2022 BArch Y2 Archive: The Public Closet

COVER IMAGE CREDIT

Curated cover page illustration by Lethabo Mathabathe. Titled `the public closet: in Newtown Joannesburg`

EDITORIAL TEAM

Jabu Absalom Makhubu, Lethabo Mathabathe, Steven Sotiriou Nomalanga Mahlangu, Mxolisi Ntshona, Sanjay Jeevan, Thabang Mothlake

PUBLISHED BY

2022 - BARCH 2 Team

FADA Building, Bunting Road Campus

University of Johannesburg, Auckland Park Johannesburg 2006, South Africa

Copyright © BArch 2 Design Studio 2022 - DoA Publication

© All rights reserved. Printed and bound by: published by the BArch 2022 Team, of the Faculty of Art Design and Archititecture, University of Johannesburg, in South Africa

This publication was made possible by the entire BArch 2 Design Studio of 2022. Prnting of first 20 Batch done by Minolta Printing, Sponsored by the Department of Architecture, UJ

Apart from any fair dealing for the purpose of research, criticism or review as permitted under the Copyright Act 98 of 1978, no part of this material may be reproduced, stored in a retrieval system, transmitted or used in any form or be published, redistributed or screened by any means electronic, photocopying, recording or otherwise Without the prior written permission of the publisher, except in the context of reviews.

Every attempt has been made to identify the relevant owners of copyright.Errors or omissions will be corrected insubsequent editions.

Editor: Jabu Absalom Makhubu

Graphics, the Design‘s & Book layout & template:Lethabo Mathabathe & Jabu Absalom Makhubu

Compilation of student‘s work and/ curation of the various pages in book: Jabu Absalm makhubu, Nomalanga Mahlangu, Steven Sotiriou, Mxolisi Ntshona, Sanjay Jeevan & Thabang Mothlake

Library of Congress

Cataloguing-in-Publication Data

Makhubu et al, 2022. The Public Closet. BArch Y2 Archive. vol 3. FADA, University of Johannesburg.

ISSN:

1. Architecture Pedagogy

ACKNOWLEDGEMENTS

Bachelor of Architecture Year 2 (BArch Y2) team would like to thank the following for their contribution to our work thus far.

Our students for thier rigorous engagement throughout the year and for making their work available for this compilation.

Fellow staff in the Department of Architecture, Mxolsi Makhubo, Simphiwe Mlambo and Moeketsi Phori. Our head of department Dr Finzi Saidi.

Special thanks goes to activist Jay Mathlou from Access Chapter 2 Organisation for that informative and eye opening presentation around gender sensetisation as it relates to queer individuals. Thank you for widening our vocabulary and for your valuable feedback on how to frame the studio. Much love to you! Guest lecturers Bonolo Masango, Mandy Schindler and Africa Mbatha. Our friends at MAPEI for hosting our students at thier factory and for thier generous sponsohip of the student awards.

Our esteemed external examiners Victor Mokaba, Orepa Mosidi, Guy Trangós and Mohau Moidi. Thank you for your feedback, guidance and critique. We have grown tremendously because of you.

Acknowledgements

BACHELOR OF ARCHITECTURE Y2

HEAD OF DEPARTMENT

Finzi Saidi (PhD- UP)

YEAR COORDNATOR & DESIGN LEAD

Jabu Absalom Makhubu (MUD- Wits)

LECTURERS

Nomalanga Mahlangu (MArch- UJ)- Technology and Detailing Lead & Architectural Design

Mxolisi Ntshona (BArch- UCT)- Architectural Design

Steven Sotiriou (MArch- Wits)- Interdisciplinary Design Lead

Lethabo Mathabathe (MArch- UJ)- Computers in Architecture & Sustainable Design Lead + Interdisciplinary Design

Sanjay Jeevan (MTech- UJ)- Technology and Detailing

Thabang Motlhake (BTech- UJ)- Computers in Architecture

Afua Wilcox (MArch- Wits)- Design Studies Lead

Guy Trangos (PhD- HGSD)- History & Theory Lead

EXTERNAL EXAMINERS

Victor Mokaba (MTech -TUT)

Guy Trangos (PhD- HGSD)

Orepa Mosidi (March- Wits)

Mohau Moidi (MTech- UJ)

STUDENTS

MUHAMMAD, Mariam (she)

MANABA, Xhesasekise (she)

MUDAU, Tshilidzi (he)

HLATSHWAYO, Asande (he)

NGOBENI, Karabo (he)

MNDEBELE, Khanyisile (she)

SETHEMANE, Mphumelelo (he)

KIRRPUL, Kreeya (she)

CHINYANGANYA, Simbarashe (he)

MOTLAFI, Thato (she)

VERHOEF, Stefan (he)

NDLOVU, Fortune (he)

PILLAY, Kyle (he)

SIBEKO, Sakhiseni (he)

MUFAMADI, Khathutshelo (he)

MBATHA, Asande (he)

MAKGETLA, Tshepiso (they)

TSHIRITZA, Dan (he)

LETSIE, Bohlale (she)

BAVUMA, Phila (she)

MOLEFE, Naledi (she)

MPHAHLELE, Melitha (she)

PHAJANE, Mpho (she)

NGCAKANI, Okuhle (he)

MATANDA, Dovhani (he)

MAGUDULELA, Solwazi (he)

VISSER, Matthew (he)

MNAGAR, Shyam (he)

MAMADISA, Tebogo (she)

SIGAUKE, Pricilla (she)

GUERRA, Gerald (he)

HLUNGWANI, Tshwanelo (he)

NAIDOO, Joshua (he)

SEKHAOLELO, Thato R (she)

MASEHLA, Phemelo (he)

VORSTER, Renardo (he)

MAHLANGU, Michael (he)

MANGANYE, Tiyani (he)

DEWA, Khanyile (she)

NYINDE, Nonknyiso (she)

MVEMVE, Nkazimulo (he)

GOSAI, Mishka (she)

LOUBSER, Nic (he)

MAKOKOE, Chisom (she)

MADOLO, Qaqambile (he)

KANOKENA, Rafa (he)

DE BEER, Anke (she)

MAKEKA, Thabo (he)

HOWILL, Raymond (he)

NDABEZITHA, Emmanuel (he)

MASHELE, Nyeleti (she)

Head of Department in the Faculty of Art, Design and Architecture at the University of Johannesburg.

The year 2022 marked the beginning of a new era for many students, especially second-year students of any university programme because they transitioned from two years of experimental online learning due to the COVID-19 pandemic. While some of us may have survived the pandemic, we have yet to comprehend or discover the full impact of a pandemic. However, having emerged from the isolation of the COVID-19 era, we can all agree that the human-contact, collegiality, and warmth are indeed the most important values that humankind shall continue to hold dear during the rest of our lifetime. These values are evident in more overt than covert ways in the work of our B Arch Year 2 of 2022. These values are essential because our experience with COVID-19 means we may have to define new spatial arrangements in the environment describing new forms of architecture and space.

In this spirit, we celebrate the work of the B Arch Year 2 programme at UJ, marking a return to the collective experience of learning and teaching. I salute the work of our second-year group of young, dynamic, and brave academics with diverse interests under the leadership of the year- coordinator, Mx. Jabu Makhubu. Whose teaching, in any programme is a vital aspect of creating meaningful learning experiences for students. Thus, it is uplifting and energizing to see the diversity of academics who are teaching our second-year B Arch programme because each one of them brings to the studio - the site of knowledge co-production- their: identity; culture; and sense of inquisitiveness that students in contemporary South Africa and the greater continent of Africa ought to engage with in new and complex ways without the restriction of- knowledge canons, culture, disciplinary confines or context. The students‘ projects point to new ways of exploring and understanding the call for the decolonization of knowledge.

Similarly to Who teaches, the question, What to teach, is equally important in that what is

selected to be taught should reflect contemporary society‘s ideals and values. The challenge is how to take advantage of the opportunities in that context to make new meanings, and in terms of architecture, it requires creating new spaces and experiences. This is what the themes for the B Arch Year 2 have done for its students in 2022, who have had very engaging topics like: ‘The Public Closet; Taking the closet/KIST outside; Intersecting Closets / Diorama, Veils of defense and Liberation; Bring Out The Closet; Outing And Thrifting The City; The Public Changing Room; The Arrival. For the B Arch Year 2 students, these themes that they grapple with as spatial explorations immerse them into the complex and transformative dialogues that reflect current issues and opportunities in African cities. What does it mean to have equitable access in societies and public spaces, as explored in the Queer culture of the LGBTQIA+ community? What does Arrival mean in our cities which have become much against internal and external migration? What do restitution and equitable economic opportunities mean in the city streets, as explored in the exerciseOuting And Thrifting The City? These exciting explorations have been done in an integrated manner that marries meaningful exploration with architecture‘s material and space requirements as a discipline.

For the B Arch Year 2 program has begun to engage in tangible ways what it means to decolonize the curriculum of architecture, and the results have been twofold: first, it has produced exciting projects for the student; secondly, I believe the projects instilled an increased sense of confidence in the way student express themselves- in their character and architectural expression. The B Arch Year 2 program of 2022 exemplifies in tangible ways what it means to decolonize the architecture curriculum. I congratulate the 2022 second-year teaching team and their students for their ground-breaking success.

Reflection by the Head of Department

Dr. Finzi Saidi

The Bachelor of Architecture programme is an entry level qualification that covers the major knowledge fields in architecture. The programme focuses on a theoretical and critical understanding of design and architecture in order to prepare students for further study.

The second year of the programme uses an integrated approach to architectural design and thinking, drawing strongly on notions of seeing; (views, perceptions and positionalities), towards the technical and emotive making of architecture. The programme enables students to develop appropriate architectural language with which to engage the environment and users on a critical and meaningful level. A BArch 2 student will have the opportunity to explore contemporary architectural theory and to apply contemporary design tools to produce relevant contextually resolved architectural responses in a connected urban fabric. This course aims to develop:

• The ability to generate suitable representation techniques and outcomes in the making of architecture.

• An understanding of theory, context and precedent of architecture in Johannesburg and globally

• Introduce process driven methodologies for design, theoretical and technical thinking with experimentation and accuracy.

• Introduce agendas and approaches to the making and „reading“ of space and form in contemporary cities.

• Introduction to the behaviour and design of structural systems and tectonic applications in architecture.

• The ability to consider and analyse building envelopes, with a focus on the material and energetic transfers taking place at the interface between architecture and environment.

• Advance students’ knowledge of architecture historically, culturally, and professionally.

The South African Council for the Architectural Profession (SACAP- professional regulatory body) guidelines require that at the end of this module the student should be able to:

• Demonstrate the process of evolution of architectural design through exploration of site factors and context

• Develop multiple ideas and concepts for design problems

• Develop design ideas with reference to the individual.

• Develop design ideas with reference to functional, technical, climatic and environmental requirements.

• Develop and present ideas from inception to a final product

• Communicate design intentions

The BArch Y2 sits in an interesting position within the overall programme, that is, inbetween entry and exit level. This position presents the opportunity to explore ideas widely, to experiment with representations and to speculate on alternative typologies. Moreover, students are encouraged to question, trouble and reconstruct their learning experiences and to critically reflect on their positionalities.

TEACHING PHILOSOPHY

JABU ABSALOM MAKHUBU

BARCH Y2 COORDINATOR

Hello, are you there?

Feminist scholar, Pagano argues that “When we teach, we tell stories. We tell stories about our disciplines, about the place of these disciplines in the structure of human knowledge. We tell stories about what it is to be a human knower, and about how knowledge is made, claimed and legitimated” -(Pagano, 1994: 252)

Much like Pagano above, we view our teaching and learning praxis as a form of storytelling. It draws from indigenous forms of knowledge building, passing and translation. Similar to how our ancestors passed down knowledge and wisdom. But unlike the hierarchical banking system, we are of the belief that students bring into the classroom embodied knowledges and thus we too as tutors are learners in this context. Stories allow us to suspend reality temporarily so we can look closely at who we are, our individual and collective values. And, how we tell those stories, (that is the language, tools and forms of representation that we use to tell those stories), depends on the audience. In other words, who is the story directed at will influence how the story is told and interpreted. We are interested in the full version of events, not just the parts that make us feel good. What kind of story does your architecture tell? And what does that story mean to you, to them and to us?

References:

Freire, P. (1993). The Pedagogy of the Oppressed. 30th Edition. New York, London: Continuum International Press.

Koo Hok-chun, D. (2002). Quality Education through a Post-modern Curriculum. Hong Kong Teacher’s Centre Journal, Vol. 1, pp. 56-73.

Mbembé, J.-A., & Nuttall, S. (2004). Writing the World from an African Metropolis. Public Culture, 16(3), 347–372.

Pagano, J.A., 1988. Teaching Women. Educ. Theory 38, 321–39.

Sennett, Richard. 2009. The Craftsman. London: Penguin Books.

Shareef, Sardar S. and Farivarsadri, Guita, (2020), An Innovative Framework for Teaching/Learning Technical Courses in Architectural Education, Sustainability, 12, issue 22, p. 1-17.

Stone, S., & Sanderson, L. (2021). Introduction. In Emerging Practices in Architectural Pedagogy. Routledge

Wan, G. (2001). The Educational Reforms in the Cultural Revolution in China: A Postmodern Critique. Education, Vol. 122, No. 1, pp. 21-32.

“To write is the same thing as to form. To a large extent, to write is to bring to the surface something that is not yet there or that is there only as latent, as potential”. - (Mbembé & Nuttall, 2004, 348) quoting Maurice Blanchot)

Lines on a page, like words, possess the power to create worlds. Through the lines on the page we demarcate, separate, and divide what is in from out, what is the centre from the periphery, formal from informal, private from public. Lines can also make connections, between points, planes and volumes, between concepts and realities, between future, present and past. As cartographers and spatial practitioners, we shape societies and the lands they inhabit. As educators in the spatial disciplines, which are in large concerned

with shaping and giving form to societal interactions, we have agency. Richard Sennet challenges us to become probing craftspeople (Sennett, 2009). In other words, to create conditions that will help us confront our divides so we can understand them better.

Architecture is a discipline that borrows from many other established disciplines such as art, science, anthropology, politics and mathematics to name a few. Thus, a variety of teaching and learning methods are employed (drawing, writing, image making, map making, model building, group work, visual and oral (re)presentation). Most of the teaching and learning occurs in the design studio. In design-based studios, students undergo a specific learning process that involves dialogue and collaboration with each other and their lecturers (Shareef and Farivarsadri, 2020). This approach aligns strongly with constructivist epistemology which centres on the student’s own construction of knowledge. Constructivism has many branches such as radical, cultural, feminist, critical, social and trivial constructivism (Stone and Sanderson, 2021).

Architecture has a long pedagogic tradition which centres around problem-based learning (PBL) and project-based learning (PjBL) (Shareef and Farivarsadri, 2020). Unlike engineering and pure sciences disciplines which deals largely with identifiable problems and definite singular solutions (tame problems), the built environment deals more with complex, layered, wicked problems (Stone and Sanderson, 2021) with multiple possible solutions that revolve around a reflective cyclic process of design. The recent student calls for decolonisation and transformation have had an impact on our teaching approaches which now include the use of (personal) narratives as valid forms of knowledge construction.

In light of the above, our teaching philosophy follows a postmodern teaching approach, particularly constructivist learning theory specifically critical and radical pedagogic branches in the process of design narration that is seen as a valid research and knowledge making process. Unlike the banking system of education which views students as empty vessels only capable of receiving and regurgitating

‘knowledge’ from their teachers/professors (Freire, 1993), constructivism as a theory is of the view that students construct their own understanding and knowledge of the world, through reflecting on their experiences. Issues of race, gender, culture, identity and politics are not separated from the empirical/ scientific explorations of space and architecture.

This approach is not followed blindly. Health Sciences educator, Guofang Wan (2001), warns that in applying postmodern methods such as constructivism, one also needs to be cognisant of their challenges to avoid “disastrous results”. Some of the challenges to bear in mind include the vagueness of the approaches due to the fluid and changing nature of the context, chaos often associated with the methodologies and the challenges in assessment due to its process-driven approach (Wan 2001). However, compared to the current dominant modern curriculum, this approach is forwardlooking and responsive to change. In terms of the power relations, a postmodern curriculum allows the academics and student to develop learning processes through continuous interaction and dialogue (Wan 2001). We have put in place multiple frameworks and assessment criteria to evaluate and give structure to the programme in order to overcome the short falls of constructivism. These include a clear semester schedule, peer assessments, detailed project feedback mechanisms, student teaching and learning assessment and clear rules of engagements which we all agree to operate under in order to minimise conflict while providing spaces for brave engagements.

In architecture and urban design we also learn by doing, preforming and drawing through the iterative and cyclic process of design (research, analysis, MAKING, synthesis and review). Mastery thereof lies in an intimate and detailed understanding of the complex layers that form the narrative. Its characters, the place on which the story takes place and the issues that influence the stories. This understanding allows us to articulate a refined response to the narratives. Finally, to tell stories, one must also be a good listener, not only of the sound of one’s own voice but more so of a multitude of other voices and narratives.

Thanks for listening!

TEAM

Passionate lecturer and researcher in the department of architecture (DoA) at the University of Johannesburg (UJ). PhD Candidate at Thswane University of Technology. My research interests are in architectural pedagogy, transformation, African cities, politics of (public) space, urban resilience and sustainability. Over 10 years of teaching experience and 7 years practise experience working in a number of architecture firms located in Johannesburg. I have Co-Supervised 24 MArch theses between 20182021, two of the students I co-supervised won the University’s Top Corobrick award (2018, 2021), which were chosen to represent the university in the national round. i have published 6 articles in peer reviewed journals and/ conference proceedings. Examined numerously at institutions in South Africa such as Wits University, University of Pretoria, University of Cape Town, Tshwane University of Technology and University of Free State. A team player and leader. A member of the BeyHive (Beyonce fans).

