2021 BARCH Y2 Studio Book- A Queer Club Haus by Jabu_A_Makhubu

FACULTY OF ART, DESIGN & ARCHIITECTURE UNIVERSITY OF JOHANNESBURG

BACHELOR OF ARCHITECTURE 2 DEPARTMENT OF A ARCHITECTURE

YEAR 2 CATALAGUE

QUEER CLUB HAUS ARCHITECTURAL DESIGN 2

CLASS OF 2021

ACKNOWLEDGEMENTS

Bachelor of Architecture Year 2 (BArch Y2) would like to thank the following the following for their contribution to our work thus far and this catalogue. Our students for making their work available for this compilation. Fellow staff in the Department of Architecture. Our head of department Dr Finzi Saidi. Special thanks goes to the GALA (Gay and Lesbian Association) Queer Archive and Taboom Media publishers for our core reference material “Hopes and Dreams That Sound Like Yours” that undergirded our Queer Club house project in the second semester. The book provided valuable, insightful and contextual narratives from which to build our enquiries. To our friends who have provided background support for our ambitious and often crazy ideas, Tuliza Sindi, Mxolisi Makhubu, Stephen Steyn and Dickson AduAgyei. Our esteemed external examiners Victor Mokaba, Orepa Mosidi, Guy Trangós and Mohau Moidi.

BACHELOR OF ARCHITECTURE Y2 HEA D OF DEPA RTMENT Finzi Saidi (PhD- UP)

YEA R COOR DNATOR & DESIGN LEA D Jabu Absalom Makhubu (MUD- Wits)

LECTUR ERS Nomalanga Mahlangu (MArch- UJ)- Archiectural Design Mxolisi Ntshona (BArch- UCT)- Architectural Design Steven Sotiriou (MArch- Wits)- Interdisciplinary Design Lead Lethabo Mathabathe (MArch- UJ)- Interdisciplinary Design Kishir Badeshi (MTech- UJ)- Technology and Detailing Lead Nikhil Aheer (MTech- UJ)- Technology and Detailing Tonia Murray (MTech- UJ)- Computers in Architecture Lead Lethlabile Shubane (MArch- Wits)- Design Studies Lead Leon Krige (BArch- Wits)- Sustainable Design Lead Leago Madumo (MTech- UJ)- History & Theory Lead

EXTER NA L EX A MINERS Victor Mokaba (MTech -TUT) Guy Trangos (PhD- HGSD) Orepa Mosidi (March- Wits) Mohau Moidi (MTech- UJ)

D E PA R T M E N T O F ARCHITECTURE

STUDENTS ZWANE,DNATOR Minenhle (he) YEA R COOR

ZULU, Mukela (she) TSOKE, Thabiso (he) TSHIRITZA, Dan (he) SOLIMAN, Ruqaya (she) SNYMAN, Joshua (he) SKHOSANA, Clinton (he) SIBANYONI, Zolani (he) SABEYA, Michael (he) RAMAKOKOVHU, Luthendo (she) PIMENTA, Tanika (she) PILLAY, Kyle (he) PHOFU, Tsholofelo (he) PHAHLAMOHLAKA, Thuli (she) PADAYACHY, Liam (he) NYINDE, Nonkanyiso (she) NYAWOSE, Lungelo (he) NKOSI, Thokozane (he) NKOSI, Lindinhlanhla (he) NGOMANE, Ntsako (she) NDLOVU, Tsako (he) MTHENJANE, Harvey (he) MORTON, Courtney (he) MOLEFE, Naledi (she) MBATHA, Tumelo (he) MBATHA, ASANDE (he) MAWENI, Ntando (she) MAVUSO, Lloyd (he) MATHABATHA, Raymond (he) MATHABATHA, Potego (she) MALUSE, Obakeng (she) MALULEKE, Ripfumelo (he) MALEHO, Charmaine (she) MAKORO, Molemo (he) MAKHUTLE, Blessing (he) MAKGETLA, Tshepiso (they) MABENA, Bongiwe (she) LUBISI, Sifiso (he) LUBANYANA, Sandiso (he) LETSIE, Bohlale (she) LEDWABA, Phodile (she) LANGA, Mmakethi (she) KOTZE, Charl (he) KHUMALO, Phethile (she) KHOTHA, Aneesa (she) KEKANA, Freddy (he) KANDOROZU, Stephen (he) HUGHES, Koronde (she) FURLONG, Mathew (he) DU PREEZ, Zanrich (he) DE OLIVIERA Joshua (he) CINDI, Thandeka (she) BAYAD, Rizwana (she) BAVUMA, Phila (she) BADENHORST, Sydney (he) ABOO BAKER, Amaar (he)

INTRODUCTION SEMESTER 1 SEMESTER 2 OUTRO

CONTENTS

Aim of course

Teaching Philsophy

Team

Tutors Reflections

Introduction: Narratives, Rituals & a Queer Clubhouse

Structure of the Year

project 1: Narratives and Rituals

project 2: Acts of a deprogrammed ritual

project 3: Narratives of the symbolic and everyday

project 4: Architecure of the symbolic and everyday

Semester 2 outline: „a Queer club house“

project 5.1: you are cordinally invited to...

project 5.2: read a place

charrette 2: house of

project 5.3 : conversations at the ball

104

project 5.4: a queer clubhouse

149

project 5.5 a Johannesburg pride float

171

Design Studies 2 Brief 3:project reflection essay

AIM

The Bachelor of Architecture (BArch) programme is an entry level qualification that covers the major knowledge fields in architecture. The programme focuses on a theoretical understanding of design and architecture in order to prepare students for further study and/or registration as Candidate Architectural Technologists. The second year (BArch Y2)of the programme uses an integrated approach to architectural design and thinking, drawing strongly on notions of seeing; lenses, views, stances, perceptions. It enables students to develop appropriate architectural language with which to engage the environment and user on a critical and meaningful level. A BArch Y2 student will have the opportunity to explore contemporary architectural theory and to apply contemporary design tools in order to produce relevant contextually resolved architectural responses in a connected urban fabric. The course, Architectural Design 2 (which work contained in this book is based on) 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 skins, 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.

