CONTINUUM 1.20 - Greenside Design Center Interior Design Showcase by GreensideDesignCenter

Utopia

2020 is a year which has transformed all of us. It has put us through various different tests. We have had to adapt quite rapidly whilst also taking the time to reflect internally at events and moments which we would not necessarily have had the time to do so. This year the Interior Design Department at the Greenside Design Center embarks on a new chapter. New ways of doing, new ways of seeing and, most importantly, new ways of achieving. C O N T I N U U M is the launch of our new annual publication showcasing various modes of work produced by our students (and staff). Work has been produced slowly over time this year, through various almanacs of seasons, time, modes and narratives. The work produced by our enthusiastic and ever-bright students continues to evolve and adapt to ever-changing currents both locally and globally. COVID-19 has taught us some very important lessons during the course of this year: adaptation and continuation. Adapting to new hybrid methods of online teaching saw the school empty of movement and life from campus. From the Greek words οὐ (“not”) and τόπος (“place”), utopia describes otherworldly realms where design and creativity were fostered this year: bedrooms, living rooms, world rooms, online rooms. ‘Utopia’ is the culmination of work produced by our students, in other-rooms where the common goal amongst staff was to ensure students continue and maintain their curriculum and creative energy throughout the year from alternate realities. Though the conditions were not perfect at all as the definition of utopia suggests, we’d like to think we strove for near perfect imagined possibilities where futures continue to grow and foster our students' work and imaginations.●

C O N T I N U U M | 1.20

CONTINUUM Published by Department of Interior Design, Greenside Design Center Editors Marina Hendricks, Steffen Fischer & Carl Ascroft All rights reserved ÂŠ Greenside Design Center Greenside Design Center 118 Greenway Greenside Johannesburg South Africa T. +27 11 646 1984 info@designcenter.co.za www.designcenter.co.za

Utopia

Contents Foreword

Introduction

ID1 - First Year

ID2 - Second Year

ID3 - Third Year

Honours

Critical Studies

Awards

C O N T I N U U M | 1.20

Foreword Professor Desmond Laubscher, Founder & CEO 2020 has been a challenging year in South Africa. The COVID-19 pandemic, the loss of employment related to it, the strain on our health services and generally the borne out anxiety and stress related illnesses associated with it and our reluctance to believe in this unbelievable reality. However, because of the innovative and creative spirit at the Greenside Design Center (GDC) we have created new avenues of expression and new ways of delivering our curriculum to our community of students both locally and abroad. This has been because of a highly talented and dedicated team of academic and support staff that have embraced the new challenges and are part of the family that is the GDC. I believe that this pandemic has brought with it many game changers as well as many new ways of seeing the world we live in. All of this for the better as we strive to improve the quality of life for all through design. The pandemic has just been a catalyst that has made us focus more quickly on the challenges we face as designers and the incredibly important role we can and should play in our world, a world deeply imbedded in our continent, Africa. What we are striving for at the GDC in this new era is to ensure that our students are aware of the following competencies that are important for the 21st Century:

Utopia

“

Our students have been prepared to make an impact on the world through their thinking processes and how they can interpret and solve abstract and real problems in the built environment.

”

• •

•

• •

•

• • •

•

Sense-making: determine deeper meaning Social Intelligence: the ability to connect to others in a deep and direct way, to sense and stimulate reactions and desired interactions Novel and adaptive thinking: proficiency at thinking and coming up with solutions and responses beyond that which is rote or rule-base Cross-cultural competency Computational thinking: the ability to translate vast amounts of data into abstract concepts and to understand data-based reasoning New media literacy: the ability to critically assess and develop content that uses new media forms and to leverage these media for persuasive communication Transdisciplinary: literacy and the ability to understand concepts across multiple disciplines Design mind-set: the ability to represent and develop tasks and work processes for desired outcomes Cognitive load management: the ability to differentiate and filter information of importance and to understand how to maximize cognitive functioning using a variety of tools and techniques Virtual collaboration: the ability to work productively, drive engagement, and demonstrate presence as a member of a virtual team

These are not my ideas, but come from a dialogue with Dr Celia Booyse, head of the research unit at UMALUSI. What is very apparent from the above bullet points is that our lecturers and students have embraced this philosophy, and you will see, when looking at the work, that there is a holistic way of thinking. These competencies have been the focus adopted and permeated throughout the GDC which sets us apart from the pack. Our students have been prepared to make an impact on the world through their thinking processes and how they can interpret and solve abstract and real problems in the built environment. These solutions have been available in all years and especially at the exit level, students begin to show their ability to empathically deal with our social, cultural, sustainable and environmental concerns of what lies ahead waiting for us in the future. ● C O N T I N U U M | 1.20

Introduction Marina Hendricks, Head of Department Everything we thought we knew about education has changed. This has opened up exciting new opportunities for us as educators and facilitators in the journey towards our student’s design futures. For innovative thinkers ‘our time is now’. As we look to the future, we see now more than ever the need for innovative and original thinking around everyday realities. Innovation and entrepreneurship has been increasingly recognized as drivers of socio-economic development. Rethinking the way we work, interact and live has completely changed and will be continually reformed going forward. For a long time GDC has been fostering ideas around innovative design thinking; an empathetic approach to human centered design; and critical thinking around our society and the way we design for this. Over the years we have been preparing our students for this change in the world and were able to successfully adapt and expand our thinking when it was critical. I am very proud of our support staff and lecturers who managed to get all our students and staff up and running online within the first week of lockdown. As the needs of our students changed (physically and mentally), we were able to adapt briefs and teaching style along the way to suit. As a result, some interesting design insights were shaped. I particularly loved the project where first years 10

▶ Ali Dakik, ID1, Inside Everywhere

Utopia

“

For innovative thinkers ‘our time is now.’ As we look to the future, we see now more than ever the need for innovative and original thinking around everyday realities.

”

C O N T I N U U M | 1.20

had to reimagine found objects as spaces we can inhabit. The now mandatory medical mask was reinvented as a safe, soft haven of refuge. The complete opposite to what we feel and think about this pandemic. This kind of relooking at the world is the type of innovative design thinking that we will need to survive and strive to foster. Since our design curriculums are not situated in a vacuum, I believe that the curriculum planning in design education requires constant reflection and redesign. This idea was tested during this pandemic and flexibility was vital to our success. Looking forward this is what we strive to foster as leading design educators. Not only providing the tools that students need to communicate their ideas but rather fostering the critical, logical and creative thinking they will use in their careers as leading designers of our futures. ●

ID� Carl Ascroft and Steffen Fischer The first year studio at Greenside Design Center is a safehaven for experimentation, expression, and dialogue—a challenging year in which students are introduced to the skills and craft of designing and making space and experience. It is a ‘hands-on’ space of experiential learning as we collectively unpack the fundamentals of design process, principles, practice, and communication through drawing and model-making—embracing the tactility with which our students will eventually leave their own marks on the physical world. Indeed, the space of the studio itself has long been seen as the nexus of the teaching and learning experience in design education—a mysterious, magical, place in which students are transformed into designers. In many ways the studio is as much a teaching tool as any other, harking back to the principles of the Bauhaus and the atelier. Yet in 2020 these long-established tropes and traditions had to be confronted anew as our students were necessarily dispersed by the threat of the global pandemic. A certain sense of grief and loss rippled through the academic staff suddenly detached from the the safety of our physical spaces, of our tangible artefacts, of our face-to-face discussions, and from our community. Gone it seemed were the grey areas, the in-between discussions, 12

▶ Ali Dakik, Cabin Fever Maquettes

Utopia

where learning, rather than teaching, often takes place. In what seemed like a heartbeat the hallowed space of the studio was collapsed into the two-dimensions of a screen, the pixel replaced paper, and the staccato dance of the mute button became our daily exercise. Given Interior’s propensity and ability to move at different rhythms and paces, it is somewhat ironic that our teaching methodologies seemed so bound to ideas established in a pre-digital age. Students however approached the situation with enthusiasm and gusto: domestic spaces were appropriated as impromptu studios, dining tables commandeered, and pantries raided for possible model-building materials. The humble pencil, so often threatened by the emergence of digital technologies, was re-born as the great equaliser, mitigating technological discrepancies through focus, intention and craft. Physical constraints became digital opportunities to explore new methods of interaction and engagement and the studio, by hook or by crook, established its digital other. And yet despite the undoubted success of both students and staff in wrangling with a challenging set of circumstances, a certain longing for physicality persists. Humanity has a need for its spaces and its interactions. We are entangled with, and enriched by, the spaces we inhabit, and the people we inhabit them with: our memories viscerally tied to the ‘stuff’ of the world. Covid-19 showed us how important our spaces are to us, and how important the role of spatial practitioners is in creating environments that enable, dignify and inspire. The first year class of 2020 have taken their first steps in embracing that responsibility and have defiantly produced a body of work that they can be proud of. ●

C O N T I N U U M | 1.20

ID1

Programme Overview The first year of the programme is largely concerned with the fundamentals of two and three dimensional design. Projects are designed to develop a creative process of problem solving, visual communication skills and an understanding of design principles. The Critical Studies component of the programme extends the students' personal explorations of visual communication and design principles into a broader perspective through analysis and interpretation of art, architecture and design as a response to social, cultural and technological considerations. The Technology and Professional Practice component of the programme introduces students to draughting conventions, pertinent computer skills and design research and process. â&#x2014;? List of Images 01 Ali Dakik, Transformation of a Cube 02-05 Gary Wium, Transformation of a Cube 06 Nicole Sen, A Little Light Poetry 07 Ali Dakik, A Little Light Poetry 08 Denisha Moodley, A Little Light Poetry 09 Tyra Reid, A Little Light Poetry 10 Alicia Pienaar, A Little Light Poetry 11 Mishka Daya, A Little Light Poetry 12 Gary Wium, A Little Light Poetry 13 Olivia Olsson, A Little Light Poetry 14 Denisha Moodley, A Little Light Poetry 15 Olivia Olsson, A Little Light Poetry 16 Ali Dakik, Inside Everywhere 17 Lindokuhle Masemola, Inside Everywhere 18 Bahiyya Ismail, Inside Everywhere 19 Shenielle Lotz, Inside Everywhere 20 Bahiyya Ismail, Inside Everywhere 21 Nicole Sen, Drawing Exercise 22-40 Self-Portraits, Cabanon de Vacances, Charrette 1: Spectacles 41-43 Ali Dakik, Cabin Fever 44-46 Olivia Olsson, Cabin Fever 47-52 Lindokuhle Masemola, Cabin Fever 53-55 Gary Wium, Cabin Fever 56 Nicole Sen, Cabin Fever 57 Taylor Bishop, Invisible Cities