Nomalanga Mahlangu is an artist and candidate architect from Kwa-Ndebele, Mpumalanga. She holds a Bachelor of Architectural Studies from the University of Witwatersrand and a Master of Architecture from the Graduate School of Architecture (U.J). Her master’s thesis focused on interrogating the need for permanent architecture in African cities to raise questions around cities being fixed mega structures and argue that future cities should be flexible, adaptable, and responsive. In turn, creating an urban environment structured for change. She is currently an assistant lecturer at the University of Johannesburg in the Department of Architecture. She was also an undergraduate design tutor at the Tshwane University of Technology in Pretoria.

uMxolisi Wilbur Ntshona was born in Umlazi Township, Durban in KwaZulu Natal.I hold Bachelor of Architectural Studies and Bachelor of Architecture from the University of Cape Town. While a student, I explored and researched the KwaZulu Cultural Heritage research of the Royal homesteads in Olundi. The outcome, in turn become a strong drive towards a pursue of the Heritage and Inheritance of African aesthetic and elegance. As a Professional Architect with 17 years of experience within the Built environment, gained and became proficient as Lead Designer, Project Architect, Project manager, Principal Agent and site/construction supervisor. Over the past 5 years I have been an assistant Lecturer, external examiner on Architecture Design and Professional Practice Module at University of Johannesburg. I gained experience in rendering design studio sessions, brief preparations, modules administration and student’s assessments. I enjoy fatherhood activities as presented by age, listening to jazz music and reading literature.

JABU MAKHUBU YEAR CO-ORDINATOR ARCHITECTURAL DESIGN LEAD TECHNOLOGY & ID TUTOR

MXOLISI NTSHONA ARCHITECTURAL DESIGN TUTOR

NOMALANGA MAHLANGU TECHNOLOGY & DETAILING LEAD & ARCHITECTURAL DESIGN TUTOR

Steven Sotiriou holds a strong and long association with architecture from his formative exposure to study @ the University of Witwatersrand, an internship year at VHS in Rotterdam, Netherlands and an array of contextualizing “home-grown” interventions in Johannesburg: culminating in the establishment of Design Signature Architects in 2013 and its amalgamation into Urban Signature Architects in 2019.

Inspired by the capacity of architecture to influence the way we live, work and more, Steven’s approach is immersive and responsive: reflecting a conceptually strong and creative engagement with site and client.

Active involvement with students as Interdisciplinary Design lecturer lead at the University of Johannesburg has provided a parallel source of activation and motivation for Steven. Curious and intrepid in nature, Steven remains firmly grounded, accountable, and explorative. A keen twitcher in moments of recreation, Steven maintains a “birds-eye-view” of the architectural paradigm.

Lethabo Mathabathe, is a lecturer in the Department of Architecture (DoA) at the University of Johannesburg (UJ), and a Candidate Architect. She leads Computers in Architecture, Sustainable Design ll, and also assists with Interdisciplinary Design ll, in the undergraduate Bachelor of Architecture year two (2) stream.

She holds a Master’s Degree from the Graduate School of Architecture (GSA) which she completed in 2020 from UJ. Her research interests currently include and are focused around Housing, Urban Design, designing with and for communities within landscape sites, and using influences from different disciplines within the design field to better distinguish/ resolve architecture.

Born in Johannesburg but spent the initial years (1993-2008) in Mokopane, Limpopo and returned to Johannesburg to complete his Bachelor of Architectural Studies at Wits. He completed his MTech (prof) in Architecture at the University of Johannesburg (UJ) being the group pioneer students under the Unit System Africa at the Graduate School of Architecture (GSA) in 2015.

Currently developing interests in product design and manufacturing, while practicing architecture at a multi-faceted firm in Houghton, Sanjay is consistently looking for efficient and sustainable ways of making - be it architecture, facade explorations, interior design, product design or art. Sanjay previously taught at the UJ between 2014-2017 and being back has been both an exciting and humbling feeling all around.

Thabang Motlhake is pursuing his master’s degree in construction management at the University of Johannesburg. His interests lie in ideas around sustainability, AI, digital fabrication, and how it affects black design within the African continent.

As a lecturer at the University of Johannesburg, he further explores how to bridge the gap between academia and professional practice through alternative means of designing as a black practitioner within the realm of architecture and design.

Afua Wilcox is a Johannesburg based architect and a PhD researcher at Delft University of Technology in the Netherlands funded by the National Research Fund (NRF South Africa). Her research is based on informal settlement upgrading and state funded housing solutions for low income residents in South Africa. She is a director of the African Architects Collaborative, a Non-Profit company that aims to make architecture and other professions in the built environment more accessible to African youth and their communities. Afua has over 10 year’s professional experience that includes practice, research and teaching.

AFUA WILCOX DESIGN STUDIES LEAD

LETHABO MATHABATHE COMPUTERS,SUSTAINABLE-D LEAD & ID TUTOR

THABANG MOTLHAKE COMPUTERS IN ARCHITECTURE & SUSTAINABLE DESIGN TUTOR

SANJAY JEEVAN TECHNOLOGY & DETAILING TUTOR

STEVEN SOTIRIOU INTERDISCIPLINARY DESIGN (ID) LEAD

CLOSET ... A SMALL PRIVATE ROOM, A STUDY, A PRAYER ROOM, A SPACE OF DO -

MESTIC CONCEALMENT... A NON SOCIAL SPACE...

Architecture is a unique art, because it is rooted in the rituals of everyday and sometimes ceremonial life. Those rituals are framed and defined in space by the buildings which we inhabit. Whether designed to house a grand ceremony or provide shelter for a daily meal, all buildings coordinate and consolidate social relations by giving orientation and focus to the spatial practices of those who use them.

We are interested in the questions of space that arise after design. That is describing and revealing the meanings behind and within the landscape artefacts we have designed, even if they only exist as drawings. If the drawing is the artefact, what is design? We are interested in reimagining new forms/formations, new narratives and new space configurations this brings.

Working in the context of a (post)pandemic affords us the opportunity to explore and critically reimagine our immediate spaces (such as your major civic project in first semester, located just outside the gate of our campus). We use this site to ask deeper questions around narratives, memory, access, education and transformation within our contexts (spatially, socio-politically and pedagogically).

In the second semester we take a different turn and work collaboratively towards the major design project.

In 2020 we explored the politics of public architecture by interrogating and reimagining various public building typologies such as police stations, memorials and embassies to bring questions of identity in conversation with those of space. In 2021, we dared to be radical by turning the whole curriculum on its head through our queer clubhouse studio which aimed to introduce students to critical theories, spatial design for people that are marginalised and push to the periphery of many disciplines including architecture.

This year, 2022 we attempt to bring the lessons of the two previous studios together and to deepen our engagement with the multifaced and socio-political morphology of Johannesburg. We continue to address queer issues, albeit from a politically conscious and intersectional lens. Here, queer politics is understood within its intersection with race, gender, class, religion and culture. We use metaphors of a closet to highlight, complicate and interrogate these intersections.

“… the closet originally referred a small private room, such as a study or prayer room. This idea of privacy led to the sense of hiding a fact or keeping something a secrete… it is a space of domestic concealment… it has less legitimacy than a room… it is decidedlyanon-socialspace,itenforcesisolation, italsoprotectsitscontentsfromexposureandharm.”

Hannah Kushnick (2010)

In the studio, the closet includes artifacts such as display cabinets, room dividers, wardrobes, Kists and other similar spaces.

For instance, in Nguni cultures, a wedding is not complete without the ritual of umabo where the bride’s family offers gifts to the groom’s family members as a symbol to form new bonds between the families and for ancestors to recognize the union. During this public ceremony the bride brings with her gifts and artefacts to build relationships with the groom’s family. One of these artefacts is a Kist/chest, a storage box for clothes and linen. A type of a closet.

Parallels and differences can be drawn from the two framings of closet above. They raise issues around domesticity, publicity, cultural and individual expression or concealment. They complicate binaries. This is what we hope to achieve with the studio this year.

The studio (physical space and pedagogically) operates through multidisciplinary and interdisciplinary approaches such as critical space theories to frame the project. It brings all modules for the semester, that is Architectural Design, Technology and Detailing (Construction), Interdisciplinary Design, Sustainable Design and Design Studies, together in a collaborative approach towards deepening and expanding the project. We also borrow from other disciplines such as visual arts, urban design/planning, sociology, preforming arts, and politics as a means of widening our knowledge on the theme. For instance, Critical Mapping techniques assist with socio-spatial contextualisation of the project.

Kushnick, Hannah L. 2010. ‘In the Closet: A Close Read of the Metaphor’. AMA Journal of Ethics 12 (8): 678–80. https://doi.org/10.1001/

SEMESTER 1

“I remember the room where my grandmother would sit and tell stories with a little light, while we would huddle close to each other and her voice inside the room enclosed us, summoning us to come closer and form a safe place. This was my first sense of architecture,” Francis Kèrè

Semester 1 briefs centre around explorations of narratives and making spatial connections between the self, the collective and the other. The four briefs build from personal to communal narratives culminating in a collaborative brief that aims at bringing all the lessons and skills gained thus far together (from all modules). Their first architectural design proposition for the semester.

Work from three other support modules is also presented and follows after the four archtectural design briefs of the semester. Architectural Technology and Detailing was structured around principles of framed contruction and contract documentation. Interdisciplnary Design used the metaphor of identity to explore architectural representation, critique and its intersection with other design desciplines within the faculty. While, Design Studies introduced students to critical discourses around housing in South Africa.

ARCHITECTURAL DESIGN SEMESTER 1 PROJECT 1&2

Ice breakers- Guest lectures by Bonolo Masango and Mandy Schindler

Nyeleti Mashele- Visual Lexicon- Black is Beautiful

Anke De Beer - Visual Lexicon and Cartography- Passievol

Mariam Muhammad - Cartography- Wandering on the Broadwalk

Dovhani Mathada- Visual Lexicon-untitled

Simbarashe Chinyanganya: Visual Lexicon: So little time

Matthew Visser- Cartography- Checkpoint Sunday

Thato R Sekhaolelo- Cartography- FIFA Centre for Hope

Steffan Verhoef- Visual Lexicon- All the way from...

Thato Motlafi- Visual Lexicon- here, there, everywhere

Gerald Guerra- Cartography- Durban City Hall

Okuhle Ngcakani-Visual Lexicon- Who am I?

Nic Loubser- Visual Lexicon- untitled

Khanyisile Mndebele- Cartography- The Kasi Muslim

ARCHITECTURAL DESIGN SEMESTER 1 PROJECT 3

DAN JALI MOSQUE: Mariam Kamara

SERPENTINE PAVILION: Francis Kere

SARBALE KE COACHELLA: Francis Kere

APARTHEID MUSEUM: Mashabane Rose Architects

*STUDENT IMAGE/S NEEDED HERE*

‘DUPLICATE PAGE LAYOUT/S AS YOU SEE FIT’

*STUDENT IMAGE/S NEEDED HERE*

‘DUPLICATE PAGE LAYOUT/S AS YOU SEE FIT’

*Student first name & Surname/ GROUP NAMES - Project title*

ARCHITECTURAL DESIGN SEMESTER 1 PROJECT 4

Ice breakers- Memorialisation lecture: AD site analysis Workshop : ID designing on a steep slope lecture series: TD

EXPLODED AXONOMETRIC

NORTH ELEVATION

CROSS SECTION

Raymond Holwill- UJ Cyber Centre

Gerald Guerra- Untitled

Matthew Visser- the arrival

CONCEPT MODEL

Tiyani Manganye- untitled

Shyam Mnagar- untiitled

Khanyile Dewa- arrival

EXPLODED AXONOMETRIC PERSPECTIVE

Emmanuel Ndabezitha- Arrival- Untitled

TECHNOLOGY & DETAILING SEMESTER 1 PROJECT 1/4

Rapha Kanoena - Introduction to Framed Structures

TECHNOLOGY & DETAILING SEMESTER 1 PROJECT 2/4

Mariam Muhammad - Steel

Manaba - Steel

K Komako - Steel Details

TECHNOLOGY & DETAILING SEMESTER 1 PROJECT 3/4

Joshua Naidoo - Anayse the Beyond

Karabo Ngobeni - Anayse the Beyond

Matthew Visser - Anayse the Beyond

TECHNOLOGY & DETAILING SEMESTER 1 PROJECT 4/4

BlueDesigns(2022)

Allthoseinvolvedintheconstructionofanarchitecturaldesign,fromthearchitecttothebuilder,haveanattachmenttothe architecture,althoughit’sdifficulttoquantifytheattachment

We have covered amongst others, the analysis of case studies , locally and internationally; we have explored architectural drawing conventions, and explored various framed structures and their properties, materials and tectonics. Moreover, will further explore the application of bylaws and adherence to regulations in this brief.

This brief requires you to pull together all the content c overed thus far in this module and other related modules and effectively produce the following set of council submission drawings, based on your Design project 4: The Arrival: The everyday and spectacular arrival to e’Goli

Note: The drawings should be neatly drawn well laid out on A1 sheets* with title blocks accurate, fully annotated, dimensioned, and titled and adhere to drawing conventions (line weights, line types, hatch, text, levels, etc).

Use the below checklist to make sure your site plan is up to standard

 Site plans can be in modules from 1: 100 1: 200, 1: 250, 1: 500, 1:750 OR 1 1000. Very seldom 1: 1500.

 Vehicle entrance / Access

 All buildings, outlines correct

 Building lines to be shown as per zoning info provided.

 All boundaries must be clearly shown and dimensioned. Cross-check with SG Diagram.

 All existing structures to be shown with clearly dimensioned distances from all boundaries

 All new structures must be coloured in and distances from boundaries and building lines to be shown.

 Any servitudes or existing municipal services on the site to be shown. Nothing to encroach into servitudes

 Municipal sewer connection point to be indicated, together with existing and new drainage connecting to such.

 North point to be provided and scale of the drawing.

 All proposed demolition work to be shown in dotted lines.

 Street name and all street furniture to be shown outside the site.

 The natural ground contours at suitable vertical intervals or spot levels at each corner of the site

 The existing or intended point of access from any public stree t

 All adjacent stands to be shown in dotted line, together with adjacent stand numbers

 A full area schedule must be supplied indicating the following: stand area, ex floor area, additional floor area, F.A.R, coverage

 Gridlines

 Ground floor plan should be in/show context

 Contour lines on ground floor should shown

 Clearly indicate overhangs, cantilevers, voids, double volumes

 Correct scale, colour/hatch

 Dashed lines for work to be demolished

 All rooms designated, layout complete (new & existing)

 All rooms dimensioned finishes & levels

 Sizes of habitable room (min 6m2/min 2m dimension)

 Fire walls, fire doors, fire safety wall on boundaries (min 1m)

 Drainage & sanitary fittings (new & existing)

 Section lines shown & named, correspond with secti ons

 Window & Door codes/ reference shown (correspond with schedules)

 Disabled facilities provide (Toilets, ramps, stairs/access)

 Staircases to be indicated correctly with stair notes (no. of risers and treads)

 Level changes

 Correct scale, colour/hatch

 Gridlines

 All construction notes to be shown. (Roof notes, slab notes, surface beds, and foundations)

 Levels shown (NGL, FFL, Ceiling, Roof)

 DPM, DPC, Vertical DPC shown

 Floor/slab type & thickness shown (specification note)

 Foundation details and sizes.

 Stair details (risers, treads, landing, winder, headroom)

 Emergency escape stairs (comply with part S/T)

 Sections correspond with plans

 Correct scale, colour/hatch

 Gridlines

 All external finishes to be noted on elevations

 Drainage to be shown on elevation.

 Elevations designated as per north point

 All openable and ventilated sections are to be indicated in dotted lines on windows, and doors.

 Correct colour and line type

 Pipe type, sizes and gradient shown

 Manhole, IE, RE, (1,5m from connection & 25m max)

 Invert Level (pipes to be protected if less than 450mm)

 Gulley, vent pipes and sizes indicated

 Septic tank (min 3m from the building & 45m away from a water source)

o Ability to demonstrate an understanding of architectural drawing conventions.

o Application and use of all relevant module contents covered thus far.

o Level of completeness.

o Level of technical resolution

o Level of accuracy and neatness.

o Design and detail simple structural systems floor slabs, beams, staircases, and roof structures.

o Select and specify appropriate services and fittings.

o Select materials used and the construction of walls, floors and walls.

o Design openings in the walls, arches, doors and windows.

o Select and design appropriate roof support systems, materials and finishes.

o Prepare a complete set of council submission documentation for an intermediate building with framed structure.

o Develop assembly details that are in keeping with their design concept, workable and practically executable.

Studio crits, tutorials and discussions will be used to explain deliverables for each stage of the project and issue instructions for the next crit.

Guidance regarding specific requirements for submissions will be given during studio periods. Students are expected to attend all briefings and crits / lecture sessions. Attendance will be viewed as part of the assessment process and records will be kept.

backMetalCladdingsystemtied tosteelframe.Accordingtoengineer'sspec.

Rapha Kanokena - Council Submission

ROOF SHEET CORRUGATE STEEL SHEET LAID ON 50MMx75MM STEEL PURLIN

100MMx75MMx0,6MM GALVANISED STEEL SHEET GUTTER

100MM EXPANDED POLYSTERENE INSULATION WITH DENSITY OF 20KG 203MMx130mmx23MM SECTION STEEL BEAM

Karabo Ngobeni - Council Submission

Khathutshelo Mufamadi - Council Submission

“WHEN I DESIGN BUILDINGS, I THINK OF THE OVERALL COMPOSITION, MUCH AS THE PARTS OF THE BODY WOULD FIT TOGETHER, ON TOP OF THAT, I THINK ABOUT HOW PEOPLE WILL APPROACH THE BUILDING AND EXPERIENCE.”