South African Council for the Architectural Profession (SACAP) 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 human body as an 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 BArch Y2 sits in an interesting position, 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 encouranged to question, trouble and reconstruct thier learning experiences and to critically reflet on thier positionalities.

TEACHING PHILOSOPHY JA BU A BSA LOM M A K HUBU

BACHELOR OF A RCHITECTUR E 2 COOR DINATOR

drawings are extracts from my sketch book, which i use as a design tool during tutorials and project critique sessions

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, my teaching is a form of storytelling. It draws from indigenous forms of knowledge building and passing. Similar to how our ancestors passed down knowledge and wisdom. But unlike the hierarchical system, I am of the belief that students bring into the classroom embodied knowledges and thus I too am a learner in this context. The thing about stories is that they sometimes allow us to suspend reality temporarily so we can look closer at who we are. 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. I am 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?

In light of the above, My teaching philosophy follows a constructivist learning theory. Unlike the banking system of education which views students as empty vessels only capable of receiving and regurgitating ‘knowledge’ from their teachers/professors, 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. We also learn by doing, 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. To tell stories, one must be a good listener, not only of the sound of ones own voice but more so of a multitude of other voices and narratives including ones you disagree with.

TEAM NOM A LA NGA M A HLA NGU A RCHITECTUR A L DESIGN TUTOR 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.

JA BU M A K HUBU A RCHITECTUR A L DESIGN LEA D

M XOLISI NTSHONA A RCHITECTUR A L DESIGN TUTOR

Passionate lecturer and researcher in the department of architecture (DoA) and the graduate school of architecture (GSA) at the University of Johannesburg (UJ). My research interests are in architectural pedagogy, transformation, African cities, politics of (public) space, urban resilience and sustainability. 10 years of teaching experience. Co-Supervised 24 MArch theses between 2018-2021, 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. Published 4 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 member of the BeyHive (Beyonce fans).

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 4 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.

STEV EN SOTIRIOU INTER DISCIPLINA RY DESIGN LEA D

LETH A BO M ATH A BATHE INTER DISCIPLINA RY DESIGN TUTOR Lethabo Mathabathe is currently a junior lecturer in the Department of Architecture (DoA) at the University of Johannesburg (UJ). She leads Computers in Architecture and also assists with Interdisciplinary Design, in the undergraduate Bachelor of Architecture year two (2) stream. She holds a Master’s Degree from the Graduate School of Architecture (GSA) from UJ, and her research interests include housing, urban Design, designing with and for communities within landscape sites and using influences from different disciplines within the design field.

Formally qualified, informally well-travelled, practically experienced (12 years) in project execution, curious and innovative by nature, Steven Sotiriou “lives and loves” architecture. In addition to various working undertakings as a candidate, junior and senior architect with a number of consultancies (in South Africa, Netherlands and Greece), Steven established Design Signature Architects in 2013. The consultancy provided a useful springboard for a range of architectural appointments over a six year period, which has culminated in the establishment of an exciting joint venture, Urban Signature Architects in 2019.

TUTORS REFLECTIONS 0.1 NOM A LA NGA M A HLA NGU As with most briefs, we (I) embarked on the Queer Clubhouse project without a predestined outcome. I believe as a team we tried creating a safe learning environment for both ourselves and the students to try an engage with a topic/design theme that is rarely touched in the school, specifically in undergraduate studies.There was something quite unapologetic about the students that sincerely engaged with the projects, some students tapped into their voices, while some did the bare minimum maybe due to their own fears or discomfort. The collaboration between courses strengthened their projects but I don’t think the students were aware of this, or knew how to use it to their advantage. The collaboration has the potential of teaching them how to critically unpack their designs theoretically, sustainably while still staying true to their concepts. Given more time to develop their designs I believe greater lengths can be reached.

0.2 M XOLISI NTSHONA The Queer Club project highlighted current, untapped and real lived experiences of Queer individuals. The students got to learn the experiences of people using the Narrative of short real stories of people’s journeys towards “becoming”. The course outline was well articulated with literature, videos that gave students deep understanding of the subject matter. Students got to experience the issues of identity and/or Gender experienced by many that could be considered the minority. Students learnt to design from the perspective of the other. Student Group selection process promoted a higher understanding of self in the group and individual strength, attributes and leadership capacities. Great interwoven programme that really integrated all knowledge gained and expressed within a common project by so doing achieving a “total design approach”. The student’s products with our collective direction from Lecturers has enough grounds to showcase this work beyond the boundaries of the academic but further to organisation/ clubs/associations that are representing, celebrating and solving matters with the Queer Movement.

0.3 LETH A BO M ATH A BATHE The department is one fundamentally transformative environment that’s ever evolving and a space that consciously creates room for growth and needed conversations between all that interact with it. Being involved in the Queer project and assisting with the collaboration of the modules at DoA, proved to be a very interesting way in dealing with issues surrounding architecture, the profession and dealing head on with the subject matter on so many levels. It was a very refreshing approach at tackling how we as spatial practitioners have so much control over how spaces are designed and how other people get to interact with them on a daily basis, despite our beliefs and opinions. The Queer project not only challenged both the students and us as lecturers, in engaging with the brief on both a personal and public/general level. But it also proved to us how design can always be fluid in its programs, and the spaces it encompasses and not only be conformed to what the program should be or what the site needs. There is so much one can do, but it all starts up here, in the mind.

0.4 STEV EN SOTIRIOU The 2021 Queer project may be viewed as a significant and functional attainment of the objective of integration as between the disciplines of Design and Interdisciplinary Design. The effective implementation of the project may , inter alia ,be ascribed to its timing as at the culmination of the year in which the students had absorbed both the insight and required skills associated with an integrated approach. The execution of the project was further facilitated by the opportunity for in- contact learning as opposed to the earlier digital and on-line project approach which had added a challenging complexity . As an exercise in open, indepth understanding and exploration of the ‘Queer concept’, it may be regarded as limited. In this regard the concept was ‘set aside ‘while emphasis was placed on the design implications.