Utopia

ID1

C O N T I N U U M | 1.20

ID1

Utopia

ID1

15 C O N T I N U U M | 1.20

ID1

Utopia

ID1

C O N T I N U U M | 1.20

ID1

Utopia

ID1

22-40

C O N T I N U U M | 1.20

ID1

43 22

Utopia

ID1

46 C O N T I N U U M | 1.20

ID1

Utopia

ID1

55 C O N T I N U U M | 1.20

ID1

Utopia

ID1

C O N T I N U U M | 1.20

ID1

57 28

Utopia

ID1

C O N T I N U U M | 1.20

ID2 Colleen Delaney Being in a teaching position, we tend to be up against personality and not ability. We are all born able and capable of anything. We are just at different levels of our ladder of development (i.e. realization of a particular ability or skill set). It is good for students to keep this in mind and that it is unrealistic to expect them to all be at the same place on each lesson in life (or in this course). We deliver general learning content to the group, but we expect each student to absorb it and assimilate it, mostly through the practical exercises issued in our physical studios. We, students and lecturers, are always learning. Thus, the group interaction that our course offers in assimilating the learning is critical. Lecturers are not autonomous gurus, we depend on the insight and the debates that all students put on the table as they assimilate and broaden their knowledge. Lecturers guide the learning process. We nudge, we push, we prod, we instigate and we praise, we inspire and we ignite in order to expose studentâ&#x20AC;&#x2122;s minds to thought patterns that can cause innovative and creative consequences that are of functional and aesthetic merit. This process cannot happen optimally when students do not participate fully in the learning structures. Covid could have impacted this drastically. Covid could have meant that lecturers could not deliver content, or that students were isolated from the learning environment.

â&#x2013;ś Alexis Rich, Screening Intervention

Utopia

“

Lecturers guide the learning process. We nudge, we push, we prod, we instigate and we praise, we inspire and we ignite in order to expose student’s minds to thought patterns that can cause innovative and creative consequences that are of functional and aesthetic merit.

”

C O N T I N U U M | 1.20

Covid could have meant that we could not communicate in order to share the amazing insights that transpire from group learning methods. It could have meant that our lecturers could not reach students to guide, nudge, poke, prod or praise. The pandemic could have meant we closed GDC’s doors permanently. Instead, the GDC lecturers were on-line offering our learning experiences to our talented students in a very short space of time. There were extra benefits that resulted from the on-line platform, such as being able to record lessons and make content available anywhere and anytime. Our moving forward into an innovative hybrid teaching environment was escalated. There were definitely challenges, students and lecturers had to adjust to available technology or organize new resources to suit the new environment and gain the maximum benefit. There is no doubt this was inconvenient. However, most lecturers and students climbed the mountain and made it to the top of 2020. ●

ID2

Programme Overview

A successful second year student will be able to illicit design criteria, research independently,

Second Year is about developing the students

generate multiple unique concepts, evolve and

ability to engage with Design Thinking processes.

refine designs aesthetically and functionally with

Students are exposed to a range of theories and

a clear sense of spatial awareness, be able to

encouraged to develop a personalized version

propose technical solutions and to communicate

thus integrating the knowledge into their own

them to client and technical team, in order to

skill set.

create new users experiences. â&#x2014;?

The foundations of the creative thought

List of Images

processes that are taught in first year are

01-02 Cara Nicholson, Re-Thinking Hospital Admissions

extended as students are given briefs that

03 Atiyah Mohamed, Re-Thinking Hospital Admissions

challenge the students to produce unique and

04-05 Athalia Son, Brand in a Box 06-07 Athalia Son, Re-

improved user experiences. These briefs illicit

Thinking Hospital Admissions 08-10 Ashley Hugo, Re-

functional and aesthetic solutions for small scale

Thinking Hospital Admissions 11-13 Ashley Hugo, Live-

spaces and objects, requiring the student to

Work-Eat-Play 14 Bontle Shai, Re-Thinking Hospital

empathize with the users of the space, as

Admissions 15-16 Mahlatse Leboho, Live-Work-Eat-Play

individuals and communities.

17 Giorgio Tatsakis, Brand in a Box 18 Alexis Rich, ReThinking Hospital Admissions 19-20 Atiyah Mohamed,

Developing a sense of spatial awareness through

Live-Work-Eat-Play 21 Mariska Prollius, Brand in a Box

the application of the ordering principles is

22 Zahed Dadabhay, Moodboard for Live-Work-Eat-Play

integral to the second year course.

23 Mariska Prollius, Re-Thinking Hospital Admissions 24-25 Nuraan Khan, Brand in a Box 26-27 Ashley Hugo,

Second year develops the analytical and critical

Brand in a Box 28 Marissa Grimsell, Re-Thinking Hospital

abilities of students. They experience the value

Admissions

of research, with specific focus on gaining an understanding of the use of precedent studies in order to make informed design decisions. The ethos of social responsibility adds real life value to the far reaching possibilities of design as a tool to improve our world. Second year is more practically focused than first year, as students are required to address the materials and technologies available in order to develop and plan the execution of the developed solutions. Developing skills of visual discernment are crucial to a second year studentâ&#x20AC;&#x2122;s ability to resolve a design, as well as to present a design, both to client and the future professional technical team.

Utopia

ID2

R E – THI N KI N G HOS P I TA L A DM I S S I ON S Theaim of the project was to rethink and revolutionize the way hospital admissionstake place. Theproject will explore Service Designand the shortcomingsof our current situation in hospital admissions.Theseshortcomings need to be addressedthroughthe use of designto improve the quality of life and experiences of people. I suggest

that we centre the designaroundthe people usingthe space. I believe the overall service would also improve which would automatically improve the user experience. Theaim is to create a space to improve well-beingand healing. We cannot changethe reason why people visit or cometo the hospital but their experience can be altered. P LAN | S CA L E 1 : 5 0

TU NN EL Thetunnel formsthe main part of the design.Thistunnel not only connects parts of the buildingbut it formspart of the admission process. TR E ES + G R E E N ER Y Thetunnel has a bigwindow to connect the interior with the exterior.By having trees and greenery peopleʼsmoodare lifted. Nature hasan extremelypositive connection andinfluence.

P ATHW AYS Pathways for people to walk outside, get exerciseor to connect them with nature. Canbe foundaround the hospital.

I N A DR E AM W OR LD Everybody would have accessto the necessary facilities and medical care they need. Hospital would be designedaround people and their needs. It would be a spaceof peace without the anxiety we connect to it today. CE I LI N G + R O OF Theshape of the roof and ceiling is rounded. The dome-shapesoftens the space becausethere is a seamless transition fromthe ceiling to the floor.It is constructedout of concrete – casted on the site.

FAB RI C CANOP Y The fabric canopy is hungfrom the ceiling. The aim was to break the overwhelmingclinical feel of a hospital. Thecanopy softens the space and aids in creating a calmingspace.

COU N TER The counter is made from bended plywood. It offers storagefor wheelchairs underneath and it has information boardsabove it.

For todayʼstime. Hospital donʼt always have the necessary fundingor they are designedpoorly. Thehumanaspect are taken out of the design. There is a lack of information and mostof the processesare flawed. In the case of a maternity ward it can have an overwhelmingclinical feel. It is supposeto be a welcoming and peaceful space. Thisdesignprovides a new way for patients to be admitted. I chose to centre mydesignaround a maternity ward. At the end I chose to use a tunnel as the space for the designs.Thetunnel leads into the maternity section of the hospital. Patients have a timeframe due to the natural timeline of pregnancy.People fill in the admissionforms beforehand through an app on your phone or throughthe internet (and then uploaded on the app). Thisis sharedwith the hospital to reduce paperwork as well as to check the information beforehand. Patients then signin with a barcodewhen entering the tunnel. A countertop provides storageunderneath for wheelchairs. Information is also provided at the entrance as well as guidance. FR ON T E LEV ATI ON

F LOOR Thefloor is a terroxy resin floor. Thisis a special floor made by Terazzon&Marble for hospitals. It hasanti-bacterial qualities and it is designedfor heavy traffic makingit ideal for use in this space.

EX P LODED AX ONOM E TRI C

I N TE R I O R V I E W

I N TE R I OR + E X TE R I OR V I E W

02 C O N T I N U U M | 1.20

ID2

Utopia

ID2

G E

T 01 Intro.. Thelinear 3Dexhibition standthat iscreated for the client Gert Johan Coetzeewhich isa fashion designer, the designexpresseshis patterning in someof hisclothing. Theclients collection isbold, powerful, brightand eye catchingwhichcreates the moodof the space.

02Overall Views.. Theviewsshown below isthe construction of the designmainly showcasingthe exterior and some interior views.

03Interior views..

Side view

Back view

Side entrance

Entrance

C O N T I N U U M | 1.20

ID2

Colourschemebelow is inspiredby a rainbow commoncolours kidʼs tend to like.

KIDʼS & MOMʼS CARE

Purple

Kidʼs andMomʼsCare ward is a combination between the reception andwaiting area redesignedinto a futuristic spacecreating a calm andrelaxing atmosphere.

CLOUDY POD AXO VIEW

3 2 1

The spacereally captures the kidsattention as well as it distracts them from feeling anxious.This space is exciting and fun creating a quality experiencefor patients.

M A TE R I A L S

Turquoise

PolycarbonateSheets

Lime Green BrightYellow Red

Cloudy Pod is designedfor patients at the Kidʼsand MomʼsCare Hospital, the podsfunction isfor the patient to feel safe and practice social distancing, how that is created isby having the Pod enclosed.

The podis assembledin 3 layers, Cork,Timber Structure and Polycarbonate sheets.

Layout Plan

FrontView Timber wood structure

Footprints : representsthe direction to the onlinebooth.

Gray

The materials usedfor the Pod creates a structural and soundproof Pod.

Cork

SIGNAGE

CloudyEffect

Pregnant Mom: this iconis placedoutsidethe Pod.

POD TopView Interior of the podincludesa recliner bedfor patient anda half moonseating for anyone accompanyingthe patient.

Parent & Kids: this iconis placed outsidethe Pod. Layout Plan /Circulation

BackView

Interiorview of the POD

Rainbow

The Exterior of the Pod fits the aesthetic being “rainbows andclouds” by havingthe entrance of the Pod give off a cloudyand rainboweffect.