TADAO ANDO

*Student first name & Surname - Project title*

INTERDISCIPLINARY DESIGN

SEMESTER 1 PROJECT 1.1 & 1.2

Kyle Pillay- Poster Visualization

Qaqambile Madolo - Identification

Stephen Kandorozu - Identification

Shyam Mnagar - Identification

Matthew Visser- Poster Visualization

Anke De Beer- Poster Visualization

- Poster Visualization

Mariam Muhammad- Poster Visualization

INTERDISCIPLINARY DESIGN SEMESTER 1 PROJECT 2.0

Asande Hlatshwayo - 120 Seconds

Nyeleti Mashele - 120 Seconds

Renardo Vorster - 120 Seconds

Matthew Visser - 120 Seconds

matthew visser 221000027

INTERDISCIPLINARY DESIGN SEMESTER 1 PROJECT 3.0

GROUP 08A - N. Loubser, R. Leshabane

GROUP 03 - A.Imran, A.de Beer, K. Dewa

GROUP 15 - K. Mndebele, S. Mnagar, S. Skinner

GROUP 26 - M. Visser, P. Themeli, R. Vorster

*Student first name & Surname - Project title*

DESIGN STUDIES

PROJECT 1

BOMMASTANDI OF ALEXANDRA TOWNSHIP

by: Mariam Muhammad

Abstract

Africans were already participating in private property at the start of the 20th century, as evidenced by the advertising of freehold homes that first emerged in Alexandra Township in 1912. This municipality was broken up into 2,500 stands, each of which was sold to a different person. When the payment was finished, the people received title deeds. It thus suggests that Africans were purchasing private property outside of a „traditional community,“ where it is believed that access to land is shared. It becomes more and more obvious that, despite the titled deed‘s identification of a specific person, it was usual practice for family resources to be pooled during the purchase of the land; as a result, shared ownership among members of extended families would be understood.

The process of acquiring bommastandi properties challenges the idea of a clear split of property relationships into regimes like private and communal. Bommastandi is the plural of mmastandi, a property owner, and signifies a virtual identity (Jenkins, 1996) since it survived the position of bommastandi as owners of private property and persisted even after their family lost their ownership rights and moved in as government renters.

Introduction

The essay will explore the daily routines and customs of the bommastandi and their families and consider their evolving views on private property ownership. I want to show how the idea of mmastandi may be a helpful lens for analyzing the real and lived experience of being contemporary, African, and permanently residing in an urban place. The basic subject of the legality of space and the period during which such spatial laws happened is raised by the examination of this idea and how its history and significance are portrayed in the property life narratives of bommastandi.

1.1. Alexandra Township - An Exceptional Space

The proximity to South Africa‘s then-fastest-growing urban center, the uncommon ownership of land by black citizens, and the fact that the state would not directly assume responsibility for Alexandra Township‘s management until the late 1950s all contributed to its geographic position. The second

proclamation of Alexandra‘s precise terms, issued in 1912, distinguished private property ownership and purchase in the municipality. It demonstrates how the „native“ property owners established a life for themselves in this legalized environment that was both within and without Johannesburg, as well as how their individual approaches to overcoming obstacles in Johannesburg‘s environs during the early 20th century affected their experience with private property ownership.

The establishment of Alexandra freehold was unique in that it addressed a „native“ problem in Johannesburg. In Johannesburg, there was a desire at the time for Natives and Colored people to own land (A letter of March 14, 1913, by the Alexandra Township Committee to the Minister of Native Affairs). The Alexandra Township Company (ATC), which first re-proclaimed a white township founded in 1905 as a „native and colored“ township in 1912, offered this remedy.

The mass of new immigrants who first purchased property in Alexandra, according to Bonner and Nieftagodien (2008:17), were historically rather rich sharecroppers and labor renters forced out of white South Africa‘s farms. This phase was a massive clearing of shelters, including slums, backyards, and shantytowns, in Johannesburg (Parnell 1993; Beavon 2004).

In addition, Alexandra was exceptional because it demonstrated that women might possess property not just by inheriting it from their husbands or parents but also by buying it for themselves. Such an incident refutes the idea that the African culture, which forbids women from accessing land without the consent of males, has permeated metropolitan areas. Later, the state forbade African women from independently purchasing property, nevertheless.

The uniqueness of Alexandra also stems from the fact that renting there was inexpensive and was available without being hindered by the onerous racial laws that restricted African access to metropolitan regions. Additionally, some Alexandra freeholders chose to stay in Alexandra whereas most Africans in other urban freehold townships were expropriated and sent elsewhere. Some of these freeholders continued to live in their former homes.

Additionally, Alexandra remained unwavering in its determination to be a black township in its existing location, despite several attempts to eradicate it or at least reimagine it.

1.2. The Notion of Mmastandi

The terms stand and mma combine to form the phrase mmastandi. Beavon (2004), who first identified „Stand,“ links it to Johannesburg‘s past as a mining city. Beavon (2004) asserts that it was first used for land sections defined on the declared ground under the „Gold Laws,“ citing Haswell (1979). Furthermore,

Mandy (1984) attributes mining to the term‘s beginnings even though it was adopted by non-mining industries such as residential projects that often took place in Johannesburg. Johannesburg grew differently even though the 19th-century urban type of South Africa was known as „Erf Township.“ „Not just housing sites but also common lands belonging to the municipality, on which townsfolk and visiting farmers would graze their cattle“ were included in an „erf township“ (Mandy 1984: 3).

The purchase of a stand, which represents the acquisition of private property, implies individual, named ownership (Bromley 2001; Mitchell 2002; Harris 1996; Widlok 2000). As it means more than simply a name qualifying „possessing a property,“ the notion of mmastandi rather than merely property owner is stressed especially.

1.3. Bommastandi Now

When the restitution path is taken, there will be greater uncertainty because multiple access methods were imprinted on the same piece of land at different eras. Was it feasible to distinguish bommastandi‘s group from any other inhabitants of Alexandra in the 1990s, even though it was obvious that they all shared a home during that time? All Alexandra households paid rent to the municipal council following the expropriation. The discount benefit system was not available to bommastandi when it was implemented in other townships (Royston and Ambert 2002: 265). Both Bommastandi and their tenants were taken in by the authorities. As a result, bommastandi in Alexandra in the 1990s found themselves becoming more assimilated.

Bommastandi families and other Alexandra inhabitants, both newcomers, and longtime residents, were living in these shacks. However, owing to financial issues the government was having, some property owners were left in shacks, and as a result, some of the families who were intended to be housed in successor townships were never transferred. Families like that of mama Zodwa and mme Mmapula are prime examples. Mama Zodwa has lived on the property of the Roman Catholic Church since 1988 when

her parents‘ property was expropriated. She reveals that although the army had given her family temporary housing in the form of tents, the council had placed her there.

The same thing happened to Mme Mmapula. She had two homes from her father. She resided in one together with her husband and kids. That year before, her husband had passed away, and her children had left the house. She is independent and there is no guarantee that she will leave the small shack any time soon as she awaits the restitution procedure. These families were uprooted, and the land they owned was utilized to create a school and private developer residences, respectively.

The inflow of individuals from other regions of the country led to the appearance of many additional shacks. Shacks were not the only buildings that towered above the 1990s Alexandra, though. In Alexandra, further housing initiatives were also developed. Like the privately developed homes created in the 1980s, bommastandi families were not the only ones intended to live in such housing developments. Instead, they were designed to help everyone who lived in Alexandra and could meet the conditions for occupying these homes, which would alleviate the larger urban housing problem.

The passage of the Restitution of Land Rights Act No. 22 in 1994 was seen by the bommastandi as a chance to reclaim or reestablish their parental estates. In this manner, people were provided with an enabling legal tool to reclaim their land in the shape of this Act for the first time after many years of conflict and struggle for their urban and South African land.

1.4. The Past in the Present

There are traces of the past in the modern Alexandra that may be seen beyond only the city‘s physical surroundings. Women whose possessions were expropriated and who now reside in shacks, for instance, are living proof of expropriation. However, the original hostels that popularized the idea of the hostel city still exist. The lives of women who were left without houses and are now residing in office buildings bear witness to the violence of the early 1990s, as do the private developer residences built in the 1980s. Along with all these old buildings, there are also brand-new neighborhoods and housing projects, like River Park, Tsutsumani, and East Bank, among others. Alexandra‘s past may be followed in the present.

During conversations with the relatives of the bommastandi, it became clear that the reparation funds were insufficient and that neither the lives of the bommastandi nor the rectification of spatial

imbalances were significantly changed (Ramutsindela, 2007; and Mngxitama ud). More significantly, the many encounters that bommastandi had while residing in Alexandra and their recollections of the possessions they lost as a result of expropriation and dispossession show that the loss of property extends beyond monetary loss. This implies that no amount of reparation or recompense, no matter how well-intended, can make up for the harm already done.

SECTION D: Conclusion

I‘ve argued in this essay that Alexandra is an important region to explore because of its remarkable history and geography. Families of property owners who resided in this extraordinary setting had experiences that significantly influenced how people understood private property ownership. It emphasizes how access to the property by „natives“ in Alexandra was simultaneously endangered, made possible, and redefined by spatial regulations. It also emphasizes how unique Alexandra‘s past is, even though it shares some characteristics with other urban freehold townships in South Africa. I also discuss the idea of mmastandi and how it might be seen through that lens to comprehend private property ownership. The idea is related to owning freehold property in Johannesburg Townships like Alexandra where Africans could own homes. But this part also addresses concerns about identification and bommastandi customs (property owners). The difficulties of belonging to an African group that possessed private property are shown when the present is used to examine history.

References

Nauright, J. (1992). “Black island in a white sea”

Black and White in the making of Alexandra Township, South Africa 1912 – 1948 A thesis submitted to the Department of History in conformity with the requirements for the degree of Doctor of Philosophy. Queens University Ontario Canada.

Brubaker, R. & Cooper, F, (2000). Beyond identity. Theory and Society Renewal and Critique in Social Theory Vol. 29 (pp 1-47).

Jenkins, R. (1996). Social Identity. London: Routledge

Bonner P & Nieftagoedin N. (2008). Alexandra: A History. Johannesburg: Wits University Press.

Beavon, K. (2004). Johannesburg, the Making and Shaping of the City. Pretoria: University of South Africa.

Parnell, S. (1994). The Construction of Johannesburg Slums as a “Native problem” in the 1910s.

Johannesburg: Institute for Advanced Social Research the University of the Witwatersrand.

Mandy, N. (1984). A City Divided, Johannesburg and Soweto. Johannesburg: MacMillan.

Blomley, N., Delaney, D. & Ford, RT. (Eds). (2001). The Legal Geographies Reader. Malden: Blackwell. Harris, JW. (1996). Property and Justice. Oxford: Clarendon Press.

Mitchell, T. (2002). Rule of Experts: Egypt, Techno politics, Modernity. Berkely: University of California Press.

Widlok, T. (2000). Dealing with Institutional Changes in Property Regimes. An African Case Study. Halle: Max Planck Institute for Social Anthropology.

Royston, L. & Ambert, C. (2002). Discount Benefit Scheme within the debates of housing subsidy options for secure tenure in Soweto, Gauteng, South Africa. Unpublished document produced by Development Worx Johannesburg.

Ramutsindela, MR. (2007). Transfrontier Conservation in Africa at the Confluence of Capital, Politics and Nature. Oxfordshire: CABI.

Mngxitama, A. (ud). Restitution Flat Rate Compensation: A Second Dispossession? By (Land Rights Coordinator).

REFUGE OR RICHES

The potential for the impacts of RDP housing to extend beyond purely shelter to a ladder for wealth creation.

by: Matthew Visser

ABSTRACT

How can RDP houses cater for more than the human need for shelter and allow for the generation of economic prosperity for poverty-stricken individuals?

Within South Africa’s subsidised housing sphere, there is a concerning lack of wealth creation amongst RDP housing beneficiaries, as state-supplied homes are seen as a structure for shelter exclusively instead of the financial asset it can become.

This leads to RDP houses solving the shelter need of citizens but neglecting their economic needs, which leads to continued poverty and hardship, despite the roof over their heads.

This essay aims to examine the potential for RDP housing as an economic and financial asset and identify and provide possible solutions to the problems that are causing financial stagnation amongst subsidised housing beneficiaries.

INTRODUCTION

A catchy starter sentence shall replace this one when I am smart enough to think of one. The South African Government‘s Reconstruction and Development Programme (RDP) has been successful in many ways, as it has proved to positively impact the health, safety, and social standing of over 5 million South Africans since 1994.

However, home ownership can act not just as a sanctuary but as an engine for wealth generation. Thus, this essay aims to answer the question: How can RDP houses cater to more than the human need for shelter and allow for the creation of economic prosperity for poverty-stricken individuals?

This question is explored in three parts. Firstly, the possibilities of housing as a financial asset are investigated, including a critical analysis of Hernando De Soto‘s economic theories. Thereafter, the barriers to asset utilisation in the South African subsidized housing sphere are probed; this includes an investigation of government shortfalls, perception issues, and various social impacts. Finally, recommendations on how to begin to unlock the immense asset potential of RDP houses shall be proposed.

HOUSING AS AN ASSET POSSIBILITIES OF FINANCIAL ASSETS

As a physical asset, a house unlocks many financial

opportunities for its inhabitants. Spatially, homes allow income to be generated through renting outside rooms or using areas to run a small business. Additionally, houses can be used as collateral to gear loans which can be used to finance small businesses, purchase assets or improve education and job prospects. Finally, homes give their inhabitants access to the housing market, so they will be able to improve their financial position over decades or even create generational wealth.

However, not all these opportunities are equally represented in subsidised communities. In her case study of Klapmuts, Stellenbosch, Jackie Dugard (Professor of Law, Wits) discovered a low level of financial deployment amongst RDP house recipients (2020, p. 21). Amongst her 21 study participants, 29% rented out a portion of their home and 14% operated a business from their home, but none of the participants had used their homes to secure a loan, and all expressed no desire to sell their homes. These findings mirror nationwide statistics on subsidised housing sales, showing that only 6% of RDP houses are sold, and only 8% of mortgage loans offered to RDP beneficiaries were geared using their home as collateral (Rust, 2011).

HERNANDO DE SOTO‘S STAIRCASE

Peruvian Economist, Hernando De Soto insists that to allow the poorest citizens in a country to generate wealth, the state has to turn informal ownership systems into formal title deeds and records (2001). Formalising ownership allows inhabitants to see beyond the existing shelter to the security and capital that could be. He believes that this will allow citizens to unlock the potential capital trapped inside. Formalising informal ownership systems has several advantages. It allows for standardisation amongst financial systems while folding brand-new assets into the housing market. This makes real estate more accessible for people who own communal or traditional homes (Gordon, Bertoldi, & Nell, 2011).

SOUTH AFRICAN REBUTTALS TO DE SOTO‘S THEORIES

While De Soto‘s theories are insightful and have influenced South African economic policy in several ways, including the country‘s current housing policy statement Breaking New Ground (Royston, 2007, p.34). However, his thoughts have not been without criticism, including the fact that his theories regard Western economic policies and Capitalist growth as the only

correct answer, invalidating any traditional forms of ownership and economy (Dugard, 2020). Additionally, Ebrahim-Khalil Hassen has criticised the ‚silverbullet‘ nature of his claims (2007, p. 81), as his theories are presented as the fix-all for poverty and split economies. It is argued that, while De Soto‘s theories are valuable, they should not form the core of the country‘s housing policy but should be among many theoretical perspectives.

HURDLES TO ASSET UTILISATION GOVERNMENT SHORTFALLS

The government has made significant progress in providing housing for poverty-stricken citizens, but some efforts have created hurdles to financial asset deployment amongst beneficiaries. Chief amongst these hurdles is the 8-year sales ban that the government has imposed on RDP houses, which delays entry into the housing market (Department of Human Settlements, 2022). Furthermore, 1.4 million title deeds are yet to be transferred to their owners (Eglin, 2017), further complicating asset deployment, making it impossible to access mortgage finance, and leading to tenure insecurity (Finmark Trust, 2010).

Another unfortunate oversight from a state level is the lack of proper consultation behind the location of housing schemes. These locations make it difficult for people to properly make use of their homes for rent or business income, as they are too far from major hubs (Dugard, 2020, p. 206).

PERCEPTIONS AROUND SUBSIDISED HOUSING

Public perceptions of RDP housing have a massive impact on the extent to which subsidised houses can be used for wealth creation. Firstly, many members of the public are misinformed about the rules of selling RDP houses, with most believing that it is entirely illegal to sell or buy a subsidised home, even after the 8-year sales ban has elapsed (Finmark Trust, 2010). Additionally, many people believe that they have very little value because RDP houses are received for free. This belief leads to homes that cost between R99 000 and R120 000 to build, selling for an average price of R54000 (Finmark Trust, 2010, p. 46)

SOCIETAL IMPACTS ON ASSET DEPLOYMENT

Alongside the two hurdles discussed above are several peripheral societal hurdles to creating economic assets from RDP houses. Firstly, people are very grateful for their homes and value the security they provide. This sentiment means that many beneficiaries are unwilling to risk losing their homes by putting them up as collateral for loans, even if they would help ensure future income (Dugard, 2020). Also, many people want to leave their homes to family members and do not want to jeopardise their ownership. Interestingly, an interviewee from Dugard‘s study shed light on the stigma around selling an RDP house, which is seen as being ungrateful and greedy (2020)

POSSIBILITIES FOR IMPROVEMENT STATE-LEVEL INTERVENTIONS

There are a few actions that government can take to catalyse the creation of wealth amongst RDP beneficiaries. This can include revoking or revising the 8-year sales ban to allow for swifter entrance into the housing market without compromising the integrity of the allocation process. Tangential to this intervention, the government must work harder to reduce the title deed backlog on completed projects as well (Finmark Trust, 2010). Concomitantly, the government can investigate extending financial assistance to RDP beneficiaries who want to improve the value of their home through renovations which would increase the asset value of the houses.