...TRANFORMATIVE ENVIRONMENT THAT IS EVER EVOLVING AND A SPACE THAT CONSCIOUSLY CREATES ROOM FOR GROWTH AND NEEDED CONVERSATIONS... LETHABO MATHABATHE

INTRODUCTION

I remember it like it was yesterday. I had been looking forward to that day. We had to move everything inside my mom and dad’s small lounge, all the chairs, tables and decorations because it was raining cats and dogs outside. But that didn’t stop the excitement running through my body, my day had come, finally. My friends and family came over ukuzobhiyozela usuku lwami lokuzalwa. Its tradition of my family as part of the gifts for a 21st birthday to receive amongst the gifts a new double bed complete with brand new bedding and your own bedroom. Another significant gift is the infamous key, a symbol to represent your freedom. It was a festive day filled with food, laughter, speeches, dances and pride. My little sister was 14 then. I looked at her and wondered just how big her umemulo would be? Where would it be held, I mean our house was way too small to host that big celebration. We would have to put up the tent in the street, invite all the neighbours, it would probably be filled with more ritual, more celebration and bigger gifts? Unfortunately it wasn’t all that. It was a small intimate gathering of close friends and family at a restaurant… nothing grand, she had just had a baby boy…

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. Working in the context of Covid-19 pandemic affords us the opportunity to explore and critically reimagine our immediate contexts, ourselves, our homes and our public spaces. This year, these are the primary sites of our inquiries. In first semster, the explorations centre around narratives, rituals and architecture. Our questions are about the self in public space. They trouble our understandings of programme and typology in the process of space making. While in the second semester our enquiries opens up issues of identity, politics and difference within Johannesburg. using queerness as a lense from which to make sense of the city.

STRUCTURE OF THE YEAR

BRIEF OUTLINE

The year is structured according to 5 thematic and incremental projects divided between the 4 terms

Projects are interdisciplinary, they borrow from other disciplines especially in terms of representation (tools/instruments)

Projects build from conceptual, small scale to the pragmatic, large scale and back to conceptual/technical, small scale

Projects are used to interrogate and deepen understandings of typology (building type)

Projects are research enquiries, each with a research question to guide the inquiry, a lens/sight/ way/method to approach the inquiry and the site is seen as a laboratory to test and experiment

Each project will be supplemented by a series of lectures to deepen and broaden each inquiry

Term 1: 15 Feb -01 April Topic: Thematic + Theoretic + Conceptual What- Rituals of a new year/season Narratives of family -choreography and space- 2 design projects (1- visual narrative choreography drawings of your favourite family ritual, 2- redesign/reimagining of that family ritual)

Term 2: 12 April- 28 May Topic: Landscape What- Rituals of birth/death A Landscape architecture project- public ceremonial space/ place of worship, sacred space, ritual space, cemetery, crematorium, baptism space

How- a series of lectures and in studio workshops on the design process, conceptualisation, methodology and meaning making Why- Understand the relationship between narratives, rituals and space, and how these shape society/family units. Assembly drawing Term 3: 19 Jul- 03 Sep Topic: Public Spaces/ Architecture What- A Queer Club House design of spaces that explore themes around identity and politics in Braamfontein, with particular focus on queer critical space inquiries (Major Design project). How- A series of lectures and peer engagements on mapping techniques, design approaches and design resolution. Integration of other modules Why: 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.

How- A series of lectures and precedent analysis on symbolism, topography, form, narrative, typologies and geometry, landscape Why- critically explore landscape architectural typologies, understand how narratives, rituals, and architecture shape society/community Term 4: 13 Sep- 12 Oct Topic: Detail + Speculative What: Johannesburg Pride Float Intuitive speculative design approach How: Speculative Model making and narrativetectonic, materiality, symbolism, structure, form, scale, lecture on speculative design approach Why: deepen and expand critical conceptual thinking.

SEMESTER 1 PROJECT 1 NARRATIVES AND RITUALS HOW DO YOU TELL YOUR STORY? In yester-years stories were passed down from one generation to the next through oral narratives, praise songs, drawn on rocks or woven on textiles and mats before they were written down and transcribed through fax machines and computers. Today in the era of digital and visual forms of representation at our finger tips, stories are made, shared, deconstructed and reconstructed almost instantly and on the move at a click of a button on our mobile devices. These are often narrated through mixed media, collage and montage to capture a story within a matter of seconds and it disappears 24 hours later or lasts forver. Social media applications such as WhatsApp, Instagram, TikTok, Tweeter etc have changed the way we tell stories. How do you narrate your stories? Ritual The word ritual has its roots in Latin, from ritualis, „that which pertains to rite (ritus)“. It is understood that the concept ritus originates from ancient Hinduism during the Vedic period (1500-500BC). However, the term ritual has evolved to mean “the prescribed order of performing religious services”. Today the definition may be expanded to include non-religious and non-sacred acts (the everyday rituals). Task: Curate and record a 15-30 second silent (no sound) social media story/video of a ritual you perform in a private space to celebrate, commemorate or acknowledge something new (it could be a new day, year, season, unboxing a gift, you transforming to a new you/alter-ego/ cutting your hair/ braiding it/ applying make-up, meditating etc). consider staging and props for your space (ring light, background and any additional props in the frame- include only the things that are necessary for the performance of the ritual). Curate 15 still frames from your video and using monochromatic line drawings (no renderings), redraw the transitions from one frame to the other. Consider line weight, line type and depth in each of your 15 drawings. Moreover, all 15 drawings must each be framed by a drawing of your mobile device. The scale of the drawings is 1:1 to the size of your mobile device. On an A2/A1 Portrait board, curate all 15 drawings chronologically include a title for your overall narrative/story and a brief (150 max characters) caption of each of your drawings. Your name, surname and student number on the bottom right hand corner of the board. All the text must be typed or neatly and professionally hand calligraphed on the board. Outputs/Requirements: • Video (15-30 seconds), well curated for social media of a performance of a ritual • A2/A1 Presentation board of 15 drawings of the transitions of the ritual performance using line drawings, neatly curated, titled, captioned and laid out on the board Objectives: • Develop and present ideas from inception to a final product • Communicate design intentions • Conceptualisation Assessment Criteria: • Quality of idea behind the ritual (how well considered is the narrative of the ritual?) • Execution of performance (clarity of narrative) • Curatorship of Video (staging/ lighting/ image resolution) • Drawing quality (line weights/ line types/ line depth/scale) • Communication/representation of narrative (layout on a presentation board)