TopView

08 36

Utopia

ID2

EX P LO RE

L ion pod

B Y A S HLEY HU G O 65

P RO J EC T 4

Giraf f e and Zebra pod

EX P LO RE

Source: https://ashlyn.hoentd.com/p/Njg1MTgwNTMwNzk0MjQyMTMz https://www.creativelabamsterdam.com/en/

Source: https://society6.com/product/lion-nursery_pillow?sku=s6-9675225p26a18v129a25v193&utm_source=pinterest&utm_medium=social&utm_campaign=2331 https://www.otto.de/p/fototapete-claas-1052631723/#variationId=880504252 https://s3.amazonaws.com/hgopin/49/208261.html

EX P LA IN

METHOD 2 Thestriking displayis madeupofacover with horizontal and vertical sections,and3piecesthatarefixed togetherto provide rigidity. Theinterior ofthestandis capableofaccommodating acoupleofpeoplein it, andapuffwasplacedtofacilitate cosmetictreatments.

P RO J EC T 4

B Y A S HLEY HU G O

Asseenin theimagetheribs areinserted into oneanother.This creates amorestable stand.

Source: https://cartonlab.com/proyecto/cabina-expositor-llamativo-cosmetica-ecologica/

09 E X TE N D

P RO J EC T 4

B Y A S HLEY HU G O

E X TE N D

10 C O N T I N U U M | 1.20

ID2

looking through the archway This new apartment is a perfect example of Macyʼs personality. With vibrant colours and unique furniture pieces in the interior of her new home.The interior of the home has neutral elements with explosion of colours. The arched windows and door shapes interlocks with Macyʼs career as a musician. It flows, has harmony and repetition making the home appeal soft and delicate. As seen in the concept sketchesart work, wallpaper and minimal use of furniture has been used in the interior design.This creates a flowing space allowing one to notice each piece while not being overwhelmed. The wallpaper and art pieces bring out the explosion of colours while complimentingthe furniture pieces and adding the final layer to the home.

Perspective Drawings of Interior

Exterior PhotoshopRender

looking through the archway The apartment has been designed with minimal new walls inside the structure allowing for a more open plan space.The bathrooms are the fun features of the home bringing out some colour and fun patterns in the floor tiling. The kitchen,dining and living space forms a flow that allows one to cook wile having a party. The patio also flows into the living space creating a big seating area.

Floorplan Photoshop Render

Sectional Photoshop Render

Entrance Interior PhotoshopRender

looking through the archway The apartment has a colour feature that is dedicated to each room. This bring out the fun Macy while also keeping it sophisticated with neutral elements. A space where Macy can relax and pursue her music career has also been added.This space is fun with big art prints with Macyʼs favourite singer.

Floorplan Photoshop Render

Sectional Photoshop Render

Bathroom Interior Photoshop Render

13 38

Utopia

ID2

HOSPITAL ADMISSION Design serves as east access and movable space via table. Hospitals can be a frustrating place to be especially during the time of COVID19. Help is scars so I have designed a multi function admission, chill and graphic display place. Thisarea is colourful and gives the in house and end user a space they can interact with a glass panel and for end users to chill while waiting for the doctor.

Digital billboards information display instead of many posters.

Back blue end children toy storage

FRONT ELEVATION

De Sjilzigzag pattern inspiration of the structure.

Sitting area

Trangular Table

Toy storage

PLAN VIEW

Magazine storage below the sitingand above the toe plate.

Corona virusinformation glass screen

Black table footing

Floor outlets for the digital screens cables, charge ports for laptops.

JABU THE CHEF

DIVERTING THE LIFE OF A CHEF Jabu has a wide range of personalities, he can be considered as a bold guy. He is one person who willing to step out of his own comfort zone, when no ne else is willing to. He has the tendency of wanting to experience any possible thing that is there to experience. Jabu can also be a sensitive person as he can become strongly emotional, and can be at risk when it comes to criticism. Another thing is that he is gets bored very easily and will end up finding ways to entertain himself of create things to keep him busy instead of making long-term plans.

Jabu is a chef who has been in the chef industry for the longest time now. He is an extrovert and an observant person who enjoys experiencing life and engaging in new things/activities and discovering the unknown. He prefers living a social life and encouraging others to participate in certain activities. Jabu can be seen as an active person as he is willing to entertain people whether it is within singing or dancing. One thing about him is that whenever he is caught up in the feeling of enthusiasm, he wants his surrounding to feel the same way.

Living Area View from the entertainment area looking at the cooking area

Sleeping Area

Food Preperation Area

1300 220

Freshen up

Guest Bathroom FFL 0.00 oak flooring

838

4030

1891

FFL 0.00 oak flooring

110

1359

FFL 0.00 oak flooring

Sleeping Area D2 A

3319

FFL 0.00 oak flooring

911

Front Room

D1 A

13805

610

1300 5786

3220 4114

1999 470

W1 A

W2 A

Chefs cooking area located opposit the entertainment room

2829

W4 A

1023

W5 A

600

Living Area located where the sun shines the most

965

Entertainment Room FFL 0.00 oak flooring

3203

3905

FFL 0.00 oak flooring

425

940

2000

Food Preparation Area W3 A

6080

8954

220

15518

PRODUCED BY AN AUTODESK STUDENT VERSION

Living and Food Preperation Area

Entertainment Area

Plan View

The idea behind the design of the JabuĘźs apartment wasto make use of brown and grey to create a warm and observant sense allowing the user to engage in the space. to bring out materials that can express masculine effect along with the colours used. The space is also fashionable making it look more interesting and makes you want to invite people over.

C O N T I N U U M | 1.20

Section Cut - B

ID2

CÎ˛Î´

Inspiration the exhibition stand: Rendered Views:

Exhibition stand

Assymetric designs

Greek eveil eye detail

Vibrant use of color

Shape of sea shell

Curved lines

Organic curves Top ariel view

About Calliopi by Design Inspired by the Mediterranean, Calliopi by Design was founded by Callie Bofilatos in 2014, Calliopi by Design has a wide variety of unique jewellery pieces and accessories, which consist of a mixture of handmade and imported pieces, as well as womens bathing suits. The vibrant colours and designs are inspired by the beautiful islands of the Mediterranean, together with her deep roots of Greek and Cypriot heritage. Calliopi describes her designs as minimalistic, vibrant, subtle and striking.

North view

Color & Brass detail

Island simplicity

Imperfect shapes

West view East view

18 40

Utopia

ID2

Construction details:

South entrance (front) view

Close up view of vertical slats and ceiling detail

Rendered sectional elevation

Sectional elevation Close up cut open vertical slat Greek Evil eye detail on flooring

View of central display unit and mirror

Closer view of overhead ceiling feature

Jewellery display units & storage

C O N T I N U U M | 1.20

Close up of timber frame construction

Floor plan

ID2

OtizSeflo is a Johannesburg basedfashion studio, established in 2009.Otsile Sefolo graduated from London International School of Fashion. Thebrandspecializes in high-endandready-to-wear fashion andcaters for both male andfemale. Hisstrive for perfection is what propels himto produce this interesting brand.

01 DesignInspiration.

B R AND I N A B OX: M AR I S K A P R O L L I U S 2 ND Y E A R S T U DI O 19-007 17 APR IL 2020

Right view.

Perspective.

Front view.

21 42

Utopia

ID2

WHO AM I 22 C O N T I N U U M | 1.20

ID2

23 44

Utopia

ID2

LUNAR

ethereal

25 C O N T I N U U M | 1.20

ID2

27 46

Utopia

ID2

Reception Pod Innovative way of finding your way.

28 C O N T I N U U M | 1.20

ID3 Jean Wiid Early into our 2020 academic year, the GDC and South Africa went into lockdown. Suddenly our entire student body and staff left the physical studio environment and took to the virtual studio. Far from our previous years’ vibrant achievements, including collaborations with Paragon architects, we turned our focus to community building from our respective homes. Our third year students consistently produced thoughtful and relevant design perspectives on the ongoing pandemic. The challenging experience of working from home had an enormous impact on our students’ academic year. I am incredibly proud of their resilience and determination to gain the most out of their final year. Amid the struggles of poor internet connections, computer challenges and limited study space at home, we had some wonderful bursts of good news. Michali Jameson won the Velux Light in Buildings award for the African region which will be presented at the World Architecture festival in December 2020. We also clinched a Top 10 spot in the PG Bison competition with Paula Ferreira’s Nwgenya glass retail experience as well as multiple finalists at the 2020 Loerie awards. ●

▲ Paula Ferreira, Ngwenya Glass Retail Experience

▶ Michali Jameson, A Million Little Lights

Utopia

Programme Overview Our third-year interior design program is about the individual, their immediate community and the broader context/society that they sit within. In this year students implement, evaluate and critique the design process, and locate themselves within the industry. Their project scope is focused on a variety of commercial typologies and is concerned with negotiating the public versus private activities and spaces concerned with this multitude of uses. An individual design philosophy is encouraged and fostered. Each project questions develops and addresses a differing set of criteria specific to each briefs needs. The projects aim to address design within a cultural and sociological framework as well as fostering industry readiness. â&#x2014;?

C O N T I N U U M | 1.20

Anoeschka van den Berg “Brooklyn Nine-Nine – SO1EO6 (13:03)”

See more on 50

↗ Utopia

Michal Jameson Working from home was the biggest challenge, but there is always a way to make it work :)

Night

Day

Stroll In Nature

View MezzanineView MezzanineLevel

CinemaRoom

: :

Historically, Port Elizabeth was a settlers village, inhabited by hunters,seekingout prized game to bringhome. I was inspiredby my chosenbrandʼPorky Heferʼ where biomimicry is usedto create customdesignedfurniture to bringthose natural sceneshome.

Experience Economy: As the customersauntersthroughthe store, by way of the bushwalktrails and animal replicas beside, they will not only encounterthe

Porky Hefer Design

wildlife atmosphere, but alsocreate a connectionwith the product.Wether taking that feeling homewith the purchaseof a productor experiencethe comfort throughoneʼs handpickedcinema experience, foundon the Mezzanine floor, this store isboundto reignite the customersexcitement. All consumerrelated questionswill be directed towards the ʻRangerʼStaff andfollowed by an individualizedguidedtour.