Vitally, the state should also consider the location of new housing schemes more intensively to allow beneficiaries to unlock their total value. This could include infrastructure links and public transport overhauls if physically locating developments nearer to major hubs is not feasible.

INFORMATION AND EDUCATION

Awareness campaigns should be central to all major government housing developments, but there are some gaps in the messaging that have allowed misconceptions about the RDP scheme to become widespread (Dugard, 2020). The government needs to reprioritise informing people about the legalities of RDP house ownership – specifically around the sales ban – as well as the opportunities of homes as financial assets for wealth creation and poverty alleviation.

CONCLUSION

This essay has explored the question of how RDP houses can cater to more than the human need for shelter and allow for the creation of economic prosperity for poverty-stricken individuals. It examined the value of a house as an asset that can grow wealth and prosperity and interrogated economist Hernando De Soto‘s theories on housing for the poor and split economies within the context of South Africa‘s subsidised housing sphere. This examination was followed by an analysis of the current hurdles responsible for the lack of substantial financial asset deployment in South Africa, including the government‘s political and bureaucratic shortfalls, poor perceptions around the value of RDP homes, and the legality of their sales. Following this analysis, several recommendations were provided that might aid in catalysing a more substantial utilisation of the latent assets within subsidised assets.

REFERENCES

Department of Human Settlements. (2022, January 05). Retrieved from Frequently Asked Questions: http://www.dhs.gov.za/content/faq

Dugard, J. (2020). Staircase or safety net? Examining the meaning and functioning of RDP house ownership among beneficiaries: A case study of Klapmuts, Stellenbosch. Law, Democracy and Development, 24, 201-224.

Eglin, R. (2017, August 12). Creating Quility Environments: Managed Land Settlement.

Finmark Trust. (2010, June 11). RDP Housing Assets: Exploring the performance of government subsidised housing in South Africa. Terms of Reference.

Gordon, R., Bertoldi, A., & Nell, M. (2011). Housing Subsidy Assets. Johannesburg: FinMark Trust.

Hassen, E.-K. (2007). The Second Economy and ‚Dead Assets‘. Are Hernando de Soto‘s views appropriate to South Africa (pp. 80-90). Johannesburg: University of the Witwatersrand.

Royston, L. (2007). Snakes and Ladders. Are Hernando de Soto‘s views appropriate to South Africa? (pp. 32-43). Johannesburg: University of the Witwatersrand.

Rust, K. (2011, December 1). Launch of research into Government Subsidised Housing Asset Performance. Retrieved from Centre for Affordable Housing Finance in Africa: https://housingfinanceafrica.org/documents/ launch-of-research-intogovernmentsubsidised-housing-asset-performance/

Soto, H. D. (2001, April 16). The Hidden Architecture of Capital. Retrieved from Institute for Liberty and Democracy: https://www.ild.org.pe/publications/articles/863the-hidden-architecture-ofcapital

SEMESTER 2

JAY MATLOU (FROM ACCESS CHAPTER 2 ORGANIZATION) DELIVERING A WORKSHOP ON GENDER SENSITISATON TO STUDENTS AND STAFF AT THE DEPARTMENT OF ARCHITECTURE, UJ

“...NO SPACE IS TOTALLY QUEER OR COMPLETELY UNQUEERABLE, BUT SOME SPACES ARE QUEERER THAN OTHERS [...] MORE FUNDAMENTALLY, QUEER SPACE IS SPACE IN THE PROCESS OF, LITERALLY TAKING PLACE OR CLAIMING TERRITORY.“

REED, 1996)

SEMESTER 2 THE PUBLIC CLOSET

GUIDED READINGS (GR)

References and resources for the project:

The readings were conducted in a form of a seminar discussion. Each session 3 students were tasked with summarising a reading for the class highlighting important arguments therein. 3 other students were tasked with identifying responses to the reading by bringing other readings/sources into the discussion.

GR 01: the Politics of Queer space and identity

Prescribed Readings in this session are critical academic texts and documentaries that discuss some of the issues and challenges around queer politics from both local and international perspectives:

Ahmad, D. et al. (2021) Hopes and dreams that sound like yours: stories of queer activism in Sub-Saharan Africa.

Bell, D. and Binnie, J. (2004) ‘Authenticating Queer Space: Citizenship, Urbanism and Governance’, Urban Studies, 41(9), pp. 1807–1820. doi: 10.1080/0042098042000243165.

Canham, H. (2017) ‘Mapping the black queer geography of Johannesburg’s lesbian women through narrative’, Psychology in Society, (55). doi: 10.17159/2309-8708/2017/n55a6.

Mitchell, D., Scott, D.T., n.d. Towards a Queer Urban Design Methodology 8.

i-D (2017) Exploring Queer Identity with South Africa’s Born-Free Generation and LGBTQI Activists - Episode 1.

Available at: https://www.youtube.com/watch?v=L0Uk6L7kkdw (Accessed: 16 June 2021).

GR 02: From the HAUS to the Ball

Prescribed readings in this session focus on queer identity and expression. They include films, documentaries, music videos, artistic expression and academic texts

Hermanus, O. (2020) Moffie. Portobello Productions, Department of Trade, and Industry of South Africa. Livingston, J. (1990) Paris Is Burning. Art Matters Inc., BBC Television, Edelman Family Fund. Trengove, J. (2017) Inxeba. Urucu Media, Riva Filmproduktion, Das Kleine Fernsehspiel (ZDF).

GR 03: Queer Eye, design precedents

This session focuses on architectural and urban design projects that actively address design from and for queer identities. Included are built and speculative projects

La Brea Affordable Housing. 2013, West Hollywood, USA, Patrick Tighe Architects

https://www.artconnect.com/projects/the-baths-for-queer-defense-and-de-liberation

https://www.studentawards.corobrik.co.za/ian-mcbride

https://219055409.wixsite.com/ndebelet/dressing-undressing-readdressing Reed, C. 1996. Immanent Domain: Queer Space in the Built Environment. Art Journal, Vol. 55, No. 4. Pp. 65-70.

Parra-Martínez, J., Gutiérrez-Mozo, M.-E. and Gilsanz-Díaz, A.-C., 2020. Queering California Modernism: Architectural Figurations and Media Exposure of Gay Domesticity in the Roosevelt Era. Architectural Histories, 8(1), p.14. DOI: http://doi.org/10.5334/ah.382

http://qspacearch.com/sanctuary

https://static1.squarespace.com/static/574c26748259b5de67374fda/t/614468aedece47308a14c9b1/16318 73224209/ArchitectureLGBT+Scotland+Zine+Volume+One1.pdf

TWITTER @ZULUSWEG USIBONISO KAMABASO 03 APRIL, 2021

SEMESTER 2 PROJECT 5.1

BRING OUT THE CLOSET

LEMUVA [Background]

In 2020 we explored the politics of public architecture by interrogating and reimagining various public building typologies such as police stations, memorials, and embassies to bring questions of identity in conversation with those of space. In 2021, we dared to be radical by turning the whole curriculum on its head through our queer clubhouse studio which aimed to introduce students to critical theories, and spatial design for people that are marginalised and pushed to the periphery of many disciplines including architecture. This year, 2022 we attempt to bring the lessons of the two previous studios together and deepen our engagement with the multifaced and socio-political morphology of Johannesburg. We continue to address queer issues, albeit from a politically conscious and intersectional lens. Meaning to consider queerness as connected to feminism, critical race theory, socialism and not as an exception.

“… the closet originally referred to a small private room, such as a study or prayer room. This idea of privacy led to the sense of hiding a fact or keeping something a secrete… it is a space of domestic concealment… it has less legitimacy than a room… it is decidedly a non-social space, it enforces isolation, it also protects its contents from exposure and harm.”

Hannah Kushnic, 2010

Parallels and differences can be drawn from the two framings of closet above. They raise issues around domesticity, publicity, cultural and individual expression and concealment. They intersect two seemingly opposing worldviews and expose potential connections. This is what we hope to achieve with the studio this year.

If we consider the closet or the Kist as a space, and as spatial practitioners who are interested in creating spaces, cities and worldviews that challenge convention, then what kinds of closets are we forming? Are these spaces of divisions, exclusion, concealment, protection, expression, exhibition, care, love or harm? How can we think beyond extremes? Beyond binaries?

UMSEBENTI [Task]:

Using the Kist/closet/room divider/display cabinet/ wardrobe (in your home/parents place/ grandparents place) as a metaphor, discuss/explore your position regarding the theme for this semester (Queer Politics).

Your discussion /exploration must include evidence of deep engagement with at least 2 journal articles from the prescribed reading list below and 2 other sources of your own choosing (these could be films, non-academic texts, documentaries, oral narratives, etc). The output can take the form of a visual essay (A1) or a short film (2min30sec). use parts of Johannesburg to contextualise your exploration/discussions.

IMIPHUMELA [Deliverables]:

1x A1 1000 word Visual Academic Essay Poster, referenced according to UJ Guidelines. OR An original 2min 30sec short film shot, written, directed, and edited by you (inclusive of a script)

IMIBANDZELWA [Assessment Criteria]:

• Academic rigor (depth of research)

• Clarity of argument/storyline and coherence of thought positionality

• Referencing (academic/inspiration)

• Quality of illustrations/filmmaking

• Presentation quality (layout, editing, treatment, composition

TEFUNDVO LETIBEKIWE [Prescribed Readings]:

1. Bell, D. and Binnie, J. (2004) ‘Authenticating Queer Space: Citizenship, Urbanism and Governance’, Urban Studies, 41(9), pp. 1807–1820.

2. Canham, H. (2017) ‘Mapping the black queer geography of Johannesburg’s lesbian women through narrative’, Psychology in Society, (55).

3. Reed, C. 1996. Immanent Domain: Queer Space in the Built Environment. Art Journal, Vol. 55, No. 4. Pp. 65-70.

4. Mitchell, D., Scott, D.T., n.d. Towards a Queer Urban Design Methodology 8.

Mpho Phajane- Beyond the Closet (film)

Xhesasekise Manaba- Reframing the Closet (film)

NOTIONS OF CONVENTION & QUEER POLITICS : A VISUAL ESSAY

PREAMBLE

We live in a world where society focuses on highlighting the negative, or at least what is perceived to be the negative things around us. Very seldom do we focus on celebrating the positives and the things we love. Consciously, as is often the case in most instances, and also unconsciously, people go through their day-to-day nit-picking the people around them, exposing every mistake someone makes, in an effort to find something negative to focus on. The purpose of this essay is to explore notions of convention, specifically how they affect queer politics, from a retrospective and ‘outrospective’ (Roman Krznaric) perspective.[1] I will use a metaphor of the dinnerware inside the display cabinet in my grandmother’s house to illustrate the concept of a concealed identity as I explore the notion above.

The observer

Whenever we have guests at my grandmother’s place, there’s this ritual of using fancy dinnerware that’s not normally used to serve them, which most communities of colour are familiar with. However, inside the display cabinet, there was this rather strange dinner plate that was always tucked away below other dinner plates. Growing up, I was always intrigued by a family member’s obsession with this one dinner plate, which was kept in a corner inside the display cabinet because of its oddness. Whenever that family member took it out of the display cabinet, immediately you would hear an elderly member screaming, “Put that China back in the cupboards!” From a place of privilege, murmuring in my head, “It’s just a plate,” I observed as a child,

seeing a family member being scolded. “Heart plays in ways the mind can’t figure out”(Duckworth, 2022). Coming from a background that values religious doctrine, queerness and inquiries about gender identity were and are still frequently misunderstood and viewed as taboo subjects. As Cottingham (2022) states, “In most cases, they are written off as inherent sins and not up for further debate.”

Such is perplexing to a child’s brain, seeing the repercussions of the odd dinnerware being taken out. To get close to the display cabinet, the family member gravitated toward doing kitchen-related chores. What was rather contradictory to me was the fact that although as a family we followed patriarchal views, they didn’t see anything wrong with the family member’s swapping of roles. As a child, this led me down a rabid hole of questioning, not just societal norms but also having conversations with family members. Most often than not, the conversations would always end with “That’s sin!” or “If you use that dinner plate, you will go to hell”. When I saw a family member using that dinnerware when people weren’t around, I didn’t see anything wrong with that. These opposing viewpoints created an internal conflict of binary ideologies, not regarding gender norms but rather the definition of morality.

ELEMENTS OF SAFETY

Through observing the repercussions of a family member taking out the odd dinnerware from the display cabinet, it is understandable why someone wouldn’t feel comfortable in certain spaces. In South Africa, for instance, black males largely remain the greatest threat to the sense of safety of others (Jewkes et al, 2010). Queer acceptance in society is evidently a facade, as most often you hear of a queer individual being killed somewhere, especially in Johannesburg.

(YFM) : “If my child grows up using that odd dinnerplate, I’m going to slap the strangeness away from him.” [2]

(OFM) : “It’s wrong. I have acknowledged classmates who use the odd dinnerware, but they need to come back to the light; otherwise, they will burn in hell!” [3]

NOTES

1. Outrospective as defined by Roman Krznaric A method in which you get to know oneself by developing relationships and empathetic thinking with others.

2. YFM is an acronym for a younger family member

3. OFM is representing an older family member

4. EFM also refers to Elderly family member

EFM : “I think those lovely two men living next door use that odd dinnerware in their house every day. I am surprised they even pray.” [4]

Even the ‘newly accepted’, using that term loosely, sexual identifications, there exists a form of classism which is also problematic. Patriarchal connotations also exist in the fetishizing of some queer individuals; take lesbians, for instance, with words like “dirty lesbians” for classification. As Canham states, when something is considered dirty, there is something sexually enticing and simultaneously forbidden about it (Canham, 2017). As the world gradually becomes more urbanised with a noticeable amount of rural to urban migration, it is important to understand the activities that are shaping the urban landscape as we experience it. As spatial planners, designing in the ‘future-tense’—considering the material details and social implications of things that don’t exist, as Rania Ghosn in Geostories (2022) suggests, can be a good way to challenge our beliefs, perceived transgressions, and choices that have shaped who we are (Rania Ghosn, 2022). The result is a society that encompasses and acknowledges the existence of “others.”

Right or Wrong

For if sexuality is not determined, then what is it? For many, the answer is simple: it must be a choice. What innate drive to use the dinnerware when told not to? And the result of viewing sexuality as a choice is far more politically damaging than the lie of biological determinism. It means that the LGBTQIA+ must have to defend their practices from accusations about their “immorality”(Shamus Khan, 2015). As history and cultural diversity are typically the tools used by scholars to show that something we perceive as natural is actually a social fabrication. In this instance, we would anticipate that race, if it were a biologically defined concept, would be constant over time and space. The enormous process of classifying individuals by race and understanding such a category as a biological inheritance did not begin until more contemporary scientific categorisation systems, paired with European geographical discovery and colonisation(Shamus Khan, 2015).

CONCLUSION

The reality is that queer individuals seek inclusion in public spaces to become active members of society as opposed to being passive members of a society that pushes heteronormative ideals. When there’s resistance, which is often the case, they end up establishing their own queer spaces separate from heterosexuals. As Shane Phelan (2001) writes, “making our communities into armed camps is not good politics; rather than shoring our borders to prevent infection, we must work on infecting the body politic with the dangerous virus of irreverent democracy.” However, as modern society has created clans of opposing views, where tensions are exposed at the intersection of these opposing views, the formation of these armed camps is inevitable. In Biomimicry, Exploring critical regionalism in the global south (Chinyanganya, 2022) I explored how a hyper-nationalistic society breeds a culture that excludes people be it racially or others in general. The dominant culture’s unwillingness to recognise queer domesticity is evidenced politically in opposition to, for instance, same-sex relationships (Reed, 1996).

REFERENCES

Duckworth, KL. (2022). Auntie diaries. Santa Monica, California: Universal Music Group Cottingham, DL (2022). Kendrick Lamar’s Auntie Diaries is a clumsy attempt at trans acceptance : https://www.vox. com/culture/23101387/kenrick-lamar-auntie-diaries-transphobic-morale-big-steppers

Jewkes RK,Dunkle K, Nduna M and Jama-Shai N (2010) The Lancet

DOI:10.1016/S0140-6736(10)60548-X

Jewkes, R., et al., Sikweyiya, Y., Morrell, R., & Dunkle, K. 2011. Gender inequitable masculinity and sexual entitlement in rape perpetration South Africa: findings of a cross-sectional study. PloS One, 6(12).

PHELAN, S. (2001) Sexual Strangers: Gays, Lesbians, and Dilemmas of Citizenship. Philadelphia, PA: Temple University Press.

Chinyanganya, ST. (2022). Biomimicry, Exploring critical regionalism in the global south. Barchelors level. University of Johannesburg.

Neath, G. (1998). An examination of Mexican food in popular culture. Masters level. Oxford Brookes University.

Reed, C. 1996. Immanent Domain:

Queer Space in the Built Environment.

Art Journal, Vol. 55, No. 4. Pp. 65-70

Canham, H. (2017) ‘Mapping the black queer geography of Johannesburg’s lesbian women through narrative’, Psychology in Society, (55). doi: 10.17159/2309-8708/2017/n55a6

Jazairy, EL and Ghosn, R. (2018). ‘Geostories: Another Architecture for the Environment,’ Design Earth, 1(2) https:// design-earth.org/publications/geostories/

Johnson, B. (2016) The rise of the Ubermensch. Available at: http://www. bjohnsonsworld.co.uk/theriseoftheubermensch (Accessed: 23 October 2017)

Khan, S. (2015) Not born this way : https://aeon.co/essays/why-should-gayrights-depend-on-being-born-this-way Blue is the warmest Color (2013) Directed by A. Kechiche. [Feature film]. France: Wild Bunch AG.