Thandeka Cindi - The Doek

Courtney Morton- Pouring a Cup

Thabiso Tsoke- Card Tricks for Late Gradad

Bongiwe Mabena - Me Time Before World

SEMESTER 1 PROJECT 2 ACTS OF A DE-PROGRAMED RITUAL BACKGROUND: In project 1.1 “Narratives and Rituals of a new…” you explored rituals that express your personal/individual acts to celebrate, commemorate or acknowledge something new, performed within your private spaces. However, is it possible to perform this ritual in a public space in a group? Moreover, what kind of spatial configurations could each of these acts produce? And can they be reconstructed to form new kinds of spaces? We have learnt in our previous lecture that program is more complex than what we are accustomed to. It relates to both the physical, material aspects of space and the psychological and phenomenological aspects as well. Bernard Tshumi extends this by stating that program is never neutral, he goes on to encourage us to dismantle and redirect it. We also know, based on our immediate Johannesburg context that a space can host many different act-ivities based on factors such as time, context, culture etc. Servant spaces can also be served spaces and thresholds can also be more than separating or connecting space Task: This brief is divided into 3 parts each exploring an aspect that builds the project but can stand as a separate project in its own right. Part 1:Dismantling the Ritual/program Draw analytical drawings (lines, planes and volumes) of the movements based on project1.1 (do not redraw the ritual, but translate the ritual into spatial elements- lines, planes and volumes). The use of these practices in architecture means that design must fit the human body, rather than the people fitting the building. Human dimensions inspire the dimensions of the building(space). These will become your architectural space forming elements for part 3 of this brief. Part 2: Site Choose an open public space (park, square, street) close to your current residence. Document this space using black and white photographs. The space must be big enough to accommodate 15 people at a time Part 3: Redirecting the Ritual/programme Using the analytical drawings from part 1, design a space or a series of spaces to accommodate 5-10 people performing aspects of your ritual within your chosen public space. Remember, you are not recreating the ritual, but designing spaces that host new activities/ programs based on the analytical drawings of part 1. The space/s must be flexible with moving elements to allow it to change its activities at any given time. Question notions of floor, wall, roof, opening, thresholds in your proposal. This does not have to be an enclosed space. Consider time in the design proposal. How can the space change due to different time frames (day time versus night time, summer versus winter, Friday versus Sunday etc). The proposal may not exceed 100 square metres. Outputs/Requirements: • Part 1: A1/2 Poster of analytical drawings of the movements of ritual as line, planes and volumes (3D) • Part 2: A1/A2 Poster of BW Site photographs well curated • 3x monochromatic conceptual models (1:200) • Part 3: Site plan (1:200), Floor plans (1:50), long and short sections (1:50), presentation model (1:50) in context • 3x Axonometric drawings of proposal (1- exploded proposal as it, 1- proposal during communal use, 1- proposal transformed into a flexible space) • 2x perspectives (from eye level view)- experience and materiality.

“A PROGRAM IS NEVER NEUTRAL [...] THE FIRST THING AN ARCHITECT NEEDS TO DO IS TO DISMANTLE THAT PROGRAM AND REDIRECT IT.”— BERNARD TSCHUMI, PRAXIS 8

Objectives: Develop and present ideas from inception to a final product • Communicate design intentions • Conceptualisation • Assessment Criteria: Translation of analysis into spatial propositions • Curatorial ship of site photographs • Strength of Design proposal and representation thereof • Quality of presentation of all outputs •

Aneesah Khota- Untitled

Bongiwe Mabena- untitled

Freedy Kekana (top- opposite page)- untiitled

Courtney Morton-untitled

SEMESTER 1 PROJECT 3.1

NARRATIVES OF THE SYMBOLIC AND EVERYDAY Background: Now that you have explored how to think more abstractly about space making inspired by personal rituals. It is time to interrogate some of the symbolic and everyday narratives that influence buildings. That is the design and the experience of buildings. This project is divided into 2 parts: Part 1 explores narratives through unpacking precedent studies of buildings with strong narratives Part 2 involves designing two public buildings next to each other each encapsulating a symbolic and everyday narrative respectively- a separate brief to be issued on 30 April 2021 PART 1: “ Indlela ibuzwa kwabaphambili” In the assigned groups attached conduct a comparative precedent study of the following precedents and present the analysis as a visual (dialogic and analytical drawings) essay on an A1 posters. Group A B C D E F G H I J

Symbolic Vietnam Veterans Memorial, Maya Lin National Memorial for Peace and Justice, Mass Design Group Yad Vashem, Moshe Safdie Steilneset Memorial / Peter Zumthor and Louise Bourgeois Chapel of the Earth / Cabrera Arqs Temple of Steps / Sameep Padora & Associates Dan-daji-mosque | Mariam Kamara Al Abu Stait mosque| Egypt, Bait Ur Rouf Mosque, Bangladesh | Marina Tabassum Red Location Museum, PE/

Every day A Alexandra Heritage Centre, Peter Rich Architects B The Drill Hall, Johannesburg, C UJ Arts Centre, Auckland park- Mashabane Rose Architects D Moving into Dance, Newtown Mashabane Rose Architects E Soweto Theatre, Afritets F Constitutional Court, Braamfontein, Johannesburg G Westbury Transformation Development Centre (TDC), Ntsika Architects H Kwa Mai Mai Traditional Market I Fulham Heights Brixton, Local Studio J fnb Bnk City, Design Scape Your comparative precedent study analysis must discuss but not limited to the following: • Narrative of the project, Location and context of project, concept, materiality, form/massing, Programme and circulation • Demonstrate an understanding of an experience through space; Spatial narratives by interrogating the intentions and outcomes of the designer. • Scaled or/and well-proportioned drawings/sketches/perspectives All drawings/images must be your own (although these could be based after a sourced drawing/image). They must be sufficiently annotated and well curated on A1 Posters produced using appropriate computer programmes (Photoshop or InDesign).