ChickyʼsYard 16lowervalley road,lowerbaakensvalley, southend, PortElizabeth,NelsonMandelaBay. Live sized tree

Roars of nature

Smell Of Earth

Snacks & Drinks

Feel The Product

Incorporatingthe surrounding restaurantswith the cinema

Formica TucanaGloss

Normandy

Verdo

Cappuccino

Entrance

: Display

Circulation Diagram

Display

: DisplayArea

: POS

Social Cuase:

Experience Economy: Inspiredby biomimicryto create a wildlife atmosphere

A percentage of the revenuewill gotowards wildlife conservationto ensurethe continuation of these incredible landscapesfoundin our homeland. Display

: Passageway

Display

Delivery Passage

Display Area

Illustration ofVertical Circulation:

: Staff & Storage Room

Cinema 1

People shop GroundStorey Plan

Revenue

Save nature

1stStorey Plan

See more on C O N T I N U U M | 1.20

Cinema 3

Cinema 2

↗ 51

Lindokuhle Mahlangu

RECEPTION

KITCHEN

DINING AREA

CURTAIN WALL

RECEPTION CURTAIN WALL

SECTION A-A SCALE 1:200

FINANCE PALE CONCRETE

MEETING ROOM 1 PALE CONCRETE

HUMAN RESOURCES PALE CONCRETE

CELL OFFICE 1 PALE CONCRETE

MEETING ROOM 2 PALE CONCRETE

SECTION B-B SCALE 1:200

TRUMPETON KEYES An office for Kobus My client for thisoffice isKobus van de Merwe, the owner and chef of Wolfgat-a non-hierarchy restaurant as he does not consider himselfa boss but instead an employee towards hisstaff.Although Kobus was a food writer,he knew that hisheart and hands belonged in the kitchen and so Wolfgat restaurant was born. Kobusʼ restaurant overlooks the beach, expressesneutral colours and minimalism. When one looksat the concept for thisoffice space, one willsee that it isalso minimal, open and has a contrast of light and bright colours to give the space character. Thisoffice islocated at Trumpeton Keyes, in Rosebank.

ISOMETRIC VIEW

FLOOR PLAN SCALE 1:200

SEATING AREA

See more on 52

↗ Utopia

Derick Truter "Doors are for people without imagination"

Trinitylight A durable and strong light in the palm of your hand.

See more on C O N T I N U U M | 1.20

â&#x2020;&#x2014; 53

Paula Ferreira “Work hard in silence, let your success do the noise”

See more on 54

↗ Utopia

Matthew Eckhart

See more on C O N T I N U U M | 1.20

â&#x2020;&#x2014; 55

Thandolwethu Maseko “These grapevines that make time really just take time and effort” - Tobi “Shine” 2020

Trumpet on Keyes

Jan Smuts Ave

Office Design

1(2

7(8

Client: Benny Masekwameng Keyes Ave

Background: Benny grew up in Alexandra townshipin Johannesburg. He fellin love with the culinary world because of his mother and helped her sell amagwinya to make a living.

Jellicoe Ave

4 3

He graduated in the late 90's and joined Southern Sun in 2006 where he became Executive Chef after 5 years. Benny represented South Africa at international foodfestivals in Madagascar and Jamaica, travellingthe worldand learningfrom all walks of life.

RosebankSite Diagram

Concept: Unite and Transform NUMBER LEGEND

Thespace unfoldswhat was once a confined space with boundaries into an extensivespace. Theadjacent spaces are now read as one space that has evolved and become larger because of its surroundings.

COLOUR LEGEND

Interior Break Area

- Site

1.Trumpet on Keyes 2.Circa Gallery 3.Everard Read Gallery 4.Breinstorm Brand Achitects 5. St. Teresa/s High School 6. Rosebank Catholic Church 7.Merchant Factors 8. Asisa

- Creative Arts - Business - Education U/S SLAB

- ReligiousPractice

4200 U/S C 3600 copper mesh finish

cemcote smooth plaster

830

SLIDING

2634

815

1600

1847

2481

10 11 12 13 14 15 16 17

STORAGE

1220

STORAGE

HR AND FINANCE

1290

HR AND FINANCE

MEETING BOOTH 2

decocrete greyscale

glazing

cretecote coconut

renocrete smooth greystone

FFL 0

LIFT

705 1537

WHB D2

Section B-B Scale 1:100

WHB WC

SINK

POT WASH

VEG,PREP

FISH,PREP

WHB WC

SINK

renocrete cloud grey

1355

1600

FE STORAGE

D5 FE

WHB

1185

WELCOME BAR

LIFT

TEST KITCHEN D2

DUCT

9 8 7 6 5 4 3 2 1

curtain wall

830

SLIDING

STORAGE

11 12 13 14 15 16 17 18 19 20 21

830

PRINTER

FIRE ESCAPE

760

10 9 8 7 6 5 4 3 2 1 PRINTER

INSIDE BREAK AREA

660 SLIDING

CENTRAL STAIRCASE

UP SINK MEAT PREP

DUCT

1824

2510

1200 1080

1235 INSIDE BREAK AREA

LANDING

UP FE

BOARDROOM

640

625

MEETING ROOM 1

625

1133 STORAGE

844

1048

STORAGE

MARKETING

2488

1208

OUTSIDE BREAK AREA 844

1 2 3 4 5 6 7 8 9 10

19 18 17 16 15 14 13 12 11

1220

DINING,COUNTER

1850 2515

2833

DUCT

STORAGE

DINING,COUNTER

RAMP,INCL,1:3 RAMP LENGTH 8460mm

1427

2308

1470

STORAGE

1526

1393

835

1133

1217

FIRE ESCAPE

TEST KITCHEN

1200

EXTRACTOR

FREEZER

UP FE

SAUCE PREP

2496 DRY STORAGE

COLDROOM

MEETING ROOM 2

1351

1550

1400

996

1120 FE

Floor Plan Scale 1:200

Meeting Room

Outside Break Area

See more on 56

↗ Utopia

Anne-Ri Taljaard

officekitchen+ eatingspace

Celebrity Chef

reception+waitingarea

KobusvanderMerwe Headquarters

curvesinspiredbywaves

recycle +sustainable greenspacesindesign protectresources

innovative design

Kobushasaveryspecific aesthetic andmotohefolows and incorporatesinhislife andwork. sustainabilityishistoppriority. hebelievesinsourcingherbs, veggies,fruit +meat/fishfromthe surroundsandthis designhonors hischoices,thedesignisfocused aroundusingsustainable materials +incorporating aveggiegardenin thekitchen+takinginspirationfrom curvesinnature

trumpetbuilding 21KeyesAvenue,Rosebank,Johannesburg secondfloor

sitelocation

plan scale 1:200

Section a-a scale 1:50

Marketinghive

COREOFOFFICE

ENCLOSEDPODS

boardroom

meetingroomlanding zone

colabclub/denspace

KobusĘźceloffice

See more on C O N T I N U U M | 1.20

â&#x2020;&#x2014; 57

Nabeel Patel

Drop Down Lamp

See more on 58

â&#x2020;&#x2014; Utopia

Palesa Thinane-Epondo

See more on C O N T I N U U M | 1.20

â&#x2020;&#x2014; 59

Thapelo Ramahlo

GroupResearch For side notes: things that you realised or epiphanies.

WHATDEFINES THE TYPE/PATTERN OF WORKFUNCTION?

As quo maximusciis doluptaqui ommolorio blab ilit volest eum laut facipsa cus, sintotatet omnientus re con restiument voluptasi omnihiligendis est il eaquaes ma vit, non endis qui beaque exerferovit por soluptati atiorec aborepta quo exceratem et, sit et audam autatis aut quatis num rene sint occum assunti qui consequam hario. Ut omni cus estibearum quo int. Dist, aut ut qui sum inum lab ipsa iniscim perunt lam, omnis secte maio molorepudi di ut quos evelitibus. Con natibus dolupta tusande llendis num conessunt exerit,testis ra volorem escilis aborest, odi cone la volut autempo rehendus moluptae rest, con nam inis est, totatec tiorum nobita di voluptatis re volorer ovitatem. Soloribus a corum ium solest, nosa a nos est et quas exeroeossincti cone quidunti dipici nectur sim ati audam nonsequia et pos enis rae pro cus et quatur, omnia conse conse que nulluptatem.Ut labo.

Cell office workplaces include large floor spaces that are separated into a numberof individual offices that accommodate for individual,concentrated work that leave little room for interaction.

WHATIS THELEVEL OFAUTONOMYANDINTERACTIONIN THIS TYPE OFWORK? Independent people occupy these spaces in different intervals, following an unsteady working pattern with longer working days. Being autonomous people they often work outside the workplace. They are able to move with their work and work in different places whether itʼsat home or the clientʼs office. Each individualoccupies an enclosed workstation which limits interaction in the workplace.

Office De Design sig gn Zola Nene

GroupResearch

Office Design Zola Nene

Concept For side notes: things that you realised or epiphanies.

Changing floor finishes and levels created an interest part to adding more dimension in the spaces of the office. Using contrasting colours to pop out relevant items, furniture, wall features is used as technique to add depth into the space and character.

For side notes: things that you realised or epiphanies.

SAYIT.

For side notes: things that you realised or epiphanies.

FABRICATE CONCEPT WHATIS THEOCCUPANCYOF THECELLSPACEOVERTIME? Typical occupiers of cellular offices include accountants, lawyers, management and employment consultants and computer scientists. Office Design Zola Nene

Studio 3rd year Interior Design

See more on 60

Office Design Zola Nene

↗ Utopia

Zakithi Mthethwa

THE CHEF: International multi-award winning, culinary extraordinaire, food expert, author, entrepreneur, mom and wife. With her show on Food Network, Sibaʼs Table,Siba Mtongana continues to break industry barriers through her passion for food and people.

THE HIVE SPACE

This office space reeks team work as best suited, with soft simple curves, neutral tones and a touch of creativity that shows through the ʻLetʼs Meet Pods”.

Her approach of the entire office is to mimic the feeling of ʻhomeʼ,to a design that is clean, sophisticated, homie and cognitive of it surroundings for the work team. Acheiving productivity with the balance of family life. The space includes a test kitchen on the raised platform for new bites that blend her unique dazzling deftness.

WORK CELL 3D MODEL

LETS MEET POD

FLOOR PLAN SCALE 1:100

HUMAN RESOURCES AND MARKETING OFFICE

See more on C O N T I N U U M | 1.20

↗ 61

Ammara Mahomed

001

002

G1 door double glass shop front aluminium framed 1500 x 2200. Supplier: Van Acht windows and doors.

