 2m Tenssile ile fa fabr abb ic abr ic facad faca acade acad
As you view the space from the threshold, you subconsciously plan your journey using the lights as markers. When you start moving, this the changes, the contrast between the underside of the bulkhead – a dark hard surface, and the softly lit panels thwarts the earlier plans of journey.
1000 10 00 m 000 mm Reinf einf nforce orcc d cooncre ncc ete retai ncr etaining eta ning nnin ingg wa wa l wal Osra Osr Os sra raam T8 T Flo Floures res re escent cent ce en Lig Lightin htinng ffiixtur htin xture xture Ste St tteeel ffram ame m cei me ce ing ceil ngg box boxx bo
Tamboti Spirostachys africana
115mm 15m 5mm m Pl Plaaste Pla sster te t boa boar o d
Umbrella Thorn Acacia tortillis
Oper Op e able er able Cei ab eillilingg Det etai tai aill 1 50 1:
(Bet (Between Betw ween we wee en 60 60/ 0 25mm 255m 5mm m) di ddiamet iame amet me err lig met iight ght gh ght ht ent entryy per en erfo erforati f rat attition on
11000 000 00mm m Reinf e force rce cedd con ce conc ncreette wall wall
Isolation is a space of loneliness, solitary and cold. Light guides you throughout the space. Glimpses of the exterior bewilder you as stark contrast from the experience within. As you descend a 9.5m vertical shaft, the surroundings transform from a nature scape, to a concrete chamber. A dark room awaits as you take your final step off the stairs. You are greeted by smooth, slightly reflective materials. Staff members issue you with the required information, and you are asked to remove your shoes (which will be returned to you at a later stage). You may now enter the space, a constellation light greets you on the wall ahead. The darkness is only broken up by the beams of light that cast a light footprint on the floor. Upon closer inspection it is revealed that the light on the floor highlights stories, stories of people from all walks of life. As you stand in the center of the indefensible space, you draw comfort from the wall of light. When you peer through the perforations, a glimpse of the stark contrast between the exterior – a garden scape (The Terrace of Contemplation), and the interior – an Isolation chamber flashes through your mind.
Marula Tree Scelerocarya birrea
Mopane Colophospermum mopane
115mm 5m mm m Pla Plaster ste sster terbo te boar o d 15mm 15mm mm m Ste Steel teel frami ram aam ming ng 10m 10mm 0 m Cor C te Co ten e ste en ste tee eeel ppaane nel e Wall W alll ffo all al foo ooooting ooting inn lig liight ightt entry 250m 2250 25 50m 0mm mm D De Deep eeepp poond nd
Mararankodi (Sotho – Confusion) uses the senses to create a disharmony is what is being seen, and what is experienced. The boundaries of the interior space are challenged, and the exterior and interior are blended.
2500mm 250m 25 0mm Re 0m R in info info f rc rced ce con ced ooncret e e sl slabb
LLiigghht wa wallll Detai wal ettaaiil 11::50 :5500
50000m 5500 mm De D epp water Deep ate ter rruun un 250mm 250m mC Cooncrete ncre rete st stair tairi s 100mm 100m 00mm Co C nntin tineen enta ntal sa nt s nd nd / To Top op so soi oill
When exit Isolation to the right, you are greeted with the outside environment blending its way into the interior. The sand squeezing through your toes, the small African thicket you must negotiate, the chirps of the Lilac-Breasted Roller all calm your senses as you move towards a calming pond, accompanied by Acacia Tortillis’s (African Umbrella). You can walk through the shallow water, and embrace the relief of being washed clean. Something draws your attention to the base each of the trees, inscriptions on plaques circling the trees subtly reflect light, curiosity draws you in closer to inspect the odd placement of the tales. Mere seconds into reading the inscriptions you are confused, the factual yet non specific accounts of historic events of betrayal and human plight drips down your spine.