“… BUILDINGS HAVE ALWAYS BEEN INVOLVED IN THE FRAMING OF RITUALS, THOSE REPEATED PRACTICAL AND SYMBOLIC ACTS THROUGH WHICH PEOPLE DEFINE RELATIONSHIPS AND COMMUNICATE WITH ONE ANOTHER, AND WHICH NEED ORDERED SPACE IN WHICH TO ‘TAKE PLACE’. I DO NOT JUST MEAN A CHURCH. A BLATANT MODERN AND SECULAR EXAMPLE IN. THE LAW COURT WITH ITS RIGID HIERARCHICAL ARRANGEMENTS FOR THE VARIOUS ACTORS IN THE LEGAL DRAMA. THE JUDGE IS ALWAYS ON THE CENTRAL AXIS IN THE HIGHEST SEAT, AND THERE ARE COMPLEX SPATIAL LAYERINGS TO KEEP THE VARIOUS PARTIES OUT OF CONTACT WITH EACH OTHER. BUT MUCH HUMBLER RITUALS CAN ALSO BE SHOWN TO BE PLAYED OUT IN BUILDINGS EVEN IF WE TEND TO TAKE THEM FOR GRANTED… SUCH AS ORDINARY RITUALS AROUND MEALS” (PETER BLUNDELL JONES, 2016)

ALVAR AALTOO | VILLA MAIRE ANALYSIS BY BOEESEL – SOURCE PINTREST

Outcomes: Well Curated A1 Portrait Poster/s, rigorously narrating all the lessons learnt from your precedent studies. Assessment Criteria: Rigor of Analysis, drawing quality, drawing variety, composition of poster/s use of text (typed), font and colour.

GROUP WORK

PRECEDENT STUDY ALEXANDRA HERITAGE CENTER PETER RICH ARCHITECTS

IT OPENED TO THE PUBLIC IN 2018 AND IT TOOK 20 YEARS WORTH OF RESEARCH BY THE ARCHITECT

IT IS SIGNIFICANT BECAUSE OF ITS HUGE CULTURAL AND POLITICAL HISTORY AND THE REACTION TO MIGRANT LABOUR AND POVERTY LED TO A SPEAD OF INFORMAL

THE TWO CIVIC SPACES CONCIEVE THREE FLOORS WITH A FOOT BRIDGE ACROSS THE STREET IT IS MEANT TO CELEBRATE IT AND GIVE VIEWS TO VISITORS

THE TWO CIVIC SPACES HOUSE PUBLIC FACILITIES AND SHOPS CONNECTED BY THE FOOT BRIDGE FIBER GLASS IS USED AS A REFLECTION TO THE CONTEXT AND FOR VIEWS

NDUMISO MTHENJANE 220002836 NICOLASS LOUBSER 220140093 KOREDE HUGHES 219056709 TSHOLOFELO PHOFU 220123380

GROUP WORK

PRECEDENT STUDY VIETNAM VETERANS MEMORIAL DESIGNED BY MAYA LIN, IT IS A U.S NATIONAL MEMORIAL IN WASHINGTON, D.C. IT IS HONORING THE SERVICE OF MEMBERS OF THE UNITED STATES ARMY WHO FOUGHT IN THE VIETNAM WAR.

OPENED IN 1982 THE SITE IS IS DOMINATED BY A BLACK GRANITE WALL WITH ENGRAVED NAMES OF THE MEN AND WOMAN WHO SERVED. IT IS A SYMBOL OF A HEALING WOUND, ALSO LOCATED BETWEEN TO THE LINCONL MEMORIAL AND THE WASHINGTON MEMORIAL.

THE THREE STATUES LAID ON THE SITE MADE OF BRONZE TO REPRESENT SOLDIERS WITH DEFFERENT RACIAL BACKGROUNG NAMELY EUROPEAN AMERICAN, AFRICAN AMERICAN, HISPANIC AMERICAN. PANELS WITH OVER 58 000 THOUSAND NAMES, THE ENGRAVEMENT ALLOWS VISITOR TO WAX THEIR LOVED ONES NAME

NDUMISO MTHENJANE NICOLASS LOUBSER KOREDE HUGHES TSHOLOFELO PHOFU

220002836 220140093 219056709 220123380

GROUP WORK

SEMESTER 1 PROJECT 3.2

ARCHITECTURE OF THE SYMBOLIC AND EVERYDAY Background: The university of Johannesburg’s campuses are gated, this raises questions around their publicness. This is made more pronounced with the various regulations imposed to mitigate the impacts of Covid 19 such as restricted access to studios, curfew in campus activities and limits on large gathering studying space, workshop spaces and including for spiritual purposes. Being a spatial practitioner (architect), you need to think creatively about these challenges. Now that you have studied various precedent studies of buildings and spaces with symbolic and everyday programmes, you are now tasked to design symbolic and everyday spaces on the give sites on the edges of the APB east entrance as shown on the image above. Each of these spaces (excluding service spaces) must be able to accommodate at least 50 people at a time. PART 2: The Symbolic and the Everyday In the sites given above you are tasked to design spaces that respond to the following: Site A • A space to wait for transport • A space/s to study open 24 hours • A space/s for communal eating • A space/s for art • A space/s for performing • Space/s for conducting business/ selling/ trading • Service spaces Your design proposal for this site (A) must appropriately respond to the everyday activities and narratives of the site. Expressing your understanding of the urban thresholds of the site through form, envelope, structure and order/complexity thereof. It must explore the narratives of programme structurally and tectonically. Site B • Space/s for meditation • Space/s for cleansing • Space/s for relaxation • Space/s for worship • Space/s for drinking tea • Service spaces For site b, your design must critically consider form, light, symbolism, geometry, scale and proportion. it MUST engage with the topography, through stereotomic means (cutting into solids/ground/concrete/heavy material). It must consider light as material. It may include the element of water as a material. Outcomes: Present your design proposal through well curated A1 Presentation panels that comprehensively capture all the tasks asked of you. Your (re)presentation must include (but not limited to): • Mapping and Analysis • Conceptualisation and design development sketches, models, showing lessons from precedent • Scaled, rendered, architectural drawings in context (ALL PLANS Site, Floor and roof plan, 2 SECTIONS, 2 ELEVATIONS all at 1:100 • 2 rendered time based perspective drawings, (one on a week day and one on a weekend) • 1:20 Skin section • and 1:100 meticulously crafted presentation model in context 38