Henceforth if “using the odd dinner plate in your grandparent’s house” is a physiological desire whose expression is socially constructed. Some of that construction turns desire into love. Parallels in the film Blue is the warmest colour are to teach us something - self-acceptance is the right thing to do. Hiding who you are, always leads you to misery. We see this with the main protagonist, Adele, trying to figure out who she was, as she was not happy. In conclusion, just as an elderly family member instils a belief system that a specific dinnerware isn’t supposed to be used, morality in this sense is a form of a societal construct to which people become accustomed. It is us as a society who define what we deem right or wrong. Every individual possesses enough expressive liberty within them, but repercussions exist when that is deemed out of the norm. So if part of the population wants to explore their liberty to use the odd dinnerware in their grandmother’s display cabinet, Let them be! The discussion should instead be focused on making that the norm.

Figure 4: Illustration by Simbarashe Chinyanganya The Moral Compass

Figure 2: Illustrated by Simbarashe Chinyanganya The Stare

Figure 3: Illustrated by Simbarashe Chinyanganya Elements of Safety

Figure 1: Illustration by Simbarashe Chinyanganya The Observer

SCAN QR CODE TO GAIN ACCESS TO PROJECT VIDEOS

Gerald Guerra- Freedom in space (film)

Khanyisile Mndebele- Same Difference (film)

Nyeleti Mashele- Ally (film)

“Our perceptions of reality form it. If so,

“Our perceptions of reality form it. If so, what does this say about the areas we constantly inhabit? What about our areas of work, schools, university, homes, and even daily life? Our ideals shape the world, yet what begs the question is if the world does not shape us instead?” (Levin, 1979). Humanity resides in an ever-evolving world governed by advances in the fields of technology and medicine. However, as much as these factors help define the world. Our mind’s ability to synthesise identity makes it the defining factor of change. The issue is that people were not taught to comprehend this ability’s gravity and the repercussions fully. This research hopes to critically analyse the degree to which we have normalised the indoctrinated ideals of the world around us by examing the idea of the self, regarding queer politics and the symbolic meaning of a kist.

What is interesting to note is that the idea of owning China dishware in modern era South Africa is seen as the idea of wealth. An interesting link is made by connecting the ideas about this kist to the queer community. Examining the glass doors of the glassware, one notices the transparency to allow for the visibility of dishware inside. This can be paralleled with the lack of transparency placed by society over the queer community, thus leading to misconceptions of identity, sexuality, and culture. In this sense, the queer community can be seen as a metaphorical kist. This begs the question, to what degree have our perceptions of the queer culture and community been warped by the morality of society, and if so, can it be amended?

As revealed in a survey conducted by Out (a South African rights organisation). The data showed that of the 2000 LGBTQ people interviewed, 39% were “verbally abused”, 20% threatened with harm, 17% chased or followed, and nearly 10 per cent physically attacked (with a more significant number of black people have known someone who died), (Greef, 2019). This statistic can be seen in the spaces we inhabit. We have grown to understand the identities of cities and townships, but to what degree have we normalised the historical biases of these identities? (Alison., 2001). This is seen in the narratives of the cities always having large-scale glass buildings and townships regarded as zones of informal housing. Moreover, what identities have we tied to these spaces, what relationships do they contain and what defines them?

(SAHO, 2021)

a way of showing off”, (Mahlangu, 2022).

Micheal

Mahlangu- Does space give

Queering The City The creation of safe spaces for LGBT people to express themselves is an example of coming out of the closet or queering the city. For example, the fashion industry improves their workplace safety and survival. The fashion industry is designed to make everyone feel equal rather than inferior. GALA, Gay and Lesbian Memory in Action is a forum that has been designed to provide a safe space for LGBT people. As a result, it can be regarded as a queer space that increases safety. Dustin Buzzard,a graduate architecture student, gives ideas on how to Queer a city in the journal towards a queer urban design methodology, such as "cruise the park." Back in the day, gay men had to use codes to communicate private desires to one another, this method of communication was called code-switching, but this practice faded as they began communicating online. This method was rather very exhausting and draining and had psychological impacts. Cruise the park was created to allow not only LGBT people but also straight people to converse. This is an example of considering not only the space itself, but also the people in the space. People with power, such as the upper class, drive cities. They have complete control over how the city should function and look. Queer is a strategy for establishing a continuous process-oriented city as opposed to a fixed product-oriented city. Queering the city makes workers such as architects, landscape architects and practitioners, etc aware that they are not only constructing the city's physical and material fabrics, but also highlighting the importance of people in the city's construction.

QUEER is the closet, bring it OUT!

Conclusion

Fearing for one's safety on a regular basis, having insults hurled at them for being who they are, and code-switching are all mentally exhausting and can have long-term consequences for their psychological well-being. Therefore, I do agree with the queer methodology in the society or in the urban sector. It gives a break and a safe area for people to bond with one another, exchange stories, and/or simply have fun with their guards down. I won’t neglect the fact that LGBTQ acceptance has grown in recent years, but these people are still a long way from feeling entirely safe and welcomed wherever they go. As a result, queering the city will continue to be vital!

forge her own identity based on her desires, the same is true for the interviewee. Even after concealing her identity by leaving her community, she encountered the same lack of understanding of her sentiments in Johannesburg. A location where she gets chastised for being unique. The point I'm trying to make is that we are living by obsolete or societal conventions rather than being ourselves. It makes no difference whether it is about sexual identity or simply rejecting societal standards in any manner; you are instantly perceived as different and chastised for it. The first democratic pride demonstration occurred on the eve of democracy in 1990, and many more followed. This suggests that their voices are not being heard sufficiently. Why are they attempting to conceal these individuals who are unique? As a result, we should open the queer closet so that they can live their lives without feeling threatened or unwelcome. And emphasize that the term "queer" refers to those who are not just different from society's norms in terms of sexual orientation, but also in other aspects.

Introduction.

“Munna ndi munna, u fanela u sumbedza vhunna” said my grandfather whenever i cried for something. Growing up in the village of Tshiendeulu in Limpopo, and being someone who is not farmilia with social media platforms and never used to watch TV. That kind of life system did not give me much of exposure to different opinions except for the teachings i grew up being taught either be from home, from church, school, and by friends and also the community. Grew up knowing that in the world we just men and women. Which also shaped my mind in a certain way and affected how i see world.

In 2014, i still remember it was in the middle of the February and was also excited that i got addimitted at the University of Venda. Which is located five minutes away from the Thohoyandou CBD. I did not know that this opportunity will also question or bring exposure to different opinions. Second week of February in 2014, i had orientation day, where started to be more exposed to many things have never seen including the difference in gender and how people think. Remember, coming from one orientaited community and now the way know things is being questioned or interogated within two months of my life out of my home. In my mind was like What? By that time was seeing what know as a men behaving different from how was taught. That was my first time coming across Queer person in my life, just used to hear about queer. By that time did not know about queerness. To me, all that knew is men and women. From that day had so many questions about that different behavior i have seen, which now know as queer people. But because of lack in information could not know much and did not understand. But as time goes on and also changing environment gave me chance to get some of the answers like what do people of this kind called.

Queer, in simple terms describe the sexuality that rejects normative definition of appropriate feminine and masculine sexual behavior, Kristen B, (2016). According to GLSEN findings, queer or LGBTQ dates back to second century. Which gave me an idea of the period from which the universe has been telling us that we are differnet, but yet people refuse to accept that, GLSEN (1990). I say that people are refusing, because there is so many cases in which opression is exprienced by queer people. This text aims to explore the kind of enviroment we are living in and how it feels to live in it when you are different. Will also look into some possible ways to acknowledge the difference in sexuality or the diversity of sexuality.

Queer Suffering.

Exclusion.

“Exclusion is never the way foward on our shared paths to freedom and justice”

Desmond Tutu.

Growing up looking at my mother’s precious Room divider, and the way things were packed in that artefact. Taught me that there are things that do not belong somewhere or we have authority to decide what and which belongs to where. Just like some of the traditional metal footed pots used to cook when using fire wood were not fit to be packed in the precious rood divider of hers. That segregation is what queer people still expriencing in most of spaces such as churches, public buildings and many more places, including the most used space which are shopping malls. According to D Bell and J Binnie (2004), cities are main places or sites where difference is encoutered and at these sites,struggle over belonging mostly happen. This just confirms that the exclusion of queer people in most of the designed spcaes is clearly seen. To give an example of the building which i use almost everyday of week. The bathroom are mainly focusing on binary identity, but that is not happening only in this building, almost every designed space. It can be public or residential buildings. We tend to ignore this everyday of our life, how that makes queer people feel in every moment they use those spaces. This exclusion is everywhere, in the community we live in which chooses not to include or accept the difference. Hugo C, (2017) found that one of the interviewed black lesbian women declared that she feels more happier than ever before because she changed the community and came to Johannesburg where now she is able to express herself, not like back home. Which confirms that communities has not yet opens up to acceptance. According to interview between Nadia D and Zethu M (2017), in 80s Simon one of the gay people was charged with treason, because he participated in a gay organizasion. Which tells me that the community obvioulsy reported him because they did not want him to stand for the differnce.

Queer Harmony.

Inclusion.

“We all should know that divesity makes for a rich tapestry, and we must understand that all the threads of the tapestry are equal in value no matter what their color.” Maya Angelou.

“Inclusion international, it is about identifying and removing barriers so that everyone can participate to the best of their ability.” The Inclusive Class.com.

Reverting back to how my mother’s precious room divider looked like, and after being exposed to differnet opinions. I had a thought one of the good days that, what if those excluded pots were to be given a space or maybe were also considered to be fit and as important as many other things inside? How would it feels and looks like? Which are two questions that have and still trying o give myslef answers to those. That if queer people are treated also as how men and women gender, what would our wolrd looks and feels like? even the spaces designed.

However. Metchell D and Scot DT (n.d) , states that designing space in which people witness and appreciate diverse cultural (sexuality) expression that they do not share nor understand, and that is called queering the city. Safety can be produced as a function of class and deliberately created in safe zone... said one of nterviewed black lesbian women in Hugo C (2017). Inclusion of queerness would mean that even the planning of the ciies and design of the buildings would consider the fact that we have diverse of sexuality. Which we result to the equality that is being seeked by our democracy.

When first encoutered the queerness, it was a shock to me, because little did i knwo or knew nothing at all about queer people. Which tells me that if maybe knew, maybe would have reacted better or understood. So this means that maybe most of people or community are rude towards queer people because they are less informed. I sugget that if our government hold more seminar and intorduce programmes in schools to educate people more of the queerness, maybe the mindset would also change. The seminars also need to be accommodating because some of these seminars end up not doing what they are meant to do. “Oh and do not go to Joburg Pride now, i go to People’s Pride” said one of the lady interviewed in Hugo C (2017). Secondly, mybe if the setence to the culprits assualting queer people, because of expressing themselves, increased or become more considered. The rate of cases would also reduce. Accordind to Hugo C (2017), lady stated that Goverment is not doing much to the matter, “I die and get raped and still see my repisteveryday... had evidence but no one arrests him...” said the lady imterviewed.

Conclusion.

I have highlighted two important arguments in order to explore how it feels to be a queer person in the context of Johannesburg , but not ignoring the country as a whole. It can been seen that queer people are not really enjoying being different or expressing themselves. Because they end up being discriminated just because they are not what community and people wanted them to be. Secondly i looked into how it might be if queer people would also be considered in everthing that is done as much as male and female gender are. What can be done so that queer people can feel safe? Because, findings shows that they feel unsafe everywhere they are.

Reference

Kristen, B. (2016), queer sexual politics, Britanica, viewed 25 July 2022, https://www.britannica.com/topic/queer-sexual-politics.

Mitchell, D., Scott, D.T., n.d. Towards a Queer Urban Design Methodology 8, viewed 20 July 2022.

Bell, D. & Binnie, J. (2004) ‘Authenticating Queer Space: Citizenship, Urbanism and Governance’, Urban Studies, 41(9), pp. 1807–1820. doi: 10.1080/0042098042000243165, 22 July 2022.

Canham, H. (2017) ‘Mapping the black queer geography of Johannesburg’s lesbian women through narrative’, Psychology in Society, (55). doi: 10.17159/2309-8708/2017/n55a6, 23 July 2022.

GLSEN, (1990), LGBTQ history timeline reference, GLSEN, viewed 23 July 2022, https://www.glsen.org/sites/default/files/ LGBTQ-History-Timeline-References.pdf

Nadia, D & Zethu M, (2017) Queer politics and intersectionality in South Africa, Safundi, 18:2, 161-167, DOI: 10.1080/17533171.2016.1270015, viewed 24 July 2022, ttps://www.tandfonline.com/ loi/rsaf20

List of figures

Figure 1 by Mudau T, Tshiendeulu village, 2022 (Source:Mudau T, 2022)

Figure 2 by Tshegofatso M, University of Venda, 2018 (Source:Tshegofatso M, 2022: Online) https://ewn.co.za/2018/08/14/univensrc-to-meet-with-management-over-ongoing-protests

Figure 3 by Mudau F, Roon divider, 2022 (Source:Mudau F, 2022: Online )

Figure 4 by Megamaster, Traditional metal pot, 2022 (Source:Megamaster, 2022: Online ) https://megamaster.co.za/products/3leg-pots

Figure 5 by Mudau T, Uj Fada Building, 2022 (Source:Mudau T, 2022:)

Figure

“ARCHITECTURAL DESIGN IN NOT SIMPLY A MATTER OF SOLVING PROBLEMS. IT IS A QUESTION, FIRST OF ALL, OF FINDING WHAT THE PROBLEMS ACTUALLY ARE… UNLIKE OTHER KINDS OF STUDENTS, ARCHITECTURAL STUDENTS MUST THEREFORE TAKE THE PLUNGE INTO DOING BEFORE THEY KNOW WHAT TO DO” G. BROADBENT, 1995, 23

AVAILABLE AT: HTTPS://WWW.YOUTUBE.COM/WATCH?V=58UROGQQ1LS

BROADBENT, G. 1995. ARCHITECTURAL EDUCATION. IN” MARTIN PEARCE AND MAGGIE TOY ED. EDUCATING ARCHITECTS. LONDON: ACADEMY EDITIONS, PP. 10-23

STILL FROM 2020 YOUTUBE VIDEO BY STAGE DESIGNER ES DEVLIN CULTURE IN QUARANTINE MASTERCLASS

SEMESTER 2 WORKSHOP 1-3

SPATIAL TRIGGERS

Tasks:

In the absence of a site, program, and scale, and based on one of your prescribed readings or the theme on the semester, explore questions raised or you have. What if questions are a good start… and once you have a question, on the 6 papers given draw 6 possibilities of representing that question in 2D line drawing(15min task)

Next, using cardboard, build a memory box the size of a shoe box (210x297x105mm), leave one side open (big side)- 10 min

Based on your 6 drawings, build a new drawing through cutting, folding, bending layering on the open side of your box- 30 min

Next, working with a partner, build another memory box the same size as the first. On this box through the process of…. Listening and interpretation… Follow instructions by workshop convenor… (30min)

In the photo studio, project a series of images that come to mind when you think about the theme of the semester on your collective memory boxes and photograph these projections (after class). Print one of these on A3 and bring to our next workshop.

Outcome:

3 x Spatial Triggers/ Memory Boxes, professionally photographed memory boxes with projects

Assessment Criteria

Visual interest and design intentions

*workshop inspired by ES Devlin‘s quarantine masterclass

Raymond Holwill

Nyeletii Mashele

Anke De Beer

Renardo Voster

WORKSHOP1-3: INTERNAL SPATIAL INTERPRETATION

VISUALISATIONS:

CREATIONS:

TEXTURED SCENE:

MAHLANGU M.S 221039571

Matthew Visser

Thato Mothlafi

Khanyisile Mndebele

Joshua Naidoo

Conceptualisation, working through model and moving image projection

“QUEER ENQUIRIES SHOULD QUESTION THE IDEAL OF INCLUSION AND ENTAIL RADICAL (RE)THINKINGS, (RE)DRAWINGS, (RE)CONCEPTUALISATIONS, (RE)MAPPINGS THAT COULD (RE)MAKE BODIES, SPACE AND GEOGRAPHIES” (OSWIN 2008, AFTER BROWNE 2006)

UMSEBENZI [Activity]

In the groups assigned below, you are required to investigate (read) the relationship between material culture (urban form) and human experience (phenomenology) of your study area: Newtown, working between multiple urban scales. The following list should be considered as a guide for the production of minimum outputs:

-Two to three 1:10 000 scaled locality maps showing accessibility modes, major roads, key nodes (transport, health, education, civic and queer spaces)

-Five to seven 1:5000 Newtown Neighbourhood Maps (figure-ground map, nollie map, land use map, public open spaces, movement nodes and systems, landmarks, experiential maps)

Eight to ten 1:200 Precinct plan outputs

• Maps/plans and Street Sections (building heights, building uses, street analysis, thresholds, land-

scape- hard and soft, mobility, nodes- spaces of intense activities

• Image making (street elevation photo montage, street perspectives diagrams illustrating the character of the street, comfort, identity of street, public art, textures of street

five 1:10 Site Details

• CAD/Hand-drawn drawings of the existing site details and building details. Site details can be but are not limited to edge details, NGL to skin details, street furniture details, roof to skin details, shading, etc.

-Each group member must draw a detail.

-Site Report- A4 Document

• Each group must document the site through photographs focusing on all services supplied to site (electricity, manholes, drainage and IT infrastructure). Included in the report must be information

SOURCE: KEVIN DONASHE INSPECTS ONE OF HIS NEWLY ACQUIRED CLOTHING ITEMS TO BE SOLD.