Waate W ter Fe Feat eatture ure Deettaaili ur 1:50 1: 50
1000 10 0000mm 000 mm m Rei eein inf nforce foorce rced co concre n tee reet ncre etai tainingg wal tai walll wa
Boabab Adansonia digitata
Jackalberry Diospyros mespiliformis
Realising that the comfort of the nature scape experienced at the start was an illusion, the whole space is tainted with the gruesome acts that we as humans have inflicted upon or fellow brothers and sisters. The confusion of what the architecture is portraying and what the literature is voicing, conflicts within the senses. The space is not what it seems.
Waaate Wate W at r bbodyy
Steel Stee tee e l cceeilin ee ililingg fframin am ng 500m 500m 00 m LLaaminaated te glas glasss panels gla p nels pa n nel ne
Movement throughout the spaces is one directional. Once you chose a path, left or right, you move into and inhabit the spaces you are in. Eventually surfacing at the end in the next phase, Recompense. Confused, weathered and upset, you leave Mararankodi and embark on a journey descending 1.5m down a narrow access ramp. Whilst descending, glimpses of water-refracted sunlight dance through the glass ceiling. The descent is a journey under water. The route has ever changing widths, but you are never confined vertically as glimpses of the sky allow you to breath, temporarily.
500m 00m 00mm 0mm Re R info nfoorrced cced edd loooaaadd be b ar aarin rinng ng cooncre ncre reetee wa wal allll all
Reinforc Rein forc forced r ed concret rc onn ete ffoun oncr fou ooundat datiion
Glass Gl ass C as Ceeililin ililiinng D Deettaaill 1:50 1: 5
The journey is jagged, consisting of sharp turns and multiple routes variations make it a deviating experience. This combined with an infinite view of the universe, it is not long before the weight of the water bears upon your shoulders. Hard but manageable at first, the texture of the floor starts to pressure the soles of your feet, uncomfortably you actively start to seek the exit. Subconsciously however, you have been led straight there. The sloped floor is guides you uphill, and eventually out of the space granting you a deep breath of air as you enter the exhibition phase. It is here that you are given back your belongings, and the rest of your journey can commence.
18 - Week 15 - Final Panel 1
75
Project Statement
Problem Statement
As we reflect on where we came from and how we came to be in this position, we must also not stray our eyes from the future. The future is bright. Education of young people in not only rural areas but around the country is on the increase with infrastructure programs being set into place. Memorials and museums that highlight South African history all have a similar theme, the story of apartheid. The story of the human plight and struggle through such a crisis is of the utmost importance for anyone who wants to grasp what the country and the people have been though.
It would be easy to blame all of the trauma that South Africa is facing on the apartheid regime, and you would be largely correct. Apartheid was single handedly responsible for mass the relocation of an already settled population, the further segregation of an already separated populace, and the ill treatment of certain cultural groups based on skin colour and origin. Apartheid however served as a spring board for the Republic of South Africa that was born in 1994 under the leadership of Nelson Mandela. We now had a basis, a criteria of everything we as humans oppose, and refuse to relive or cast upon our fellow country man.
However, a proposition for the future is lacking. In many instances the bright future that lies before us is not touched on or discussed. Reconciliation, respect and freedom are merely words that are used to describe the future. But how do we arrive there? Where is the vessel that is going to transport us to the utopia we so desperately need?
Many issues plague the modern day South Africa. The wealth gap that was established during apartheid is still prevalent, the lack of basic services such as water and electricity impacts millions of people per day. We must however be sure to ground our opinions and perceptions. South Africa is not an isolated instance of injustice and mistreatment. The second world war saw over six million Jewish people lose their lives just because of their heritage. In Rwanda the genocide of 1995 was responsible for over one million people being slaughtered in just under a month. South Africa’s past does not compare to these in terms of loss of life. But when discussing the time period or the continuation of these crimes, it supersedes both, over 80 years.
This is the gap that this project will aim to fill. It is impossible to impartially circumnavigate the depths of what the country needs in one project, especially not a masters thesis. That is why this project will form part of an urban development proposition that will align with the core values of this project. One building on the next to create nodes within a greater countrywide project.