LEBO MBEWE: HEALING THE CITY: UJ ARCH DIPLOMA 3, 2017

Assessment criteria By successfully completing this project you will exhibit your ability to: Communicate your design narrative (analysis, concept, development and final scheme) • Demonstrate an understanding of the relationship/hierarchy of spaces, use a variety of bubble dia• grams. Resolve spaces showing your understanding of the differences between public, semi-public and pri• vate spaces- and the thresholds in between Appreciate Light as a building material • Question structural concepts, stereotomy and materiality • Bring meaning into architecture •

Liam Padayachy

Freddy Kekana

Peter Rademeyer

Thabiso Tsoke

Zanrich Du Preez

Courtney Morton

“...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.“ (CHRISTOPHER REED, 1996)

SEMESTER 2 QUEER CLUB HAUS PROJECT OUTLINE

In the second semester of 2021 we challenged the Bachelor of Architecture Year 2 students to explore the city of Johannesburg, Braamfontein through the lens of queer territory. Using a series of interdisciplinary short charrettes and design briefs as prompts to not only deepen the understanding of queer experience of the city, but to also propose possible responses in a non-linear and cyclic process. The Project is inspired by narratives from Ahmad’s 2021 book “Hopes and dreams that sound like yours: stories of queer activism in Sub-Saharan Africa.” As a major project of integration, the project explicitly challenged students to collaborate amongst each other and make connections to the various modules within the semester which include Architectural Design II, Technology and Detailing II, Interdisciplinary Design II, Sustainable Design II and Design Studies II. At every moment they were expected to draw, perform and make to represent and present their process. Merriam-Webster Dictionary defines a Club as: 3a: an association of persons for some common object usually jointly supported and meeting periodically also : a group identified by some common characteristic house as: 1: a building that serves as living quarters for one or a few families (by extension families can also be chosen, as is sometimes the case in the LGBTQI communities) clubhouse as: 1: a house occupied by a club or used for club activities 2: locker rooms used by an athletic team 3: a building at a golf course typically housing a locker room, pro shop, and restaurant

Objective of project: to introduce students to critical theories and to spatial design for people that are often marginalised from public participation. To speculate on new building typologies within the city of Johannesburg that respond to the diversity of the youth population in the city. Moreover, students will be exposed to various approaches to the design of mixed use (medium scale, complex) framed buildings. Methodology: through multidisciplinary and interdisciplinary approaches borrowing from critical space theories from the humanities, film, the arts, and human geography to frame the socio-political importance of the project. Critical Mapping techniques from urban design will assist with framing the socio-spatial context of the project. Fashion, interior design, and industrial design disciplines will be influential in bringing together the materiality of the project through its critical interrogation and application as it relates to queerness. Secondary data and narratives sourced through journal articles will be used as base information from which to unpack narratives about queer experiences. Individual and group design charrettes/ workshops will be carried in studio each week, exploring different aspects of the project in a 60

nonlinear format. These are seen as tiggers to deepen the inquiries and support the project. Speculative design based on the discoveries from the various material and data will be carried out cyclically throughout the project with the aim of culminating in an architectural design proposal/proposition that presents what a queer clubhouse in Johannesburg could be. References and resources for the project (more to be added on each brief/charrette): Readings 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. Butler, J. (2011) Bodies That Matter: On the Discursive Limits of Sex. 0 edn. Routledge. doi: 10.4324/9780203828274. 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. Oswin, N. (2008) ‘Critical geographies and the uses of sexuality: deconstructing queer space’, Progress in Human Geography, 32(1), pp. 89–103. doi: 10.1177/0309132507085213. Reed, C. 1996. Immanent Domain: Queer Space in the Built Environment. Art Journal, Vol. 55, No. 4. Pp. 65-70. Films 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). Documentaries Bolan, C. (2020) A Secret Love. Beech Hill Films, Blumhouse Productions. 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). Architectural theses: 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

THE WORLD’S OLDEST PARTY INVITATION WAS DISCOVERED IN 1973 AT AN ARCHAEOLOGICAL SITE IN VINDOLANDA FORT, NORTHUMBERLAND, ENGLAND. WRITTEN IN APPROXIMATELY A.D. 100, THIS BIRTHDAY INVITATION FROM ONE SISTER TO ANOTHER SPEAKS VOLUMES ABOUT THE CULTURE IN WHICH IT WAS CREATED. THE TEXT OF THE LETTER READS AS FOLLOWS: CLAUDIA SEVERA TO HER LEPIDINA, GREETINGS. ON 11 SEPTEMBER, SISTER, FOR THE DAY OF THE CELEBRATION OF MY BIRTHDAY, I GIVE YOU A WARM INVITATION TO MAKE SURE THAT YOU COME TO US, TO MAKE THE DAY MORE ENJOYABLE FOR ME BY YOUR ARRIVAL IF YOU ARE PRESENT. GIVE MY GREETINGS TO YOUR CERIALIS. MY AELIUS AND MY LITTLE SON SEND HIM THEIR GREETINGS. I SHALL EXPECT YOU, SISTER. FAREWELL, SISTER, MY DEAREST SOUL, AS I HOPE TO PROSPER AND HAIL. TO SULPICIA LEPIDINA, WIFE OF CERIALIS, FROM SEVERA.