OUTING AND THRIFTING THE CITY

retrieved from council i.e. SG Diagram, Locality Plan, and Zoning certificate. Document the various site restrictions from the council and discuss how these enforce/relax/ promote diversity of use and users.

observation may answer. (e.g. „does this condition reflect poor business conditions, or is it a problem of vandalism?“). If you get some overall ideas and are not sure what specifically prompted them, put them on a separate page.

OKULETHWAYO [Deliverables]

You will probably need to return to the site at different times of the day or week to account for variations in users and activities. Describe the mix of people you see and what they are doing. What evidence do you have about why they are there, their activities or whether they are comfortable in the environment? Try to look for evidence in the behaviour, attitudes, etc. of the people about the issues that you associate with the site. What is the traffic like and how does it affect the pedestrian? Is there any sense of threat, or is the place welcoming? Be a participant observer and consider how you feel in this environment. Use your ingenuity and imagination to identify other points. Some information, you can only get from this type of observation--things people would not think to tell you, and things that you would not really understand without experiencing yourself. Do not try to include every detail. Be selective. The point here is to „see/read“ things that have implications for your study (queer spaces). Pay particular attention to anything that seems to you unusual or odd. You may not be able to interpret it right away, but it is very likely a clue to something important that you need to understand. Bring a camera, if possible, and make sketch diagrams to illustrate what you notice. Be very selective, however, in anything you choose to picture. Any picture should have a purpose. Do not try to map or list everything. Walk the area at least twice, keeping careful notes. Note the following:

• observation times,

• location,

• traffic and pedestrian movement patterns

• Estimates of people.

Field notes are an important tool. One technique is to divide a page in half with a vertical line. On one side of the line record your observation as concretely and objectively as possible, without comment or interpretation. (e.g. store with chipping discoloured paint and broken window, not „store in poor condition“ or „merchants have neglected maintenance”) On the other side of the vertical line put your interpretations, guesses, and questions which may warrant further investigation, or which later

5 x A1 POSTERS (edited, well curated and computer generated) narrating your findings through:

• Scaled maps (1:10 000, 1:5000, 1:500, 1:200)

• Street sections (1:100)

• 5 x 1:10 existing site details

• Photo montages- street elevations

• Street perspectives diagrams or grayscale photographs with minimal use of colour (experience/quality of the spaces/streets)

• Historical timeline of Newtown and Queer spaces/ activities therein

• A brief caption of under each illustration (map, drawing, montage/collage, sketch)

-A4 SITE REPORT: technical notes and discussion on regulations

-1:200 MONOCHROMATIC PRESENTATION MODEL of your assigned strip: At this scale, more details need to be shown such as: Topographic profile (contours), surfaces (roads, walkways), Landscaping (trees, street lights, street furniture, Built form- shape of each building, roof profile, openings, threshold, walkways, columns etc

IMIPHUMELA NEZIGABA [Evaluation and Duration]

By successfully completing this project you will exhibit your ability to:

• Ability to read a place from both material and phenomenological means

• Clarity of narrative (graphic quality of presentation)

• Quality of illustrations and representation (drawings, photographs, image-making)

• Quality of model making

ONGAKUFUNDA [Reference]

1.Mitchell, D., Scott, D.T., n.d. Towards a Queer Urban Design Methodology 8.

2.Bentley, I. Alcock, A. Murrain, P. McGlynn, S and Smith, G. 1985. Responsive Environments, Architectural Press, London UK.

3.Oswin, N. 2008. Critical Geographies and the uses of Sexuality: deconstructing queer space. Progress in Human Geography 23(1) pp. 89-103

1:200 Physical cardboard model of strip assigned to your group

GROUP 3

Qaqambile Madolo Chisom Makokoe Nic Loubser Rapha Kanokena

1. 133x203mm mild steel I-beam painted black.

2. 6mm Low-E safety glass tinted pink and fitted into aluminium frame.

3. Aluminium clerestory window to manufacturer’s specification.

4. 8mm tempered glass tinted pink and fitted to steel frame.

5. Double window sill supporting aluminium window to specialist’s detail.

6. 222x73mm red brick wall.

1. Timber railway sleepers set into grooves in concrete base.

2. Reinforced Concrete chair block to engineer’s specification.

3. 80x80x50mm square cobble stone paver blocks.

4. 150mm gravel substrate for drainage and leveling.

1. 222x73mm red brick wall.

2. Steel mesh screening device welded to horizontal steel grate to specialist’s detail.

3. Galvanised Steel Grate bolted to I-beam.

4. 2013x133mm mild steel I-Beam painted black.

5. Galvanised steel spring connected to steel beam and mesh for tension.

6. 6mm Low-E safety glass set into aluminium frame.

7. Reinforced concrete column to engineer’s specifications

1. Head carved from railway sleeper timber and sealed to specialist’s detail.

2. Precast reinforced concrete bollard to engineer’s specification.

3. 600x600x50mm reinforced concrete slab as per engineer’s specification.

4. 150x150x50mm square clay brick paver on 25mm sand substrate.

5. Reinforced concrete drainage ditch laid to fall of 1:25 to road.

6. 80x80x50mm cobble stone pavers on 25mm sand substrate.

1. 50mm diameter handrail welded to galvanised steel balustrade at 1000mm.

2. 232mm double masonry wall with 10mm plaster finish on both sides

3. 73x222x106mm red clay brick paver laid on 25mm sand substrate.

4. 450x410mm precast concrete stormwater drain fitted into compact hardcore filling.

5. Undisturbed earth.

6. 150mm gravel substrate.

7. 600x200mm reinforced concrete foundation to engineer’s specification.

1. Precast reinforced concrete drinking fountain with slope and drainage channel to engineer’s specification.

2. 15mm diameter galvanised water supply pipe cast into concrete fountain.

3. 150mm gravel substrate.

4. Stainless steel drainage grate.

5. 75mm reinforced concrete slab to engineer’s specification.

6. 206x102x50mm clay

1:200 SCALE MODEL

*GROUP 1

Joshua Naidoo Renardo Vorster Thatho R Sekhaolelo Micheal Mahlangu Phemelo Masehla

*GROUP 4

Anke De Beer Nyeleti Mashele Raymond Howill Emmanuel Ndabezitha Thabo Makeka

*GROUP 10

Asande Hlatswayo Karabo (K Nos) Ngubeni Mariam Mohammed Xhesasekise Manaba Tshiridzi Modau

Khathutshero Mufamadi Asande Mbatha Nomthandazo Cumbe*

*GROUP 6

*GROUP 2

Tebogo Mamadisa Shyam Mnagar Gerald Guerra Tshwanelo Hlungwani Priscilla Sigauke

The site is subdivided into Different lots as indicated in figure 2.

Portion 1 includes the former sofia town lounge, now currently partianlly owned by Gauteng planning. The south portion is enclosed chainlink fencing.

Portion 2 includes underground parking for the occupants of portion 1.

Portion 3 includes the JMPD with open acces from the north only.

Portions 4 and 5 include the current workers museum, which hosts public access from the south of the building.

Portion 6 includes a parking lot for busses traveling onto site and visitors of Sci-bono.

Portion 7 includes Sci-Bono kids science museum It is enclosed around its portion borders as shown in the Serveyor General Diagram provided (Figure 7)

Portion 8 includes both a now demolished structure on the eastern portion and the western portion includes the Mathabong dancing studio. Neither of which are enclosed in any way

Portion 9 includes The Bassline as well as Old Dance Factory to the north East of the portion, enclosed by Red pallasade Fencing. The New Dance Factory towards the South East of the portion and an abbandonned Industrial building on the South West of the portion.

Building Restrictions

The Site boundary line are at lengths of AB=264m BC=236m CD=36m DE=188m EF=200m as per figure 1. The site encloses a total of 2628 Square metres in area. The building lines are at 1.5m along all streets adjacent to site. The site includes a servitude running the west elevation along Miriam Makeba street. There have been no applications for a relaxation of this building lines and no known applications for a zoning ammendment .

*GROUP 8

Stefan Verhoef Thato Mothlafi Fortune Ndlovu Kyle Pillay Sakhiseni Sibeko

THERE HAS ALWAYS BEEN TRACES OF QUEERNESS IN NEWTOWN, FROM THE 1970‘S CITIZENS OF JO -

HANNESBURG HAVE EXPRESSED THIS MOTION...

“PERHAPS, AS DESIGNERS, UNREALITY IS THE ONLY THING WE HAVE LEFT – A TOOL FOR LOOSENING THE GRIP OF THE REALITY WE FIND OURSELVES WITHIN, TO HELP THINK BEYOND KNOWN FRAMEWORKS, AND TO SHIFT OUR THINKING. IN THIS WAY, DESIGN MIGHT BEGIN TO CONTRIBUTE TO A PROLIFERATION OF MULTIPLE ALTERNATIVE WORLDS EXISTING IN OUR COLLECTIVE IMAGINATION, ENLARGING IT TO PROVIDE A RICHER CONCEPTUAL SPACE OF IMAGINING FOR EVERYONE.” (FIONA RABY, 2018, CITED BY WARD 2019)

WARD MATT. 23 JULY 2019. THOUGHTS ON CRITICS OF CRITICAL AND SPECULATIVE DESIGN AT THE INTERSECTION OF CRITICAL REFLECTION AND PEDAGOGIC PRACTICE. AVAILABLE AT HTTPS://SPECULATIVEEDU.EU/CRITICAL-ABOUT-CRITICAL-AND-SPECULATIVE-DESIGN/

2021 DIORAMA WORKSHOP

DIORAMAS

Background:

Now that you have been introduced to the site and you are well acquainted with the theme of this semester, queer politics, and the intersectionality with other forms of politics. How can we draw, reveal, or explore the relationship to the site Newtown and queer politics? In this workshop we will explore ways to imagine and make alternative scenarios through model building. No not the conventional grey cardboard models, we are using paper cut-outs.

Tasks:

1. Build a box the size of an A4 sheet of paper and ½ its width in depth. The box must only have one large side solid and the rest a framed structure (open sides)

2. Using the supplied images of:

• Site photographs

• Internet images of scales elements (people, buildings, public furniture, props, landscaping etc)

• Newspapers and magazines

3. Choose one A4 size image from the site section to use as your background. Glue this image onto the inside of the solid panel of your box.

4. Through a series of layered cut outs from the other images, build an alternative scenario to the one presented by your background. Do not change or glue these cut out on to the background. Use the construction technique of a peep hole or paper theatre to build the scene. Make sure to use your architectural discipline to create depth, perspective and experience. Remember to link your alternative scenario to the theme.

A SAMPLE OF VARIOUS STUDENT OUTPUTS FROM DIORAMA WORKSHOP

“QUEERING THE CITY, HERE, MEANS CONSTRUCTING A PLACE “WHERE PEOPLE WITNESS AND APPRECIATE DIVERSE CULTURAL EXPRESSIONS THAT THEY DO NOT SHARE OR FULLY UNDERSTAND… CITY LIFE AND URBAN KNOWING, IN THIS SCHEMA, DOES NOT ASPIRE TO COMMUNITY BUT TO THE CONSTRUCTION OF CITY LIFE WHEREIN THE TENSIONS BETWEEN DIFFERENT GROUPS AND THEIR VARIED UNDERSTANDINGS OF SITES MAKE COMPLEX POLITICS OF PLACE VISIBLE. AS KATH BROWNE NOTES, QUEER “SEEKS TO RECONSIDER HOW WE THINK [OF] OUR MODES OF BEING AND OUR CONCEPTUALIZATIONS OF POLITICS.” IN THIS WAY A QUEER DESIGN METHODOLOGY IS A MEANS BY WHICH CULTURE IS SEEN AS A PROCESS, NOT PRODUCT, THAT DERIVES FROM THE ENACTION OF SPACE, NOT PRIORI TO IT.” (WORTHAM-GALVIN, B.D, 2016. TOWARDS A QUEER URBAN DESIGN METHODOLOGY)

IMAGE FROM (GAYSI) L SPEAK TO FREE. FREE TO SPEAK

SOURCE: HTTPS://GAYSIFAMILY.COM/LIFESTYLE/THE-TYRANNY-OF-THE-CLOSET-METAPHOR-OR-WHY-COMING-OUTSHOULDNT-BE-AN-IMPERATIVE/

INTERSECTING CLOSETS

BOKAMORAGO [Background]

Why “Intersecting Closets?”

As revealed in the guided reading sessions; queer politics find intersections with feminism, race, class, gender, cultural and other forms of politics. We also have come to appreciate that queerness is not monolithic. That is, it is not made out of one mass (sameness). Each expression and experience is unique. Queerness is broad, fluid, expansive, elastic and strange. It intersects with other forms of politics differently based on positionality and context. The aim here is to explore the multiplicity of those intersections . What questions do these intersections bring up about the city and citizenship?

Cities are spaces to encounter difference and therefore are inherently political. It requires us to employ unconventional ways to narrate this complexity. Design is therefore most suited to do this. It requires the ability to imagine alternative scenarios and represent them in creative ways.

In this brief, intersecting closets; you are tasked to bring these and your readings together to curate diorama inspired by narratives that explore intersectionality between politics.

MOŠOMO [Activity]

Definitions

1. intersect - verb

- the gray area/ point of meeting/ disjunction of meeting

2. diorama/s - noun

- a model representing a scene with three-dimensional figures, either in miniature or as a large-scale museum exhibit.

Still in the assigned groups, build/create/produce 3 intersecting dioramas that explore narratives (based on your guided readings and any additional sourcesfilm, music, novel) around the relationship/intersection of queer politics with two other forms of politics . choose from the list below: Queer, and; race; gender; class; religion; culture (e.g: Queer [gender], Queer [Religion], etc.)

- Your dioramas, need to each intersect with one another at some point and at the point of intersection reveal the relationship between the politics being explored.

- They each also need to use Newtown (or parts thereof) as backdrop or foreground; these may include various elements/ artefacts only found in close proximity of your strip/site in all of them (e.g: bollard, window treatment, etc). Moreover, there must be at least one moving element that transitions between all your diorama scenes.

- All your intersecting dioramas must not be smaller than an (630mm X 297mm),

- Consider narrative/s of each diorama; what happens on the floor, eye level and sky. The narrative/s does/do not have to be linear or complete.

- Document the composite dioramas through a series of assembly drawings

DILO TŠEO DI TLAGO GO TLIŠWA [Deliverables]

• A1 Poster/s documenting your groups conceptualisation, design development and narratives for the 3 dioramas

• A1 Poster, a detailed assembly drawing of all your groups dioramas and how they come together/ are taken apart (important for the intersection point to be highlighted/ shown)

• 3 X well-constructed intersecting dioramas

TEKOLO LE NAKO [Evaluation and Duration]

By successfully completing this project you will exhibit your ability to:

• Work as a group

• Construct and present narratives spatially in unconventional representations

• To develop skills to speculate and imagine possible futures.

• Clarity of narrative (graphic quality of presentation)

• Quality of illustrations and representation

TŠHUPETŠO [Reference]

1.Wortham-Galvin, B.D, 2016. Towards a Queer Urban Design methodology

2.Reed, C. 1996. Immanent Domain: Queer Space in the Built Environment. Art Journal, Vol. 55, No. 4. Pp. 65-70.

1. Highway representing the M1 in Newtown, but also linking all 3 dioramas to queerness with the 1 in 9 protest.

2. Telkom tower to act as dead-end point for the highway, a beckoning point of the joburg skyline.

3. Concrete columns support highway and are covered in posters to symbolise the intersectional link between each diorama and queerness.

4. Trumpet on platform to represent the art of music in Newtown.

5. Train track to represent the railway and tram service that was removed and the journey it takes to travel between provinces or borders for work.

6. The workers statue at the workers museum to represent the struggle and segregation of apartheid.

7. the remains of the broken brickfields spilling out as if something struck the ground, a new something, Newtown.

8. Intersecting point the market theather awning to represent the first theater in joburg that focused deeply on connectedness and inclusivity.

9. Intersecting point. the torn apart memory of the cooling towers that come together to spill out and join the brickfields.

10. Stage for the jazz band connect to the column to act as an entertainment point with pick-handle Mary in the centre.

11. Broken and vandalized street signage to show how the fight for women’s right has somewhat gone obscelete.

12. The Victorian market acting as an edge defining element which is not a complete element to represent the continuity of newtown in the present.

GROUP 5: INTERSECTIONS THROUGH THE LENSE OF NEWTOWN

INTERSECTIONAL DIORAMAS

Race/Class/Gender

GROUP 4: BRENDA FASSIE METAPHOR

GROUP 03- NO PATH IS STRAIGHT FOWARD

GROUP 11: UNTITLED

GROUP 7: DOORS

GROUP 8: OUT OF THE CLOSET AND INTO THE STREETS

GROUP 9: KHANYILE

GROUP 10- UNTITLED

Narratives

The diorama’s represents the various ideologies that Newtown residents hold regarding religion, class, and gender fluidity, as well as the intersectionality that these ideologies have with the queer community, both individually and collectively.

Gender: Queer

The third diarama has toilet doors on it, with each door representing a different type of gender found in Newtown, and the conventionality of that door's placement on the diarama representing whether the gender it represents is accepted or not. The two doors in the center for example represent the male and female genders, which are both very traditional and widely accepted genders in Newtown. It has other door representing other non-conventional genders erected on it in an unconventional way, demonstrating how they are not accepted within that society.

Religion: Queer

The religion diarama is divided into five sections based on the number of people in Newtown who practice each religion. Each subspace represents a different religion and contains props from that religion. It has a space in the center that represents the queer community and its relationship with the five religions highlighted, with access serving as a gauge as to whether the religion is accepting of queerness or not.