003

GDC/AM/200/01

1900

1058

220

1900

Curtain wall pushed back by 4000mm

4000

915

Demolished revolving door

2213

Floor Tile Porcelain White Nano 60x60cm SKU: 81413434 Supplier: Leroy Merlin

Entrance to admissions area FFL Existing vinyl flooring 495 m²

D2 001

General Notes:

Existing vinyl flooring

001 C

GDC/AM/200/02

001

D5 001

001

220

Demolished exisitng curtain wall

4719

Pod 1 FFL White oak timber flooring 5 m²

19941

001

Pod 6 FFL White oak timber flooring 5 m²

001

14503

Pod 2 FFL White oak timber flooring 5 m²

D5 001

001

2000 Dylan Coffee Table, Black Glass SKU: 000000000010119648 Dimensions: 860 x 860 x 350 mm Supplier: Rochester

12586

Pod 7 FFL White oak timber flooring 5 m²

4000

2000

4718

Berlin Corduroy Chair SKU: 8101013029001 L61xW70xH61 cm Colour: Gunmetal Supplier: MrP Home

9153

18000

220

Existing 220mm wall. Finish: smooth plaster wall painted. Colour: Chiffon white 3 Dulux Supplier: Dulux

Pod 5 FFL White oak timber flooring 5 m²

7394

Pod 3 FFL White oak timber flooring 5 m²

D5 001

Revision Schedule

7394

No. Pod 4 FFL White oak timber flooring 5 m²

13741

13740

Description

Date

Sliding Door Aluminium Center Opening (OXXO) CharcoalSKU: 81428817 Dimensions: 2990mm (w) x 2090mm (h) Supplier: Leroy Merlin

Existing columns supporting mezannine level above.

Flooring within the pod Kronotex Trend Oak Laminated Flooring - White (6mm) SKU number: 632122 Supplier: Builders Warehouse

Passage way

2564

9155

Glass panels are encased between the five beams positioned around them.

Passage way

Demolished existing curtain wall pushed back by 2533mm into the courtyard.

Demolished existing wall and pushed back by to join existing wall.

Glass curtain CW 60 Max dimension: 2000mm (H) x 2500 mm (L) High energy level Done by: Reynaers Aluminium

HOSPITAL ADMISSIONS

Demolished existing wall.

1169

2533

220

6000

220

PLAN 6608

220

4750

110

3600

220

14747

220

30475

GDC/AM/100/01

Plan Scale @ 1:50

Date

LEGEND

Door Schedule D1

G1 door double glass shop front aluminium framed 1500 x 2200. Supplier: Van Acht windows and doors.

Single door. 915 x 2035. Class B fire door Stronghold fire and security. Installed to manufacturers spec.

Automatic revolving door. 2400 x 2700. Installed by Turnstar

Electrical USB

Single door. 915 x 2035. Aluminium frame. Side bolted as per manufacturers specs. (Bolted to the left, handle on the right)

Single door. 915 x 2035. Aluminium frame. Side bolted as per manufacturers specs. (Bolted to the right, handle on the left)

Sliding Door Aluminium Center Opening (OXXO) Charcoal Leroy Merlin

Fire Equipment Legend FE

Fire equipment: Portable Fire Reel in accordance with SANS 10400-T:2011 Edition 3

Fire equipment: Portable Fire Extinguishe in accordance with SANS 10400-T:2011 Edition 3

Double socket power oulet/plug Height: 350mm AFFL Single socket power oulet/plug Height: 1000mm AFFL

Luminous Fire Signage: Directing Fire Signage

Single leaver switch Height:1200mm AFFL unless otherwise specified

Luminous Fire Signage: Fire Equipment Signage For Potable Fire Extinguisher

DB electrical circuit board Must be accessible at all times.

EXIT

New recessed downlighter supplied by eurolux 12v Low Voltage Lamp Holder with 50W Halogen Lamp, 80mm diameter and 78mm depth. To be accompanied by tranformer

Revision Number

Student Name

Student Number

02 Ammara Mahomed 17-015

Luminous Fire Signage: Exit Sign

Lecturer

Scale

See more on 62

23 NOVEMBER 2020

Lighting Legend

Colleen Delaney 1 : 50

↗ Utopia

Fabio Zackey “Believe in yourself & you will be unstoppable” - unknown.

Eastern Cape, Port Elizabeth.

The level ground interior consists of 5 individual spaces, which consist of the entrance, Lasher History, Manufacturing process, activity room and a product floor. The Mezimene level consists of the special ffeature; the Lasher Expierence workshop as well as a recreational area. These areas have their own unique zones, designs and conceptual ideas. The interior has been inspired by all Lasher tools within the design as a whole. The Lasher Experience and Express Store, based in Pott Elizabeth, has been designed to create an exceptional customer experience. This unique store was built with double volume interiors which have been divided into five experiences. The focus has been on the creation of individual spaces where the customer is able to shop, learn, educate and interact within a space which caters for lasher product uses and retail. Lasher Tools South Africa has always believed in giving back to underprivileged communities and invite you to take part in creating your own Lasher Chrome Spade, the proceeds of which will be donated to the Lasher Charity Fund for distribution to those in need, as well as funds going towards educational teaching and practices. The express store caters for both tour and product customers, this space has been allocated in neutral point for accessing and exiting.

Port Elizabeth’s - Valley Market The Baakens Valley

The exterior is a double volume steel fabricated shell, which has been decorated by a modern warehouse façade as well as a glass feature which the respective workshop is located. The Large bottle green warehouse can be seen from within the respective Lower Baakens site, the façade has been inspired by Lasher tools products and the respective industries the brand falls into.

16 15 14 13 12 11 10

9 8 7 6 5 4 3 2 1

2 3 4 5 6 7

See more on C O N T I N U U M | 1.20

↗ 63

Christiaan Geyer

See more on 64

â&#x2020;&#x2014; Utopia

Charné Bouwer Work smart not hard

Ground level plan Not to scale in r P o t M el

This Hinterveld warehouse is constructed to be a place where families can come together through educational interaction in the manufacturing of mohair, wool and cotton fibres. Here, visitors will find themselves in a warm and nostalgic environment where they can either select to be part in a community-based product, through participating in the processing of the natural fibres, or to support the Hinterveld local brand in their merchandise. By physically interacting with the raw materials, visitors will sculpt an understanding of the production of these soft goods through a multi-sensory experience. This action enhances the community’s awareness of natural products and the benefits of these fibres’ production.

Mezzanine level plan Not to scale

Hinterveld

le vol ub Do

Customers are invited to weave fibre yarns around the steel columns.

Point of sale area

Hinterveld is a well-known fashion statement that is vastly growing world-wide. According to Paolo Zegna, president of the Zegna Group, “millennials specifically are driving the demand for mohair. “Younger generations are becoming more aware of the environment and those producing natural products”. (Zenga, 2018)

Visitors van interact with animal fibres.

Volumetric zoning

Large Larg La rge rg e window wind wi ndow nd ow draw draw attention attent ntio nt ion io n to interior experience.

a M ela w oo Su

dow

p er t e x t u

ks or W Win

Customers are invited to weave fibre yarns around the steel columns.

Viewing workshop

PO S liv De ne y zo er

Smell Smel Sm elll of tim el timber, imbe im ber, be r, wool woo ool and soil. Re ta il St f& af

Wool Wo ol and and timber tim imbe berr helps be with sound nd absorption abs bsorption on first level.

ag stor e

Retail area

Workshop perspective

Section Sect Se ctio ct ion showing io show gradient of public spaces

South Africa produces 50% of the world’s mohair.

Port Elizabeth harbour in the only port exporting mohair from South Africa.

Exploded axo and site positioning

Mohair, form across South Africa, is brought to Nelson Mandela Bay, port Elizabeth where it is processed.

Mohair is high profitability.

See more on C O N T I N U U M | 1.20

↗ 65

Jarod De Swardt "We met and we part all that remains are traces of brush and ink" (Daigu Ryokan, 1831).

See more on 66

â&#x2020;&#x2014; Utopia

Jonathan Hardy "There's no sense in nonsense, Especially when the heat's hot"

At Love PE we invite artissts to display their work and also to work in the space in an informal capacity. While here the artist is asked to create locally inspired pieces while also hosting informal lessons to share their craft. These lessons will be targeted at empowering underprivelagd communitymembersidnetified through collaborative effots with local shelters and the Athenaeum. Customers in the gallery may pay to take part in these lesson if they wish. Artwork created in the space may either be kept by their creators or donated to the gallery. A percentage of all pieces sold will be donated to local communityshelters and put toward asisting new, upcomingartists. This is a spac d space ce to share and grow the vibrant culture in PE, and all mediumswill be welcome including but not limited to painters, comedians, writers, sculpters, musicians etc.

SuperMatt Iceberg White

SuperMatt Azzano

See more on C O N T I N U U M | 1.20

Formica Gloss Range Tucana

SuperMatt Super Black

â&#x2020;&#x2014; 67

Sydney Baloyi

Utopia

Laure Kabuika

C O N T I N U U M | 1.20

Ebrahim Peer

The Office S pace designed for Celebrity Chef S iba Mtongana intends to envoke familiar feelings of warmth and hospitality in users as her show depicts. W ood grain coupled with hard Concrete and a touch of Colour offers users a contrast very similar to one they would feel in her kitchen. Intended for a staff of 20 collaborative people, This space creates an environment where users can seamlessly come together. In keeping with her general ethos the space brings together a sense of balance and harmony with dedicated areas for work and play !