SEMESTER 2 PROJECT 5.1 YOU ARE CORDIALLY INVITED TO ISANDLALELA [Background] Traditionally, written invitations are used for larger scale “life cycle” events such as weddings, anniversaries, important birthdays or baby related events such as a baby shower. Written invitations to formal events got their start in the middle ages. Wealthier families would commission monks who were skilled in writing calligraphy to craft their notices one at a time. By the middle of the 1600’s the most popular method of creating invitations was engraving. A metal plate would be hand engraved in reverse with the necessary text and then invitations would be printed. To protect the ink from smudging a piece of tissue paper would be placed on top of the invitation. That’s where the tradition of adding vellum or tissue paper to invitations began. In the 1600 and 1700’s invitations were delivered on horseback, as the postal system was very new at the time and unreliable. To protect the invitation during its travels an outer envelope was used, this is where the double envelope tradition began. Fast-forward a few centuries and the wedding and event invitation industry, as we know it today began during the middle of the 20th century with the invention of Thermography. Thermography is a printing process that produces raised letters on a sheet of paper without any etching or engraving. It made invitations very affordable for everyone. Now, it’s popular to buy invitations from either a catalogue or the Internet. UMSEBENZI [Activity] In this interdisciplinary brief you are tasked to envision a coming of age (umemulo) event to take place in your site of exploration. The occasion should be based on the narrative/s of one of the characters/narratives as extracted from the eBook HOPES AND DREAMS THAT SOUND LIKE YOURS Stories of Queer Activism in Sub-Saharan Africa (see reference below). The invitation must be well designed and handmade as though it would be posted to the guests (no e-invites/ Pinterest templates). It must consider who those guests are and must visually capture the narrative of the event. It must not be smaller than 150mm X 150mm when folded. Special attention must be paid to the quality of paper, the design of the frame, calligraphy, shape, form (how you cut and fold the invitation), the use of colour and theme of event.

OKULETHWAYO [Deliverables] • A well curated and designed invitation card • All process work (on A1 Panel) documenting the concept, design development and production of the invitation card through photographs, drawings and prototypes. IMIPHUMELA NEZIGABA [Evaluation and Duration] By successfully completing this project you will exhibit your ability to: • Design concept (theme and relevance to reference/s on Blackboard) • Design development • Design process documentation • Quality of making of the invitation (calligraphy, cut and fold, use of colour and care) ONGAKUFUNDA [Reference] Ahmad, D. et al. (2021) Hopes and dreams that sound like yours: stories of queer activism in Sub-Saharan Africa. Available at https://gala.co.za/wp-content/uploads/2021/05/Hopes_and_Dreams_final_hires.pdf

Ruqaya Soliman- Unleash the artist in you

Mmakgethi Langa - Self Acceptance Celebration

Charl Kotze - Proud to be different

(top) Bongiwe Mabena - Metamorphosis

(bottom)Sydney Badenhorst - Untitled

(bottom) Micheal Sabeya- Bieng an Ally & Phodile Ledwaba- 10 th Aniversary of Activism

(top) Potego Mathabatha - Queer Feminism and Activist

Tanika Pimenta - Dia De Reconcilacao

TO READ

AND REPRESENT THE STATUS QUO OF A CITY, WE UTILISE MAPMAKING/CARTOGRAPHY, IMAGE MAKING/COLLA-

GE, MONTAGES AND MOVING IMAGES/FILM. THIS READING OPENS OUR FRAME OF REFERENCE AND WIDENS THE INQUIRY FROM NARROW ABSOLUTES TO BECOME INCLUSIVE OF BOTH PHENOMENOLOGICAL AND MATERIAL ASPECTS OF URBANITY. THESE ALL BECOME VALUABLE INFORMANTS TO PLACE MAKING. THE RELATIONSHIP BETWEEN MATERIAL AND PHENOMENOLOGY IS DYNAMIC AND DIFFICULT TO TRACE, IT REQUIRES CREATIVE MEANS OF READING/ MAPPING.

SOURCE: GRAPHIC BY DUSTIN BUZZARD PAINT YOUR FACE COLLAGE.(MITCHELL AND SCOTT, N.D.)

UMSEBENZI [Activity] In the groups assigned, you are required to investigate (read) the relationship between material culture (urban form) and human experience (phenomenology) of your study area: Braamfontein Precinct. Your readings must be a combination of scaled maps, cartographies (line drawings, sections etc), image making (photo montages/collages) and/ short videos. The following list of outputs are to be used as a guide for your production: 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 Braamfontein 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, landscape-hard and soft, mobility, nodes- spaces of intense activities • Image making (street elevation photo montage, street perspectives diagrams illustrating character of the street, comfort, identity of street, public art, textures of street and a 1:200 Physical cardboard model 70

SEMESTER 2 PROJECT 5.2 READ A PLACE[BECAUSE

READING IS WHAT?...FUNDAMENTAL… RUPAUL]

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 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 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] 4 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) • Photo montages- street elevations- Juta and Smith street • Street perspectives diagrams or grayscale photographs with minimal use of colour (experience / • quality of the spaces/streets) Historical timeline of Braamfontein and Queer spaces/activities therein • A brief caption of under each illustration (map, drawings, montage/collage, sketch) • SKETCHBOOK (field notes, diagrams, photographs of strange things on site (any record of site and your thoughts, unfiltered, rough and messy). 1:200 MONOCHROMATIC PRESENTATION MODEL: At this scale, more details need to be shown such as: Topo• graphic 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] Mitchell, D., Scott, D.T., n.d. Towards a Queer Urban Design Methodology 8. 71

GROUP H

DEFINING QUEER SPACES IN BR A A M

GROUP H

DEFINING QUEER SPACES IN BR A A M

GROUP H

DEFINING QUEER SPACES IN BR A A M

GROUP B

QUEER CULTUR E IN BR A A MFONTEIN

GROUP L

R EA DING BR A A MFONTEIN

GROUP Q

BR A A MFONTEIN PR ECINCT M A PPING

GROUP S

R EA DING BR A A MFONTEIN

GROUP U

M A PPING OF BR A A MFONTEIN

GROUP R

EXPLORING BR A A MFONTEIN

GROUP E

R EA D A PLACE

“Braamfontein is made of local and international businesses locaded in mixed use buildings“

GROUP E

R EA D A PLACE

GROUP E

R EA D A PLACE

“...THE AREA IS LESS DISCRIMANATORY...IT IS POPULATED WITH YOUNG PEOPLE WHO ARE INFORMED WITH QUEERNESS... QUEERNESS HAS A SPACE IN BRAAMFONTEIN...“ GROUP H FINDINGS

STILL FROM TELEVISION SERIES „POSE“... CAPTURED IN IMAGE IS CHARACTER NAMED ALECTRA FROM THE HOUSE OF ABONDANCE

SEMESTER 2 CHARRETTE 2 HOUSE OF...