Class: Queer

The class diarama is essentially a circle divided into two halves, each with a different height. It has props pointing to the white queer community on top and props showing the black queer community on the bottom. All of this demonstrates how the Newtown community treats white queer people preferentially while discriminating against black queer people.

Intersectionality: Queer

Each of these diaramas have bridges on their edges showing the conflict that the topics cause in the minds of Newtowners in regards with queeness when it is viewed by a person with each of these three different topic lenses and how all three lenses can never reconsile.

GROUP 11: THE COMING OUT PARTY

SCAN QR CODE TO VIEW VIDEOS OF DIORAMA WORKSHOP AND PRESENTATIONS

SEMESTER 2 WORKSHOP 5

SPEED DATING

SPEED DATING WORKSHOPS GAVE STUDENTS THE OPPORTUNITY FOR PEER REVIEW AND FEEDBACK- THROUGH 60 SECOND PECHA KUCHA PRESENTATONS AND FEEDBACK CYCLES

“NO MATTER HOW STRONGLY ARCHITECTS BELIEVE IN THE HOUSE AS A “MACHINE FOR LIVING,” PEOPLE—RATHER THAN ARCHITECTURE—CHANGE THE WAY THEY LIVE AND THEIR ENVIRONMENTS ACCORDINGLY. ARCHITECTS FORGET THE AGENCY OF PEOPLE TO TRANSFORM SPACE AND ARCHITECTURE. THIS CAPACITY TO ADAPT AND CHANGE REMAINS A CENTRAL ASPECT OF QUEER THEORY. ARCHITECTURE HAS AN OPPORTUNITY TO LEARN FROM QUEER THEORY; FROM A “QUEERED” READING OF ITSELF. THE QUEER MOVEMENT HAS LONG BEEN AWARE THAT TRANSFORMATION IS ALWAYS, FIRST AND FOREMOST, A MATTER OF SURVIVAL. COMPREHENDING ARCHITECTURE AS SOMETHING GLOBAL, THAT INCLUDES BOTH THE MATERIAL AND IMMATERIAL QUALITIES OF SPACE, BECOMES PARAMOUNT TO ITS EVOLUTION, SURVIVAL AND ENDURANCE AS A MEANINGFUL TOOL OF TRANSFORMATION.” (CHOQUETTE E, QUEERING ARCHITECTURE: (UN)MAKING PLACES)

IMAGE SOURCE: HTTP://QSPACEARCH.COM/SANCTUARY

AGTERGROND [Background]

The Public Changing Room

We have arrived at yet another key milestone for our design journey. Having explored Brief 1: the metaphors of queerness and city, Brief 2: Mapping the Human experience and History of Newtown and investigations of built form and human experience, Brief 3: intersecting dioramas to critically explore the multiplicity of queer politics.

We are now able to re-imagine spaces in the city that are flexible and networked, that bringing together formal and informal activities in a seamless environment that acknowledges “changing” can occur anyplace, at any time, in either physical or metaphysical spaces. These are spaces that allow the process of

becoming. The complexity and spectrum of events in the everyday experience do require space or rooms that prepares one for yet another event, and change becomes apparent. You are therefore challenged to be in pursue of a space that enables, embraces and enhances “CHANGE” to manifest. What is the spatial character and the experience of the change room/s that our city [Joburg] need? Could the change room/s cater for all who live and interact in the city?

TAAK [ Task]

Brief 5.4 enables you to work individually. To design a series of Public Changing Rooms that integrate themselves in the context of Newtown. Finally!

Your Public Changing Rooms need to explore the intersections between contradictory/disconnected programmes that depict the spectrum of ordinary events.

THE PUBLIC CHANGING ROOM

For instance, how can a space of exhibition change into one of liberation, activism or education? How can a space transform and perform multiple functions throughout the day, the seasons, the year? And how can a building trans-form itself?

The tectonics of space then, become fundamental in the conception of the underlying structural ordering principles to enable these change rooms to trans-form. Moreover, the sculptural quality and experience of these “rooms” becomes an environment that is both tangible and intangible. As with the photographs above.

Your changing rooms must make explicit connections between all the previous briefs, charrettes/workshops and resource material thus far.

In terms of spatial programme, you are free to come up with your own schedule of spaces to be included in the design. The changing rooms have to accommodate at least two main functions with/without a “strange” relationship between them (not opposite, try to avoid binary positions). However, ensure that the spaces respond to the needs of your end users. Think of their everyday needs (sleep, love, care, rest, create, perform, leisure, exchange and interact) and their ceremonial rituals (celebrate, commemorate, march, protest, activism, etc). What relationship do these changing rooms share with time and with the rest of the greater context? Consider the relationship between the public, semi-public, private and the rooms in-between (liminal, fluid and thresholds), service and served rooms, Indoor and outdoor rooms, streets, pavements and rooftops. Porosity between different spaces. Your architectural intervention may be located on open spaces in-between existing buildings or clip-onto existing structures within your allocated site strip (see brief 5.2). It must apply framed construction technology, it must have a changing physical aspect that transforms the building (eg, façade, rooms moving). It must also draw from other creative disciplines (fashion, art,industrial design etc) and reflect on the material culture of Newtown in its materiality for the envelope and/ form. It must also respect the height and boundary restrictions of the site.

Look for appropriate precedent studies and include an analysis of at least two buildings (one local and one international) to assist you with resolving the following: spatial layout, structural systems, circulation, thresholds, materiality and transformation technology.

Use the above data to formulate and present a design proposal. Your presentation must include but not be limited to:

-Conceptualisation (diagrams, sketches, 3-4 conceptual models at 1:200 documented through photography in the group context model, films, performances, etc)

-Technical Presentation design drawings in context: Site plan 1:200, Ground Floor Plans with landscaping

1:50

(inclusive of streets), All other plans 1:100, 2 SECTIONS 1:100, 2 ELEVATIONS 1:100

-2 Perspective drawings- Use characters from your reading/brief 1 and dioramas in all your renders (avoid shadow people, give them identity and life)

-Technical, fully specified and dimensioned 1:20 Skin/ perimeter section

-1:100 presentation model in context

AFLEWERINGS [Deliverables]

-A1 POSTER/S documenting your consolidation of previous work (brief 1-3 and charrettes), conceptualisation, design development (including precedent study analysis), design details and presentation drawings as per outputs of brief

-3-4 Conceptual Models

-1 well-constructed presentation model expressing transformational aspects of proposal

-Films (less than 1:00 min)

AFLEWERINGS [Deliverables for Architectural Technology]

-1:200 Detailed Site Plan & Roof Plan

-1:50 Detailed Ground Floor Plan & First Floor Plan (Should include services layout)

-1:50 Detailed Cross-Section (Section Note: The above sections of your design must include your main staircase / double/triple volume/auditorium/atrium space)

-2x 1:100 Elevation

-Door & Window Schedule

-1x 1:20 Perimeter Section (This should include your basement level/semi basement)

-3x 1:10 Edge Details.

VERWYSINGS [References]

Choquette. E. nd. QUEERING ARCHITECTURE: (UN)MAKING PLACES. SITE.

Reed, C. 1996. Immanent Domain: Queer Space in the Built Environment. Art Journal, Vol. 55, No. 4. Pp. 65-70

The Bathhouse & Market of Queer defence in Johannesburg

Gerald Guerra- Unabridged

Asande Mbatha- The Emergence

Khanyisle Mndebele- Boldly Carved

Asande Hlatshwayo- Untitled

OUTRE WAREHOUSE Rapha Kanokena 221085890

PROCESS & CONCEPTUAL WORK Rapha Kanokena 221085890

SECTIONS & DETIALS Rapha Kanokena 221085890

PERSPECTIVE MONTAGE

Nic Loubser-Look a little closer (Skin Deep)

Solwazi Magudulela- Rubriks cube

Phemelo Sethemane- a maze of amusement and delight

Tebogo Mamadisa- untitled

Tiyani Manganye- The fazes building

Nyeleti Mashele- untitled

*Student first name & Surname/ GROUP NAMES - Project title*

Mpho- Phajane- Changing the narrative

LONGITUDINAL SECTION

Tshiridzi Mudau- Vibrant open house

Emmanuel Ndabezitha- The Crane of knowledge

Melitha Mphahlele- the ambience: a public cocoon

Shyam Mnagar- Follow your own path: un-broken

Matthew Visser- Kin

“HAS IT NOT BEEN ACCEPTED – THAT THERE IS AN UNBRIDGEABLE GULF BETWEEN REALITY IN ITSELF AND REALITY AS IT APPEARS TO US? THAT OUR POSSIBILITIES OF KNOWING HAVE MORE TO DO WITH OUR OWN APPARATUS THAN WITH THE NATURE OF REALITY?” 1

“WHY DO WE HAVE A MIND IF NOT TO GET OUR WAY?” 2

JACQUES-AURÉLIEN BRUN’S – ABSTRACT PHOTOGRAPHY - IGNANT

1 - ELIA ZENGHELIS - FONDAZIONE DEPART. (2013) ‘SAN ROCCO – WHAT’S WRONG WITH THE PRIMITIVE HUT?, - 8, PP 84

2 – FYODOR DOSTOYEVSKY - FONDAZIONE DEPART. (2013) ‘SAN ROCCO – WHAT’S WRONG WITH THE PRIMITIVE HUT?, - 8, PP 84

VEILS OF DEFENCE & LIBERATION

:[Task]

:[Background]

Personal perception is a powerful medium of impact and communication. In culmination of this year’s focus on identity making, we explore the dynamics of veiling: conceal & reveal.

[Enveloping perceptions, transforming realities & challenging preconceptions.]

The contemplation of veiling has resumed ‘centre stage’ most recently in Iran [2022] :

On September 16, 2022, Mahsa Amini, a 22-year old woman was arrested by Iran’s “morality police” for not wearing her hijab – a traditional Muslim face covering. Amini’s death has sparked grief and anger in Iran. Dozens of young people have since been killed and hundreds jailed in the ongoing series of protests against the regime.

The veil is enmeshed within a complex web of relations encompassing politics, religion & gender. It has been used as a method of creating or maintain a multitude of identities, an assertion of one’s right to an identity. It has a long history of association in African, European & Asian societies in the construction and contestation of identity, with varying possibilities of interpretation and application.

Within this range of possibility, the veil may be worn as a form of defence or resistance, it may present as an opportunity for integration or disguise, signal social exclusion or manifest as an act of liberation.

Working in pairs, generate a deconstructed, abstracted veil to reveal its capacity to defend and liberate constructs of identity within an architectural paradigm. Utilize architectonic principles to develop your construction methodology and related interpretation.

- As a pair, establish a standpoint of identity

- Through a series of workshop sessions, develop a physical (sculptural) model based on considerations of form, materiality, texture, light, perspective…

- Produce a well-curated A1 poster with a brief (200word) description of your concept (on the poster)

:[Deliverables & Outcomes]

1x Physical (sculptural) model (min size 500mm – width

– 500mm – height)

1x A1 Visual Poster as per task above

1x Oral paired presentation

:[Evaluation Criteria]

• Communication of design narratives

• Resolution of assembly elements (materials & connections)

• Visual & verbal clarity of abstracted concepts

:[References

1. Fondazione dEpart. (2013) ‘San Rocco – What’s wrong with the primitive hut?, - 8

2. Fondazione dEpart. (2018) ‘San Rocco – 66, - 14

3. Fondazione dEpart. (2013) ‘San Rocco – Collaborations, - 6

4. Fondazione dEpart. (2013) ‘San Rocco – Indifference, - 7

Tiyani Manganye and Qaqambile Madolo- The unification of humankind

Shyam Mnagar and Thato Motlafi-Masked

Asande Hlatshwayo and Stefan Verhoef- defragmented

Fortune Ndlovu and Kyle Pillay- Veil on morality police

Melitha Mphahlele and Joshua Naidoo- the undefined

Khathutshelo Mufamadi and Tshwanelo Hlungwaniboundaries between us

Asande Mbatha and Mphumelelo Sethemane- Du Rag

Xhesasekise Manaba and Nkazimulo Mvemve- fragments of identity

/ˈsɛmbləns/ noun

the outward appearance or apparent form of something, especially when the reality is different.

semblance

Spaces themselves can act as the veils to defend and liberate people’s identities, both physical, material spaces and the spaces created by people in a social plane. However, these places can act to either help discover that identity or can wear away at it. Everybody has a core – represented by concrete that is strong despite its deterioration at the hands of the spaces and people it finds itself in and amongst. The outermost veil is the most tangible representation of this, and as you work more inwards, you become more personal in your veils of defence and liberation. We aim to show that despite these layers, the innermost core of who you are can always shine through all these veils, no matter how dark they may be. However, there is a choice to be made:

Do you choose to illuminate your identity through these semblances or allow these spatial veils to become who you are?

Titled “semblance”, the sculpture shows its outward appearance and apparent form when the reality is perhaps different. Everybody’s core is different, and these veils sometimes filter who we are to the point of resemblance to one another despite diverse and unique inner cores. Everyone has an identity, and there is a choice to allow this vital core of oneself to show through its layers of people and pain and perceptions despite its flaws or to allow these layers to become who you are.

Gerald Guerra and Matthew Visser- semblance

The thing is society loves to have control over

From how we how act to how we dress

us

The world is cruel that’s a known fact It hurts us, deceives us, it tests us constantly.

But it can also love us and embrace us….if we follow its rules. That’s how the world and more so people and society wor ks

As long as we check off all the points on their checklist we’ll survive if not A lonely fate awaits us.

Veils

The once unique person we were slowly becomes covered under layers of societies veils

At some point there’s too many layers covering us we can’t tell the difference between the reality of who we once were and the illusion of what society made us.

However some of us fight back and rebel against what people want of us

We realise the power and beauty within our uniqueness

No one has the right to tell us who we should be

The Inner

Of Psyche

As we fight we tear off the fake veils society covered us with Ripping through all the layers of the veils we eventually reach Our true raw self

Knowing society will hate us but doing it anyway because the beauty of our true self’s is dazzlingly bright

In our sculptural model, the use of light was used as a representation of ones inner self one that yearns to break free as well as one lost covered in societies veiled layers

Rapha Kanokena and Nyeleti Mashele- voices

Mishka Gosai and Chisom Makokoe- veils of the inner psyche

“South Africa has been shaken to its core by the merciless killings of women and children in the recent months… As such, Gauteng Treasury and Gauteng Department of e-Government women wore black attire and doeks on Friday, 6th September 2019 as a way of voicing their sorrow and that enough is enough, femicide must stop.”

(

Gauteng

Provincial Government, 2019)

As a form of protest and mourning, women gathered throughout the country to stand in solidarity for the fallen and living victims of gender-based violence. The protests towards the murder of the late Uyinene Mrwetyana, revealed how the doek was used as a veil of defence. In an African context, the doek is, to a large extent, seen as a form of liberation due to it forming part of an attire that is seen as dressing in a ‘respectful’ manner in some South African Nguni cultures. Our standpoint of identity and concept focuses on ‘defence’ and how acts of violence towards women still occur despite the above-mentioned attire. This narrative is translated through the artefact by the use of the colour black to represent mourning in relation to the women that were dressed in black clothing. The form created by the black blocks represent the fluidity and the fabric weaving pattern of the doek.

Thato R Sekhaolelo and Okuhle Ngcakani- Doek

OUTRO

PORTFOLIO EXAMS

STUDENT‘S REFLECTIONS

STUDENT 1

In 2022, I learnt a lot and got exposed to different topics such that I got to accept myself and my past, and actually putting every emotion to my work. 2nd Year for me was an experience of self-discovery, and finally feeling alive once again.

Construction I fell in love with it, and wondered how everything is connected. Design was a hard one for me, but the moment I started relating every brief to myself, I started to see the light.

ID was one looking for something that’s already in my hands, my own style, and thankfully gain strength to show my signature. AND MOSTLY NARRATING!!!

Do more workshops, they really help with understanding the brief/s more Be more direct on crits (what I mean is don’t sugarcoat things)

STUDENT 2

I personally think that I have learned a lot this year, in various aspects and courses. From the work we have been exposed to I have definitely been inspired and challenged by them. All of this pushed me to work harder and try harder. The work material exposed to us definitely inspired me creatively and allowed me to think differently. And this allowed me to improve myself, as well as better myself.

I think more workshops should be done, as they really do help me progress with the briefs, and give me an idea of what to do.I also think although the readings were insightful and it was interesting to hear other people’s opinions on certain topics. I think we needed perhaps 1 or 2 with the whole class would be fine.

STUDENT 3

My experience has been great. I’m only doing one major module, but was able to learn a lot from the other I wasn’t doing. My favourite module was definitely Interdisciplinary Design (ID), I learnt how to see architecture broadly. My advice to the staff, is just to keep doing the amazing job that they are doing.

STUDENT 5

I had a great experience. This year enabled me to think more broadly and opened my eyes to abstract concepts. The lecturers were passionate, which is really contagious. We were exposed to external professionals, which was really insightful

This year had been really successful. I appreciated the relationship the lecturers had with students, strict but caring. I would recommend to not compare students with each other, or previous years.

STUDENT 4

My experience of the 2022 year has been quite a difficult journey if I am to be honest. The year began on quite an interesting note, the lexicon, mapping, etc. I think where things got tough was when the integration was introduced in Second Semester, on top of the theme of Queer Politics.

I think my advice would be to “up the anti” on the amount or interactions between lecturer and students. But other than that one, I don’t think anything should stop or be added on.

What advice do you have for the next cohort of second year students?