VIE W OF E NTR ANCE AND RE CE P TION

UP SERVER D1

RECEPTION

FIRE ESCAPE

CENTRAL STAIRCASE

GUEST ENTRANCE

SERVER ROOM WHB

FINANCE

HR 2

MARKETING

HR 1

SERVER

DOWN

STAFF ENTRANCE

DOWN

PERSONAL LOCKERS

WHB

WAITING AREA

SERVER

D11

D10

D11

WHB

D11

GUEST LIFT

BOA R OR MD

WC D8

D8 BO A R OR MD

PRINTER

WHB

SERVICE LIFT

BOA R OR MD

CLEANING

INFORMAL MEETING BREAK - AWAY

WHB D6 BOA R OR MD

EATERY

BOA R OR MD

DUCT

BOARD ROOM

FIRE ESCAPE

D7 DOWN

BO A R OR MD

BOA R ORMD

FORMAL

PA OFFICE

BO A R OR MD

BOA R OR MD

BO A R OR MD

BOA R OR MD

HIVE WORK SPACE

STOVE

CHEF PRIVATE OFFICE

PREP KITCHEN

DRY STOCK STAFF ROOM / EATING SPACE

STOVE

SINK

STAGING KITCHEN

UP 1

FRIDGE

FREEZE

FE D3 SINK

P L AN VIE W S CALE 1:100

VIE W B RE AK -AWAY S PACE

VIE W OF B OARD ROOM

T/O SLAB @4600mm AFFL

U/S SLAB @4200mm AFFL U/S TIMBER SLATS @3670mm AFFL

KEYES AVE

JELLICOE AVE

FORMAL MEETING ROOM

D6 SIDE PANEL

INFORMAL MEETING ROOM

D6 SIDE PANEL

Custom Made Kitchen staff island

EXISTING COLUMN

D6 INFORMAL MEETING ROOM

PASSAGE TO RECEPTION

S ITE P L AN Trumpet On K eyes

JAN SMUTS AVE

FORMAL MEETING ROOM

STAFF ROOM

FINANCE OFFICE

T/O RAISED PLATFORM @1020mm AFFL

FFL @0.00mm

S E CTION A A S CALE 1:100

VIE W OF P RIVATE OFFICE

VIE W OF E ATE R Y

VIE W OF K ITCHE N

T/O SLAB @4600mm AFFL

U/S SLAB @4200mm AFFL

DUCT

U/S BULKHEAD @3710mm AFFL CURTAIN WALL D8 SIDE PANEL

EXISTING COLUMN

BOARD ROOM

D8 SIDE PANEL BOARD ROOM

D8 SIDE PANEL INFORMAL MEETING ROOM

CURTAIN WALL

D8 SIDE PANEL INFORMAL MEETING ROOM

PERSONAL LOCKERS

T/O RAISED PLATFORM @1020mm AFFL

FFL @0.00mm

S E CTION B B S CALE 1:100

VIE W OF HIVE ARE A & S TAFF K ITCHE N

See more on 70

â&#x2020;&#x2014; Utopia

Honours Carl Ascroft and Steffen Fischer At honours level our students are generally autonomous with their creativity and thinking. However, the national lockdown exposed how designing in isolation can often be more challenging, especially without any physical contact time with lecturers. This year was particularly strenuous with some students contracting the virus, whilst also dealing with the mental challenges of being of watching a pandemic spread across the world. If anything, this year has taught us how resilient our students really are. Projects ranged from socially sustainable innovation hub, in relooking at how police deal with gender-based violence victims and looking after the elderly. We believe these projects have emerged have been refined into some very interesting topics some of which being in direct response to issues we have all faced this year on a global scale. â&#x2014;?

C O N T I N U U M | 1.20

Honours

Blade Hanger "This year has taught me to value what I find important in my life and waste less time on things that I cannot change."

Utopia

Honours

C O N T I N U U M | 1.20

Honours

Utopia

Honours

C O N T I N U U M | 1.20

Honours

Amori Dippenaar â&#x20AC;&#x153;Develop an attitude of gratitude this year, and give thanks for everything that happens to you, knowing that every step forward is a step toward achieving something bigger and better than your current situation.â&#x20AC;? Brian Tracy

Utopia

Honours

C O N T I N U U M | 1.20

Honours

Utopia

Honours

C O N T I N U U M | 1.20

Critcal Studies Alexandra Balkanska A qualified Interior Designer with an MSc in Sustainable Product Design with years of experience in the field. Having worked on various projects and on various design stages. I pride myself with having excellent concept and technical skills, attention to detail and design integrity. During the last eight years I have realised my passion for teaching with a special interest in practice based learning and student centred classrooms while integrating theory and practice in an engaging and interactive way. The subject of Critical Studies is challenging and rewarding, however learning by doing can also be successfully applied to a theory subject with great success. This year for example with the help of my department we changed all briefs from an academic essay to a formal visual presentation. I believe the outcome was a great success and students were generally more excited and interested in their work. â&#x2014;?

Utopia

CS1 Taylor Bishop, Alicia Pienaar, Tyra Reid and Gary Wium, ID1

C O N T I N U U M | 1.20

Honours

CS2 Shazeaa Motala, ID2 The concept of ‘the house’ and or `the home’ has

“the home [had] connotations of freedom from

evolved a great deal since the 19th century. By

work” (Forty, 1986, p.109). It was seen as a safe

looking closely at the readings of space within

space from the harsh realities of the outside

the context of a gender / sexuality, I will debate,

world. Traditional ideologies viewed the home as

discuss and argue to what degree space can be

the private realm of the woman, whilst the public

seen as an active agent in producing and

sphere, such as paid work and politics was

reproducing sexual and gender identity. The aim

predominantly seen as the man’s space. Since

of the essay is to argue to what extent the

the home was seen as the woman’s domain there

historical 19th century idea of a masculine

was a close analogy made between a women’s

exterior and feminine interior holds true in a close

bodies to ornament, decoration and finish (Forty,

analysis to Kim and Kanye West’s house in

1986).

California, Los Angeles. The objective of the essay is to explain the concepts, namely, history

Between the years 1875 and 1925 the connection

of 19th century design, masculine exterior,

between women and their houses in Western

feminine interior and the relation to the 21st

middle-class culture developed. There was a

century design and to support the theory with

close link between the home and family. Women’s

the chosen example and through a visual

lives have been seen to revolve around the house

analysis.

since at least the mid 19th century. The idea of individualism was becoming lost as the

During the 19th century there was a very

housewives would just buy the latest trend in

prominent difference between male and female

store. The people that did want to strive to have

spaces due to the different colours and materials

their unique taste in their house were limited as

used. The metaphorical connection of the home

the market for interior goods was small and the

was to a moral haven “... innocent, uncorrupted

unique items were not in most people’s price

and raised above the deceits of the world” (Forty,

range allowing the economy to keep the average

1986, p.108). In the 19th century Victorian era,

housewives all on the same level and their

Utopia

Honours

objects relatively the same. People still felt they

ostentatious), dark toned and rough edged. In a

had constraints in designing their home their own

literal sense, more money was invested in the

way. Shop owners would refer them to parts of

furnishings of the drawing room and the exterior

the shops and pick out carpet colours and china

than any other interior in the house. Masculinity

sets for the families. People want to choose their

was associated with the whiff of blood, violence

own furniture as is shows a person/ family

of the dining room, leather and wood panelling

character and personality. “Home furnishing

impregnated with smells of food, drink and

becomes a sign of being capable of independent

smoke. The analogy of men was a “filthy world”

thought and emotion”. However, due to the World

and corrupting commerce (Kinchin, 1996).

War II, women were forced to start working and gained a sense of independence. This caused a shift in their mindset and led to woman empowerment. Women also started changing their dressing in the 1910s. The type of “New Woman” who was first likely to embrace reform dress was often also proponent of a streamlined, efficient home. The idea of a home has changed in appearance over the last two centuries (Forty, 1986).

By the late 20th century “domestic interiors were understood by the public as intrinsically feminine spaces” (Houze, 2002, p. 3), which played into and reiterated the ideology that by beautifying and “dressing the space in which she lives, she In the 19th century spaces identified as male,

dresses and beautifies herself” (Houze, 2002,

were often indicated by the use of ‘primitive’

p.4). As understood by Houze (2002) “her home’s

materials like animal parts, rustic furniture,

style or character was seen as an extension of

stuffed animal heads or trophies. Dark colours

her personality” (p. 4). The outer appearance of

and rough textures were often used to achieve a

the home was seen to reflect the woman’s inner

masculine feel. The exterior of the house

character and state of mind. As seen in image 2

represented masculinity. During this Victorian era

above, feminine interiors were very ornate,

the norm was for the “...man to build the house

“...colorful, soft and plushy...” (Forty, 1986, p.102)

but it remains for the woman to make a home of

and the interior space was characterized as

it for him...” (Kinchin, 1996, p.104). The interior of

“...lighter or colourful, refined, delicate and

the house was the duty of a woman and the

decorative” (Kinchin, 1996, p.13). Feminine

exterior was the duty of a man. In a house, there

spaces, such as the dining room were more

were also masculine rooms, such as the dining

refined, light, colourful, delicate and decorative.

room. As seen in figure 1, these spaces were

There was a large amount of ornament used in

serious, substantial, dignified (but not

these rooms. The feminine interior rooms had

C O N T I N U U M | 1.20

Honours

high finishes. It consisted of lashings of gilding,

p.25). This is encouraged now, just as in the late

silky fabrics, elaborate, veneers, glassy French-

19th century. The house was seen to reflect the

polished surfaces and there was a sense of

same qualities as the woman, and since both

smoothness. Fabrics such as velvet, silk, damask,

“...the body and home mirrored the deeper self,

upholstery, rosewood, walnut and satinwood

they were both meant to be looked at” (Gordon,

were used in the feminine interior spaces. There

1996, p. 285).

was a lot of contrasting colours, textures, materials and forms. There were layers of carpets, fluffy rugs, frilly lampshades and cushions. There was a metaphorical reference to the womb in these spaces which reflected a mental and physical comfort of the nursery. The protective cocoon of textiles metaphorically communicated the refining and mediating role of women and culture in softening the harshness of reality. If the outside world could not be controlled, the interior home could. Femininity was invariably connected with the pastoral,

In the 21st century, the historical norms and

decorative and sweet- scented side of nature,

beliefs about the male exterior and the female

perfumed and airy scent. “It comes as no

interior has surpassed us. Gender neutral spaces

surprise that women’s brains, like other aspects

are more apparent. There is no distinct difference

of their physique, were generally thought to be

between men and women. We are seen as equals

smaller and lighter than men’s” (Kinchin, 1996).

now. There is a sense of gender ambiguity in modern homes. Over the last two centuries

Light colours also provided a material analogy for

homes have changed considerably, most

the hygienic and spiritual purity of the household.

obviously in their appearance “...turning a place

Women were seen as guardians of the family’s

of beauty to one of efficiency” (Forty, 1986,

health and welfare. “Women were expected to

p.108) “...The furnishing schemes represented a

create an oasis of light and calm amid the squalid

move from a positivist and value-laden evocation

grime of urban living” (Kinchin, 1996). The

of history to a more open ended, poetic

gendered distinctions outlined so far in this

expression of gender (Kinchin, 1996, p.26). As

discussion remained surprisingly consistent

seen in figure 3 above, Kim and Kanye West’s

throughout the 19th century despite the

house is very minimalist and neutral. The house

increasing plethora of styles and goods from

doesn’t follow a specific gender theme and can

which consumers could choose, and slight shifts

be seen as a neutral space (Kinchin, 1996).

in the planning and speciality of room use.