The program of the building follows the five stage theme that presides over the whole project.
3.0 Recompense Recompense is the cumulation of experiences, which are later transformed into lessons. Each space can operate independently, and consequently 4 different exhibitions can be hosted (one domain being the outdoor water feature).
Birth, Trauma, Legacy, Recompense, Reconciliation. 1.0 Birth The journey of arrival is jolted, and disjointed experience. A slight glimpse at the building structure provides you with a means of orientating your journey, but the paths that take you there say otherwise. From the furthest parking lot, a 650m long path will guide you to the right hand side of the structure. In the process of doing so you are able to glimpse two of the framed references, Freedom Park and the Voortrekker Monument. Whilst the path is differentiated from the surrounding landscape, a venture off the path is not discouraged.
The spaces can also become one, all linked by a central theme. The exhibition centres are the lifelike incarnations, the post trauma experiences that educate and promote moving forward. The spaces can be temporary or permanent. 2.0 Trauma Trauma is the first point of contact with the interior of the building.
The 460m long path guides users through the center of the site, sampling views of the Union Building as they make their journey to the main entrance of the structure.
As you descend into the first domain - called isolation, the first part of your journey commences. Each part within each domain has its own emotive palette, defining the intricacies which make each space unique. Materiality, lightness, mood, emotion and ambience are some of the defining differences between the spaces.
Legacy is the history and the actions as a result of that history, that is left behind for others to see and interpret in their own unique way. It is the story that is passed down from generation to generation.
ortr Vo
r ke ek
n Mo
t2
en
um
4.0 Legacy
26
0m
A tree is a symbol of life, it represents peace, serenity, and growth, just like the tree - The Terrace of Contemplation is also a symbol. It is a tailored African scape that speaks about the transparency between human interaction. The convergence point of the axis emphasizes the gathering - a meeting point.
Freedom Park 2757m
BALAN C E
CONTRAST
I S O LAT I O N
HARMONY
DOMINANCE
HIERACHY
PROPORTION
BIRTH
Proximity
Colour
Trees
Size
Radial
Light / Dark
TRAUMA
Similarity
Highlight
Ratio
Asymmetry
Varience
RECOMPENSE
Repetition
Size
BUILT ENVIRONMENT
5.0 Reconciliation The final stage of the precinct.
LEGACY
Rhytmn
SITE AND BRIEF
MEETING PLACE
Ideologies, celebration, festivities and education. It comprises of four components – the amphitheater, the stage, the workshop and the restaurant. The Amphitheater is a place where people can come together in celebration. Seating 1000 people, it serves as a viewing platform for the framed references across Pretoria as well as the stage.
Modeling
I S O LAT I O N
MFECANE
76 19 - Week 15 - Final Panel 2
E Z I LAH LE K I LY O
MARARANKODI
DESIGN PROPOSAL
VERSMOOR
INQUIRY
The Workshop is a place that the younger generations will be able to put to use their newly found knowledge. The premise is that the exhibition spaces is to be informative. The Workshop will be a space where children (school groups / scheduled classes) can practice age old methods in fields such as construction and baking, it uses a practical grassroots approach. The Restaurant will serve as a function venue, one that can be hired to interested parties, and serve the general crowd on a normal day of operation.
5m
S I N G U LAR I T Y
SITE AXIS
The Stage is the platform on which reconciliation will be launched, it is where ceremonies such as the presidential address will be delivered on the Day of Reconciliation (16th December). It can also serve a concert or public speaking venue.
27 l2
Diagramming
APPENDIX
oria
Sketching
H I STO R I C R E PR E S E NTATI O N
em
MULTIPLICITY
CONNECTION
M DF
Research
SA
R E C O N C I LIATI O N
1:1000 on A1
20 - Week 15 - Final Panel 3 77
78 21 - Week 15 - Final Panel 4