Stay on time

Don’t “sleep” on models

Do the best you can

Your lecturers are your guides

Don’t trust yourself to do difficult things

WE ASKED OUR STUDENTS TO DESCRIBE THIER EXPERIENCE OF 2022 AND TO OFFER ADVISE TO THE TUTORS AND 2023 STUDENT COHORT AND THESE ARE SOME OF THIER RESPONCES:

STUDENT 6

This 2022 has really been an experience. A lot has happened and a lot has been learned. Firstly, the appreciation goes to the 2022 second year lecturers, for going all out in making sure that there is no stone that is left unturned. The design typology has been eye opening in terms of designing with reasons and consideration, thus strengthening the narrative yes, this list goes on and on.

STUDENT 7

The 2022 academic year was rather challenging, in a good and bad way. Good in the sense that it helped change my thinking around navigating spaces and designing spaces- helping to design spaces that are cognisant of other people (and) experiences +design spaces that cater to people that may not have the privilege as me! It was bad in the sense that it was a lot at one time. At times I questioned whether or not I was enough or worthy or whether or not I was doing the right thing- which isn’t the greatest at times because for me personally it doesn’t push me to want to do better but rather stay stagnant and not do anything.

STUDENT 8

I was exposed to many new things, for all 3 courses, and through the year itself, I grew in terms of the graphical representation and technical aspects in conjunction to it.

What advice do you have for the staff in their preparations for the 2023 academic year? Do more, or stop this and try this?

I would definitely recommend that workshops/ lectures that are with regards to a certain topic are done before the assignment. Lecturers were presumptuous, in terms of everyone knowing how to do certain things, etc..

What advice do you have for the next cohort of second year students? Keep at it!

In preparation for 2023 I advise you to give the learners grace and time for each brief to settle. The year went by relatively fast, and I understand the need to be fast paced (sic) and briefs done to move onto the next however, it can be really overwhelming. Overwhelming to show up as well. Overwhelming to keep up, so keep that in mind. Other than that, the direction of the second semester and the first was very intentional and great in the sense that it gave space for the learners to think and to step out of their comfort zones. The program should be kept as is.

It is relatively easy to drop the ball, especially when you think you aren’t. Give yourself grace! At every opportunity you have. You are not doing half as bad as you think you are. Just breathe and take each day as is

EXTERNAL‘S REFLECTIONS

0.1 VICTOR MOKABA

The second year Bachelor of Architecture programme has been a memorable experience for me as an external examiner. During many of the examination sessions, I often mentioned to my colleagues that I constantly needed to remind myself that I am examining secondyear students because their level of engagement was immensely mature and the students were confident of what they had pinned up and what they had designed. I believe that a large part of this was because of the guidance that they receive from their lecturers. In many of his podcasts, Robin Sharma notes that “teacher learns most” and in the case of the second-year group at the University of Johannesburg, I completely agree. I have learnt a lot and I am inspired by the freedom and confidence that the students have in expressing themselves. The students delved into the theme of queer space and queer history with Newtown as the context for their design explorations.

The group work components in the projects offered students the opportunity to learn about working with others to achieve the same goal. It was also an opportunity for students to use, share and develop their strengths and also enjoy collaboration and learning from others. Architecture and design in general is an iterative process, and the models which the students had built reinforced this idea. The models which were built were almost always one of the important tools that students used to represent their ideas and their explorations in the design process. Students had built provocative models which conveyed their thoughts and ideas.

The graphic representation in its entirety conveyed construction, design and the exploration of various methods of representing the design process and the

subsequent outcomes. The student’s projects were at varying levels of completion and exploration. The projects which engaged and explored the briefs the most were able to immerse the viewer in their design ideas and attempts. Their work exhibited a strong sense of exploring spatial use in its varying scales ranging from the greater context to the more detailed intimate experiences. The exploration developed further through the technical resolution presented in their construction drawings which seamlessly integrated design and construction in the graphic representation of the final design. The projects which explored less showed a thin engagement with the content and the briefs and a disconnected process of design which often lead to an incomplete final design which just needed consistent design critique to push ideas in the right direction.

This second-year programme explores queer space. The development of social media has managed to connect people and also lead us to embrace and use social media platforms and other electronic means of communication to share ideas. Identity and gender have become topics which are constantly being discussed and debated. The course has successfully managed to allow students to meaningfully engage which the question of queer space, identity and gender. Architecture provides a platform for living and shapes our everyday experiences. These experiences of life often take place in spaces designed by people who were influenced in some way or another by their own life experiences and knowledge gained from those experiences. I believe that the project briefs have allowed the students to learn and display their learning through design. Well done to the students and a job well done by their teachers who have taught and guided them.

The second-year Bachelor of Architecture programme in the University of Johannesburg’s Department of Architecture is an excellent example of a collaborative approach to architecture teaching. Drawing on a theme driven by the design studio, the other primary modules in the year all integrate their briefs and approaches into elements of the theme. This bolsters the student experience through an exploration taken through multiple lenses. In 2022 the programme examined the notion of the ‘Public Closet,’ a spatial device that extends the previous year’s foray into queer space by examining the public, political, and social dynamics inherent in queerness, and the extremely personal experience students bring to the theme.

This year, the question of queer space was left more open to programmatic exploration by the students. Newtown, Johannesburg was selected as a fitting site in which to examine this theme due to its various layers of queer history. Students grappled with the architectural impetus behind the core brief with varying levels of success. The most ambitious projects ran with the notion of queer space and produced architectural responses that challenged the uniformity, or status quo, of Newtown. In doing so, the very presence of the buildings served to queer this part of the city and rewire the urban experience for many of its users. Less successful projects demonstrated a tentative engagement with the theme and programmatic requirements of queerness, opting in many cases to bypass the inherent political positioning of the brief. Their responses tended to seek closer alignment with the context and exhibited less confidence to challenge or speculatively reimagine their site.

I am a strong proponent of the political agency implicit in this brief and its open engagement with identity and gender. These are themes that are extremely important in society but often avoided in the classroom. Not only does an integrated approach to these themes equip students with a diverse analytical toolkit for approaching tough subjects, but extends their education beyond the walls of the architecture studio and into other complementary fields such as sociology, politics, and anthropology. Second year is the right moment for students to build on their first-year foundations with greater engagements with social issues, and ready them for more complex architectural briefs in third year. Congratulations to the teaching team for another year of insightful briefs and thematic bravery.

0.2 GUY TRANGOS

EXTERNAL‘S REFLECTIONS

0.3 OREPA MOSIDI

A rare find, an architecture year group that engages with current socio-economic issues that face our society. However, the spatiality or the translation of these issues into space is more interesting. There is a sensitivity to space-making with this year‘s group that is beyond their years. I commend the team and the students for engaging with strong subject matter so well. The topic of the public closet and its association of it with African or rather South African cultures has brought a different understanding of the way space is made and engaged with. Thus, the student engages with a different culture, language, sexual orientation, and definition of self at each turn. This conservation is one not had enough in architecture, yet we design spaces for people to inhabit. It begs the question how dare we design a space without this notion of inclusion, though often hard to achieve but surely, we must try.

As an examiner at this university, as open-minded as I am, I have confronted binaries that I myself exist in as each student expressed their ideas. The impact has led me to be cognizant of my use of terminology and how to engage with each student beginning with using their correct pronouns. I commend the staff for not perpetuating this culture of avoidance, by avoiding topics that are current, challenging, and often deemed as “black topics”. My favorite moment was seeing a student so boldly and confidently presenting renders with naked people as he designed a bathhouse and tried to portray his message about the kind of space he was creating. It is that freedom to express themselves and their ideas responsibly but unapologetically that I wish for all students in architecture. My message to the students of this year and those to come next year is

“rise up fallen fighters unfetter the stars dance with the stars & make it ours”- Ntozake Shange

I encourage you all to be in the world and really live in it and challenge the role of architecture in all facets of life. Continue to “unfetter” yourselves from the constraints of society and the norm as you have this year. In essence, make this journey yours. I believe that the second year is an experimental year where students must explore everything from modes of communication in architecture to embodying social issues in architectural resolution technically and poetically. The inclusion of literature, art, and many more things outside of architecture has strengthened this class’s understanding of the topic and how one can draw from things outside of architecture to produce architecture. Thus, the student sees the link between the different subjects as they have been so carefully integrated. A lot of architecture schools speak of integration in this fashion, but I have yet to experience it as I have with the secondyear group at UJ.

As a lecturer, I always look forward to each moderation opportunity here as I am constantly inspired in exploring an architectural education that is current to its time. I want to end off by saying that often we underestimate the capabilities of our students but when challenged on all fronts the result is surprising and exciting. The current generation of architects cannot be the same as others. Thank you to the second-year lecturers and tutors for exploring this and being incredibly intentional about the role of architecture in our society as it stands.

University of Johannesburg Bachelor of Architecture

second year programme touches on a unique diverse framework that embraces on a new way of teaching and learning architecture. Architecture as a discipline in the context of South Africa has a dynamic landscape which is influenced by political, social, and economical constructs. Johannesburg being the focus area study for the BArch programme, builds more on the complex nature of socio-economic fabric surrounding the built environment. The BArch programme not only examines Johannesburg as a transverse territory but further on interrogates nuance multiplex issues that are often considered sensitive. “A city is the place of availabilities. It is the place where a small boy, as he walks through it, may see something that will tell him what he wants to do his whole life. “~ Louis Kahn. The outline to tackle such issues only gives room for radical responses and acknowledging that spaces we navigate impact our roles in society thus placing the architectural response in our cities on reforming pressures.

The teaching of such a vastly transforming discipline such as architecture has bought upon new methodologies to unfasten tensions between race, gender inequalities, political dilemmas, and social classicism. These methodologies are comprehensively crossed examined through the BArch curriculum with multidisciplinary learning and multi-medium compounds, learners were exposed to a spectrum of various tools to respond on relevant well curated briefs. Briefs that draw on a transforming pedagogy and tests generic status quo’s that are often misinterpreted by society. A nonlinear and nonbinary output is propelled through a rigorous engagement process of constructive criticism which enables rich architectural designs that respond dy-

namically to their intermediate context. The interrogation of public architecture with Queer politics as a theme brings interesting questions and alarms learners to current affairs evoking more design avenues with nuance responses. This framework not only stretches the thresholds of design but morphs unconventional social landscapes into a lens that is not so often discussed in the built environment fabric.

The course also maintains the general outputs that are required from the module, being to demonstrate the process of evolution of architectural design through exploration of site factors and context. The students are encouraged to have multiple ideas and concepts for design problems, develop design ideas with reference to the human as an individual that strongly responds to functional, technical, climatic and environmental requirements. This architectural module discourse enables an enriched foundation for learners to catapult from into third year phase where a more critical analysis will take place.

In no doubt we are seeing a transformation in the teaching of architecture which is vitally imperative as the world is consistently evolving and to draw parallel responses that are relevant, functional and creatively interesting. University of Johannesburg architectural school is challenging the conventional through theory and practical manifestation of diverse projects.

0.4 MOHAU MOIDI

TUTORS REFLECTIONS

0.1 NOMALANGA MAHLANGU

“Great architecture is inspired by that which is not architecture” Dickson

Adu-Adyei, 2022

“What is your name? What are your preferred pronouns? Where are you from? What do you do outside school? What were your first impressions of us?”

We begin each year with these very simple yet powerful questions for our cohort of students. Beyond the prospective architect, who are you? We have content creators, fashion designers, artists, nail technicians, and DJs from townships, the city, rural areas, and suburbia.

The most rewarding part for me is the process of unearthing these diverse backgrounds, traits, and interests through their design thinking, their conceptualization and making. It is in this process that we truly understand what inspires them, in turn inspiring their architecture, their understanding of it and their positionality in the spectrum. Our 2022 theme, Queer politics challenged not only the students but the teaching staff as well. It is now my belief that as practitioners and academics we have a responsibility to teach what we have not been taught and strive to be spatial designers/architects that are conscious that every line we draw, we are making conscience decisions to include/exclude someone

We end the year with more questions...

0.2 MXOLISI NTSHONA

The Second Year programme theme was based on Queer Politics. This theme allowed students to critically explore various academic theories and socio-political morphology of inclusion of all sectors of society within a place called Johannesburg. The students got to address queer lived experiences, albeit from a politically conscious and intersectional lens. Multidisciplinary programme allowed us as Lectures to integrate our teaching methods by so-doing minimizing working in silo`s. The great advantage of this programme was to student`s accumulation and assimilation of all Modules and knowledge to a common project. This Integrated approach was relatively new and unfamiliar to students’ methodology although the outcomes further enabled an adaptive approache by Lectures so as to reach the outcomes of individual Module Guidelines. The student`s responses to the Integrated and Multidisciplinary programme outcome evidently demonstrated a high level of excitement and appreciation of the newly acquired methodology of the production of knowledge and skills of learning Architecture.

0.3 LETHABO MATHABATHE

2022 was a year of implementation and being more intentional in my teaching career. The department has yet again continued to allow us growth in its transformative environment, for all that interact and coexist in and around it (including lecturers and students). Returning as an academic, and being involved in this year’s integrated project (The Public Closet) was both challenging and fulfilling to say the least. It has allowed and immensely equipped me with the experience & passion to continue adding knowledge and value in our students, and contributing positively to the department and industry at large. As a design studio, we have intentionally attempted to be experimental and creative with our teaching approach, and this has given my teaching philosophy, a more refined and deepened framing/ grounding.

The integration has been a beautiful one to watch unfold, from the themes explored, how the briefs developed, to being directly involved and watching our students flourish and finding their voices in their work, and in their respective modules, has been an honour to experience first-hand. The journey has been a fruitful and incredibly conscious one in adding to my setting as an educator above all things. 2022’s work, is one for the books, and it makes me extremely proud to have been a part of it and its success.

0.4 STEVEN SOTIRIOU

In the collective summation and reflection, the Interdisciplinary Design module was structured around elements of identity, inclusivity and integration. Seen as against the backdrop of the prevailing transformational disjuncture within the South African landscape, the cited themes assume an exceptional relevance for engagement. The pedagogy adopted was experimental in that the methodology adopted was one of integration across intersecting disciplines. The approach widened the scope of conceptual operations beyond the narrow ‘silos’ of separated modules. The ‘cross pollination’ of exposure and practice inspired an ongoing dialogue on post-colonial architectural teaching methodologies and served to dynamize the two-way lecturer-student interaction.Formulations of identity became the ‘building blocks’ in prompting introspective awareness, and accommodations of ‘other’ within a wider but cohesive, integrated paradigm. Integration across ‘the borders’ of parallel modules enriched the students’ perspectives. It has prompted creative and innovative thinking and inspired conversations relating to unconscious bias, gender transformations, diversity and inclusion.

0.5 SANJAY JEEVAN

2022 has been an incredible journey and a fruitful one. Being back at the university and teaching design technology has ignited some creativity in me to detail some of my design work with the same flair and commitment that I have seen from some of my students. I find myself in an interesting intersection as I am able to merge the working world and students‘ creativity and expression and hone in on the students’ expected deliverables…Especially from a technology perspective. Returning to the basics of architecture challenges one to understand the fundamental principles, question the methodologies and reflect on what we ‘know’ through a lens of a practitioner while answering students‘ curiosities. The briefs were structured to encourage multiple use of media to enhance the students‘ conceptual thinking and to stretch their understanding of some challenging topics. The responses have been spectacular and extremely thorough through rigorous mapping and research. The integration between the various modules further challenged the students’ thinking and developed richer conversations and discussions. The architectural interventions highlighted the student’s individuality and formed part of inclusionary architecture in terms of race, history, gender, politics, etc, something that was constantly reinforced throughout the year‘s themes. The full body of 2022 work, across the different modules, makes me incredibly proud to be part of such a dynamic team and thank you to the colleagues who made this collaborative project such an immense success.

0.6 THABANG MOTLHAKE

I thought it would be fitting and appropriate to start my reflection statement by titling it ‘fermentation’ as this best describes my first year in academia as a lecturer. As the reader, I am quite certain that you are baffled by my odd or irregular introduction. Well, let’s break it down. Fermentation can be defined as a state of change or development. This definition is fitting as I had to step into a new environment that required me to reconfigure and morph into my new reality. The space insisted I relive and revisit my memories as a student which was not as easy as it sounds. These are memories that were buried deep within my memory with no intention to excavate them. This experience was truly astonishing and completely different from what I had expected initially. It was not only a conglomerate of emotionally taxing moments, but it was quite fulfilling as well, as I was able to share my experience and skills gained from the architectural/construction industry. I can confidently state that students are a constant reminder for one to be courageous and persistent, a trait we tend to forget.

0.7 JABU

MAKHUBU

Intentionality. That is what transformation requires.

We as a team set our goal for the year to be intentional about changing our teaching and learning praxis. Two things stood out this year about our commitment to transformative pedagogy. One, we have had to change the way we work with each other by exploring ways to collaborate and break down the dominant silo approach with architectural education. Two we have had to be clear about why we are doing this. That is centre the experience of our students in our practise by dismantling the hierarchies between student and tutor. We set the framework collectively as a team and together with the students infill and mould the form it takes. This required of us as tutors to recognise that our students have and bring with them valuable knowledge in the studio. moreover, the themes explored throughout the year centred around narrative, identity, critical engagement with the self and the other and understanding our roles as spatial practitioners in this time. We (tutors and students alike) had to be brave, to test, experiment and go on unchartered trails with the hope of discovery. The projects are thus, at times raw, without a clear vocabulary but embody the spirit of authenticity.The work in this catalogue bares evidence of this practice. Yes, this is not by any stretch of imagination a perfect praxis. There is room for improvement. Our hope is that we have contributed meaningfully to the discipline and have inspired others to do the same.

It takes a village.

OUT & ABOUT

0.1 LEMONADE STAFF PICNIC

0.2 STAFF BOWLING

0.3 NEWTOWN CLASS SITE VISIT

0.4 CLASS RAINBOW PICNIC

0.5 MAPEI FACTORY VISIT

0.6 ON THE SOCIALS

0.7 STAFF NAIL AND SIP LUNCHEON