"Queer space exists potentially everywhere in the

Middle-class women in the 19th century were not

public realm.... it is the individual's appropriation

as “...witless, passive and angst-ridden as some

of the public realm through personal, ever-

of the authors would have us believe” (Kinchin,

changing points of view." (Reed, 1996). Queer

1996). “While relations between the sexes did not

spaces are becoming more common as it is the

change with every new style, they were clearly

collective creation of queer people (Reed, 1996).

being questioned and slowly redefined in the late 19th and early 20th centuries” (Kinchin,1996, 84

Utopia

Honours

In today’s times a woman is no longer a reflection

2001, p. 109).

of her home, which represents the socio-political and economic cultural place of her husband, but rather is an extension of her own non-male, dominated identity. Our homes serve us with a form of shelter and escape, but also act as arenas which allow us to express ourselves, our own individual personality, style and taste. They serve as a means to be creative when other areas of our lives may deny this. As a result, our values and identities are created and objectified in home decoration. Home decoration and home improvement is therefore part of the construction

Kim and Kanye West’s house is a great example

and reconstruction of social groups, and is both

of a modern day 21st century gender neutral

highly gendered and highly shared as a focus of

space. There is a sense of gender ambiguity.

attention for both sexes, and as a cultural

There is a lot of open space in the house. Bright

symbol. The presentation of the self now relates

natural light is a huge feature of this house.

to “...‘lifestyle’, a cultural construct” (Gordon,

There is a sense of minimalism and clean lines

1996, p.301).

that can be seen throughout the house. Contrary to the 19th century interior which was very

The contemporary design magazines that we are

ornate. This house is a reflection of both the

exposed to are quite saturated in the materialist

male and the female inhabitants and is not

feminist ideology that the difference between the

gender specific. Modern day materials have been

masculine and the feminine identities are created

used in this house, such as concrete, limestone

and sustained through each individual’s culturally,

and glass. This can be seen in figure 4 above.

psychological, economic and socio-political

The house has a very raw feel to it. The materials

upbringing. Women’s roles, as well as their

are left raw and unfinished. The main colour of

homes, have changed and shifted so drastically,

this house is bone-white and beige. Kim and

due to the fact that they are no longer

Kanye have chosen a monochromatic colour

housebound or defined by the house as were

scheme for their home. The design of the house

their Victorian foremothers (Gordon, 1996, p.

is seamless (Ojomu, 2020).

301). In modern days we are more independent and in control of our choices. We use decorative

The West home was brought to life by a number

magazines as guides rather than prescriptions as

of male designers. This included the minimalist

used in the past. Repetition plays a vital role in

designer Axel Vervoordt and Claudio Silvestrin.

one’s gender identity. By performing certain acts

Vincent Van Duysen helped furnish the living

repeatedly, the individual acquires an apparently

room and the bedrooms, and Peter Wirtz

‘coherent identity’. Together with this repetition,

oversaw the design of the all-green gardens

one’s culture dominates one’s ideologies and

(Ojomu, 2020). This is revolutionary because in

influences one’s gender. However, identity from

the 19th century creative careers were seen to

repetition is not “stable” but “illusory” and can be

be feminine. Interior design was a career for

deconstructed, e.g. Cross-Dressing (Cavallaro,

women (Forty, 1995).

C O N T I N U U M | 1.20

Honours

Figure 5. Murdock, M, 2020. Exterior of Kim and Kanye West’s house. Los Angeles, California. Source: https:// www.homesandproperty.co.uk/home- garden/interiors/ kim-kardashian-house-california-architecture-digesta136436.html#gallery

Reference List

Although the house is predominantly neutral, one can argue that there are still a few male

Cavallaro, D. (2001). Part II: Social Identities: Section 4

characteristics seen in the exterior of the house.

Gender and Sexuality. In Critical and Cultural Theory. London and New Brunswick: Athlone.

In conclusion, people can no longer be categorized as male and female anymore, due to

Forty, A., & Cameron, I. (1995). Chapter 5: Objects of

the lines being blurred between male and female

desire: design and society since 1750 (p. 207). London:

identities and roles. Society’s thinking has

Thames and Hudson.

evolved and there is more acceptance to gender neutralism and the queer identity which has

Gordon, B. (1996). Woman's domestic body: The

influenced design decisions. This influence and

conceptual conflation of women and interiors in the

affects the way in which we design spaces as

Industrial Age. Winterthur Portfolio, 31(4), 281-301.

seen in the chosen example of Kim and Kanye West’s house. ●

Houze R. 2002 `From “Wiener Kunst im Haus” to the Wiener Werkstatte’: Marketing Domesticity with

Image List

Fashionable Interior design.’ Design Issues. Vol. 18 No. 1, Winter 2002, pp 3-23.

Figure 1. (n.d.). Pinterest. 19th century feminine interior. Source: https://victorianhouses.tumblr.com/image/

Kinchin, J. (1996). Interiors: nineteenth-century essays on

84751631495

the “masculine” and the “feminine” room. The gendered object, 12-29. Source: https://www.the-sun.com/

Figure 2. Dunagen. R (Designer). Riverbend,C.

entertainment/353150/kim-kardashian-kanyewest-

(Photographer). (2019). 19th century masculine exterior.

mansion/

Camden, Alabama. Source: https://www.theglampad. com/2019/05/sweet-home-alabama-a-19th-century-

Reed, C (1996). Queer Space in the Built Environment.

restoration.html

Source: Art Journal, Vol. 55, No. 4, We're Here: Gay and Lesbian Presence in Art and Art History (Winter, 1996),

Figure 3. Rus.M (Journalist). Nickerson. J (Photographer).

pp. 64-70 Published by: College Art Association

(2020). Kim and Kanye West’s house. Los Angeles, California. Source: https://www.architecturaldigest. com/ story/kim-kardashian-kanye-west-home

Figure 4. Ojomu, N, 2020.Inside Kim and Kanye West’s house. Los Angeles, California. Source: https://www.thesun.com/entertainment/353150/kim-kardashian-kanyewest- mansion/

Utopia

Critical Studies

CS3 Public vs Public – The Sandton Square, by Paula Ferreira The movement and reestablishment of what is

the main market place as well as continued to

now considered to be the main town square is

grow with heritage and increase cultural value

well underway. This is because the growth and

(Drdacky & Teller, n.d.).

development of areas such as Sandton has been successful enough to attract an abundance of

When analysing the definition of public space,

business opportunities, marking ‘the beginning of

there is an understanding that this means “the

the end’ for the old Johannesburg CBD (Beavon &

range of social locations offered by the street,

Larsen, 2014). Arguably, the Sandton node is

the park, the media, the internet, the mall, and

seen as one of South Africas leading edge cities

local neighbours” (Low & Smith, 2013, p. 3).

with hotspots such as Sandton City, the

Traditionally, public space contrasts private

Michelangelo Towers and many more iconic

space because there are differences in rules of

Starchitecure buildings in the area (Beavon &

access, acceptable behaviour changes, entry

Larsen, 2014). This essay will visually analyse

control and rules of use (Low & Smith, 2013).

and argue to what extent the public space in

According to Low and Smith (2013) the

Sandton, specifically the Nelson Mandela Square

interpretation of the term ‘public space’ is

has replaced the old town hall as the new heart

different in all societies which suggests that its

of the legitimate public realm. The study of

meaning is bound up with the contrast between

thresholds, uses and users as well as

public and private space. It is further argued how

surveillance will be considered in developing the

public spaces are privately owned, managed and

argument to distinguish to what extent the

regulated. In many instances the use of public

private space acts as public.

spaces and all its benefits now require personal payment which questions if the space is actually

In past times, the town square was considered to

public (Low & Smith, 2013).

be a place where diversity amongst people was encouraged (Staeheli & Mitchell, 2006). Politics,

The Nelson Mandela Square is located in what is

economics and sociability were amalgamated,

known as the Sandton CBD (Central Business

and the old town square was considered to be

District). It is an open-air piazza surrounded by

C O N T I N U U M | 1.20

Critical Studies

dining experiences, retail stores, a triple storey

group because the materials used to build the

library, an art-nouveau theatre as well as hosts

square have an expensive appeal to them. This

some occasional live entertainment in the square.

further relates back to the Square being inspired

More so, the Nelson Mandela Square is co-

by European design piazzas (Nelson Mandela

owned by Liberty Group Limited and Liberty Two

Square, n.d.). Furthermore, another reason why

Degrees. The square is further managed by JHI

the space has an expensive characteristic

Retail. Ironically, it has been stated that the

relating to the target group is because it is

square is one of the largest open public spaces in

surrounded by greenery. Green-walls and live

the country (Beavon & Larsen, 2014). However, it

plants are leading trends in design during the

is argued that public spaces owed by private

present time. These kinds of spaces encourage a

companies limit political, social and democratic

buzzing community and create places to explore

functions of the space and generates a

and be creative which brings meaning to typical

constricted definition of the public term. More so,

sedentary lives (Edwards, 2015). As seen in

privately owned public spaces are considered to

Figure 2 other users of the space include casual

show destructive concepts of citizenship and

shoppers that are visiting the space, smartly

representation of and to people (Németh, 2009).

dressed people that work in or close to the area, the restaurant employees as well as tourists.

It is important to create and maintain spaces that are appropriate to their users (Carr et al., 1992).

Tourism in Sandton Square is vast. People that

Overtime, the boulevards and landscapes have

visit the square are normally seen standing next

been used to celebrate the growing wealth and

to the Nelson Mandela statue which stands six

leisure of the upper class and shopping malls

meters tall (About Us : Nelson Mandela Square,

have become the “new centre of communal life”

n.d.). The statue was completed and revealed in

(Carr et al., 1992, p.5). The design of the square

2004, and although it represents the Father of

required careful analysis of contemporary design

the Nation and a remembrance of South Africa’s

around the site in order to establish correct

past struggles and accomplishments, a large

proportions, order, scale and to create a sense of

amount of people visits the Square to see the

place and civic quality (Co- Arc International

statue, bringing economic growth, popularity and

Architects, n.d.).

empowerment to the square and surrounding area (Sebele, 2010).

As seen in Figure 1, the space in the Square is mainly occupied by restaurants. These include:

Town and cities are being designed with a

Tashas, Trumps, The Big Mouth, Piccolo Mondo

growing number of barriers, these can be spatial,

and Hard Rock Café. Most of these restaurants

functional, environmental, visual and social

aim to attract people with a higher standard of

barriers (Sas-Bojarska & Rembeza, 2016). In

living. These restaurants are often considered to

Sandton Square, physical barriers separate the

be luxurious and hold their names with high

eating areas from the centre of the Square. This

ratings and often have fine dining experiences.

has been done in order to not have been

This emphasises the target group of the Square.

socializing and ‘taking up space’ in front of the

This group consists of people that show high

restaurants. As seen in Figure 3, these barriers

levels of being fashion conscious, self-aware and

are quite tall. This has been done in order for

health vigilant (Goldberg & Rensburg, 2013). The

people not to sit on them. The only want to get to

economy of the design is affected by the target

these fine dining restaurants is if the staircases

Utopia

Critical Studies

C O N T I N U U M | 1.20

Critical Studies

Utopia

Critical Studies

C O N T I N U U M | 1.20

Critical Studies

are used. The staircases have been places in

However, creating a white picket fence may not

their specific positions because when a visitor

necessarily demonstrate the good life of the

walks into the area, they are greeted at the door

Square. Throughout the Square, there are many

of the restaurant and don’t have to walk along a

different corners hiding security cameras. These

passage way to find the door.

24-hour live surveillance cameras raise awareness for privacy invasion for the public

Figure 4 shows a physical barrier in the centre on

uses and guests that feel like they are being

the Square. This fence closes off specific

watched while trying to enjoy some time in the

outdoor seating areas that the restaurants use

Square. In many public instances, CCTV cameras

for serving outdoor customers. Each small

have been placed in public spaces without

section is owned by a different restaurant, and

consent from the public users (Goold, 2002).

general public visitors are not allowed to sit there unless they are ordering from the corresponding

However, people tend to change their behaviour

facility. This has been done because people are

if they know they are being recorded on CCTV

not being encouraged to galivant and lounge

(Saetnan et al., 2004). As seen in Figure 5, CCTV

around in the Square. This means that people will

cameras have been placed around corners, and

only be spending a short amount of time in the

entrances of the space, monitoring who is

square, rather than a longer amount of time

entering the Square and well as who is leaving

getting comfortable within the area. Furthermore,

the Square. Intercoms and emergency sirens

this is why no other seating areas can be seen in

have been put in place as well for any alerts or

the space.

notifications that need to get people’s attention when needed. This can be seen in Figure 6.

However, psychological barriers further play a role in developing the space and atmosphere of

More so, it is argued that “surveillance

the Square. Feelings of social embarrassment

technologies make social contexts ambiguous by

often play roles in people not interacting and

blurring their spatial and temporal bound”

enjoying public spaces (Rauterberg et al., 2003).

(Patton, 2000, p.5). This leads to saying that

In some cases, people feel shy or anxious to be

people sometimes don’t know how to act in

seen in public because they worry about what

public areas when they know they are directly

people think of them. This makes the “individual

under CCTV footage. This could make people

feel like he/ she might be subjected to humiliation

feel uncomfortable as well as feel like their

or scrutiny” (Maertz, n.d., p.5). This affects the

privacy is being invaded by being watched on

Square because people with anxiety issues, or

camera. It has been argued that from a public

other forms of psychological barriers won’t spend

perspective, the reason why people are uneasy

a lot of time in the square and might not enjoy

about the idea of CCTV cameras is because of

being in the space. More so, with today’s

the intention of the person watching the footage

pandemic thinking of social distancing feels like

and if there is a link to voyeurism(Goold, 2002).

an imprint to the brain. Social distancing is seen “as one of the most important precautions to

However, “CCTV surveillance cameras help to

protect oneself from the virus” (Chen et al., 2020

prevent crime in public places” (Welsh &

p.1), therefore people are staying away from

Farrington, 2009, p.717). With South Africa

people and not spending time in busy Squares

having a high crime rate, and the Square having a

and centres.

back opening that leads directly into the streets with no barriers as seen in Figure 7, CCTV

Utopia

Critical Studies

C O N T I N U U M | 1.20

Critical Studies

cameras are necessary throughout the space. In

design seem to be the new heart for public and

most cases, due to people being aware of the

social life (Staeheli & Mitchell, 2006).

crime rate in South Africa, having live recording CCTV footage is a common thing. South Africans

Sandon Square is a privately owned area, and

arenâ&#x20AC;&#x2122;t bothered by the fact that they are being

although they have an entrance to the street side

recorded in public spaces if the footage is able to

where there are no barriers or access

help catch criminals in the Square.

restrictions, this is not particularly safe. Where car parks are available; people would rather pay

To an extent, Sandton as a whole is replacing the

a tariff fee than get dropped off in the streets

old town square. The development of the area

and enter the square via the back. This is not a

over the years has attached businesses and

convenient aspect of the square for the public.

infrastructure as well as show an increase in

Furthermore; the square does not encourage

value for land. Large business firms that were

social interaction. There is no room for people to

situated in the Johannesburg CBD have relocated

lounge around and any of the seating areas that

into Sandton, and in many instances their vacant

are found in the square are used by the

premisses were not filled by other like-order

restaurants. The CCTV cameras placed in the

businesses. (Beavon & Larsen, 2014). More so,

square without the consent of the public open

specifically speaking about malls and Squares, it

doors to feelings of uncomfortability and

is argued that shopping centres that are

voyeurism. These underlying features of the

separated from the old downtown by distance or

Nelson Mandela Square, lead to the area not

Utopia

Critical Studies

being a public friendly facility.

Image List

However, with that being said, the Square does

Figure 1: Scholtz, M. (Photographer). (2020). Image of

live up to celebrating the leisure and upper-class

Nelson Mandela Square showing some of the restaurants

public it targets to attract. Furthermore, the

in the space. Sandton, Johannesburg: Sandton Square.

successfulness of the Square does captivate a

Source: Photograph by author, reproduced with

large number of tourists bringing publicity,

permission.

economic growth, popularity and empowerment to the area. More so, the cameras in the space

Figure 2: Scholtz, M. (Photographer). (2020). An image of

are necessary to decrease crime and monitor

the Nelson Mandla Square showing some of the users of

criminal activity in the space if necessary, making

the space. Sandton, Johannesburg: Sandton Square.

it mandatory. â&#x2014;?

Source: Photograph by author, reproduced with permission.

Figure 3: Scholtz, M. (Photographer). (2020). An image of the Nelson Mandla Square showing some of the users of the space. Sandton, Johannesburg: Sandton Square. Source: Photograph by author, reproduced with permission.

C O N T I N U U M | 1.20

Critical Studies

Figure 4: Scholtz, M. (Photographer). (2020). This show

Co-Arc International Architects. (n.d.). Retrieved

the physical barrier in the centre of the Square. Sandton,

November 5, 2020, from www.co- arc.com

Johannesburg: Sandton Square. Source: Photograph by author, reproduced with permission.

Drdacky, T., & Teller, J. (n.d.). Strategic assessment of urban cultural heritage: The case of Old Town Square in

Figure 5: Scholtz, M. (Photographer). (2020). This show

Prague.

the physical barrier in the centre of the Square. Sandton, Johannesburg: Sandton Square. Source: Photograph by

Edwards, V. (2015). Local spaces: Open minds -

author, reproduced with permission.

inspirational ideas for managing lowland commons and other green spaces [Report]. Chilterns AONB. http://

Figure 6:Scholtz, M. (Photographer). (2020). One of the

centaur.reading.ac.uk/40548/

entrances into the Square. Sandton, Johannesburg: Sandton Square. Source: Photograph by author,

Goldberg, R. H., & Rensburg, L. R. J. van. (2013).

reproduced with permission.

Relationships between ethnocentrism and lifestyle dimensions among a targeted consumer segment in

Figure 7: Scholtz, M. (Photographer). (2020). This image

Sandton. Journal of Contemporary Management, 10(1),

shows the entrance coming from the street side of the

362–383.

Square and all the cameras around the space. Sandton, Johannesburg: Sandton Square. Source: Photograph by

Goold, B. J. (2002). Privacy rights and public spaces:

author, reproduced with permission.

CCTV and the problem of the “unobservable observer.” Criminal Justice Ethics, 21(1), 21–27. https://doi.org/

Reference List

10.1080/0731129X.2002.9992113

About Us: Nelson Mandela Square. (n.d.). Retrieved

Low, S., & Smith, N. (2013). The Politics of Public Space.

November 2, 2020, from https://

Routledge.

nelsonmandelasquare.co.za/about-us/ Maertz, Dr. K. (n.d.). Social Anxiety/Shyness. University of Beavon, K., & Larsen, P. (2014). Sandton Central,

Alberta. Retrieved August 11, 2020, from https://

1969–2013: From open veld to new CBD? In Changing

www.mcgill.ca/counselling/files/counselling/

Space, Changing City (pp. 370–394).

social_anxiety_coping_strat egies_1.pdf

Carr, S., Stephen, C., Francis, M., Rivlin, L. G., & Stone, A.

Németh, J. (2009). Defining a Public: The Management of

M. (1992). Public Space. Cambridge University Press.

Privately Owned Public Space. Urban Studies, 46(11), 2463–2490. https://doi.org/10.1177/0042098009342903

Chen, K., Bao, L., Shao, A., Ho, P., Yang, S., Wirz, C., Brossard, D., Brauer, M., & Diprete Brown, L. (2020). How

Patton, J. W. (2000). Protecting privacy in public?

public perceptions of social distancing evolved over a

Surveillance technologies and the value of public places.

critical time period: Communication lessons learnt from

Ethics and Information Technology, 2(3), 181–187. https://

the American state of Wisconsin. Journal of Science

doi.org/10.1023/A:1010057606781

Communication, 19(5), A11. https://doi.org/ 10.22323/2.19050211

Rauterberg, M., Menozzi, M., & Wesson, J. (2003). Human-computer Interaction, INTERACT ’03: IFIP TC13

Utopia

Critical Studies

International Conference on Human-Computer Interaction, 1st-5th September 2003, Zurich, Switzerland. IOS Press.

Saetnan, A. R., Lomell, H. M., & Wiecek, C. (2004). Controlling CCTV in Public Spaces: Is Privacy the (Only) Issue? Reflections on Norwegian and Danish Observations. Surveillance & Society, 2(2/3). https:// doi.org/10.24908/ss.v2i2/3.3385

Sas-Bojarska, A., & Rembeza, M. (2016). Planning the City Against Barriers. Enhancing the Role of Public Spaces. Procedia Engineering, 161, 1556– 1562. https://doi.org/ 10.1016/j.proeng.2016.08.626

Sebele, L. S. (2010). Community-based tourism ventures, benefits and challenges: Khama Rhino Sanctuary Trust, Central District, Botswana. Tourism Management, 31(1), 136–146. https://doi.org/10.1016/j.tourman.2009.01.005

Staeheli, L. A., & Mitchell, D. (2006). USA’s Destiny? Regulating Space and Creating Community in American Shopping Malls. Urban Studies, 43(5–6), 977–992. https:/ /doi.org/10.1080/00420980600676493

Welsh, B. C., & Farrington, D. P. (2009). Public Area CCTV and Crime Prevention: An Updated Systematic Review and Meta‐Analysis. Justice Quarterly, 26(4), 716–745. https://doi.org/10.1080/07418820802506206

C O N T I N U U M | 1.20

Awards 01 Lindokuhle Mahlangu, ID2, Johannesburg Art Gallery Reception Loeries Finalist, Student Design Awards 02-04 Paula Ferreira, ID3, Ngwena Glass Retail Experience - PG Bison Top 10 Finalist 05 Michali Jameson, ID3, A Million Little Lights Regional Winner, Velux Light in Buildings award

Utopia

C O N T I N U U M | 1.20

100

Utopia

C O N T I N U U M | 1.20

101

102

Utopia

C O N T I N U U M | 1.20

103

With thanks to all staff at the GDC

info@designcenter.co.za www.designcenter.co.za 106

Utopia