Based on the clips from Pose and Paris is Burning, `house“ may also be none heteronormative. That is, family may be chosen therefore a house and the composition thereof may take nuanced interpretations.The clips introduced you to the definition of house within the queer communities and some of the rituals that exists in some of those houses. You are tasked through collage making to construct images from print media cuttings (photographs, newspaper clips, magazine etc.) that recreate the special qualities of the house you have been assigned based on the films (pose and Paris is burning) Create at least 3 interior collages of different rooms inspired by the films and superimposed these collages on your home model, each image (collage) must be made of at least 10 cut out/frgments from multiple images. For an example, a chair from image 1, light fixture from another, table from another etc. maay be arranged to form a new image. These new images must capture the essence of the house you are ssigned. Ensure that each of the interior collages is superimposed on a similar space within your model (kitchen or your kitchen wall, bedroom, lounge, bathroom etc.)

Virgina Omari- House of Libeija

Raymond Mathabatha- House of Abundance

Tshepiso Makgethla- House of Ninja

“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)

PUBLIC THEATER ... (CHARRETTE 3), IN PHOTOGRAPH IS LUTHENDO AND NTSAKO IMAGE BY JABU MAKHUBU

SEMESTER 2 PROJECT 5.3 CONVERSATIONS AT THE BALL:

LIGHT BOXES AND STAGE SETS

VUYIMELO [Background] Wortham-Galvin brings to focus the purpose of this project. That is to think about city making through the lens of queerness, constantly in motion, performative, fluid and process driven. They also bring to our attention the politics of urbanity. 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. NGHINGIRIKO [Activity] In Brief #2—Read a Place—you were introduced to your study area Braamfontein. You worked in a group and were tasked to investigate the relationship between material culture (urban form) and the queer human experience (phenomenology). The City of Johannesburg has revised the regulations and Juta street has been identified as a pedestrian street (that is cars are not allowed on the street). In this brief 3 you are tasked to “design your intentions”. First it means that you bring together and integrate your voice and those of your clients (brief 1), with your reading of material conditions of your site and its queer experience (brief 2). Second, based on this complex, integrated and layered perspective, you as a group, are tasked to bring brief 1 and 2 of this project together through the construction of 3 Light box/ Theatre Stage sets that choreograph the performance of your collective events (brief 1). Each of your Light Box or Theatre stage sets must explore narratives from your characters with the following spaces as the backdrop or foreground of narratives: The street (Juta Street view) 1. The Pavement across the entrance to your project site (threshold) 2. The Bathroom/Ablutions that services the event space as your brief 1 3. All three of these stage sets/light boxes must not be smaller than an A3 size (420mm X 297mm), each of the constructions must have a minimum of 6 cornices/layers with some moving part. These must be constructed of pieces/fragments from your site (the frame), characters from your house of workshop and the reading ( brief 1). Consider the theme/mood (day or night) and narrative of each set, what happens on the floor, eye level and sky? The narrative does not have to be linear or complete. Work with tension, scale, time, motion and light in each of your outputs. LESWI KU TISA [Deliverables] A1 POSTER/S documenting your conceptualisation, design development and narratives for the 3 sets/light boxes (go back to project 1 for ideas on how you could represent this- you can include a short 60 second video or GIF images documenting this for extra marks) 3 X Well constructed Light Boxes/ Theatre Stage/ 3D montage (420 x 297) MBUYELO [Evaluation] 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. • To improve your design research methodology • HLAYENI [Reference] Mitchell, D., Scott, D.T., n.d. Towards a Queer Urban Design Methodology 8.

GROUP L

GROUP H

GROUP E

100

GROUP Q

101

GROUP O

102

103

“…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, OF CLAIMING TERRITORY.” (CHRISTOPHER REED, 1996)

STILL FROM VIDEO ART WORK BY THELMA NDEBELE GSA-UJ 2020-NOCTURNAL HETEROTOPIAS PROTOTYPING THE EVENT PLACE FOR OTHERNESS

AGTERGROND [Background] Now that you are well versed with narratives that centre queerness and the area for your design intervention (Braamfontein). It Is now time to bring all the literature, site explorations and user narrative analysis together in a clear and coherent fashion to design a queer clubhouse that responds to all your findings and explorations thus far. This brief asks you to think more widely about what makes a typology for a queer clubhouse. Use the theoretical framing of what the ‚CLUB“ is and the anticipated symbolism or contribution towards Braamfontein and Johannesburg. TAAK [Task] Brief 4 challenges to work individually. To design a queer clubhouse that integrates itself in the context of Braamfontein. Finally! Your clubhouse 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. However, ensure that the spaces respond to the needs of your end users. Think of their everyday

104

SEMESTER 2 PROJECT 5.4 A QUEER CLUB-HOUSE

needs (live, work, play) and their ceremonial needs (celebrations, activism, etc). What relationship do these spaces share together, with time and with the rest of the public. Possible space schedule: Public retail/commercial/entertainment spaces/s- be specific o Special spaces/ offices/ Skills development/ Health services/ o Houses- Accommodation for diverse groups/ queer houses o Consider the relationship between public, semi-public, private and the spaces in-between (liminal, fluid and thresholds), Service and served spaces, Indoor and outdoor rooms, streets, pavements and rooftops. Porosity between Juta and Smith service road through your building proposal. Remember that Juta street is now a pedestrian only street. Your building proposal may not be more than 5 levels (including basement and roof top), it must apply framed construction, it must also draw from other creative disciplines (fashion, art, industrial design etc) in its material for the envelope and/ form. 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, circulation, materiality and thresholds. Use the above data to formulate and present a design proposal that includes conceptualisation, precedent study of your choice, design development drawings, models and explorations. Your presentation must include but not be limited to: Conceptualisation sketches including 3-4 conceptual models at 1:200 documented through photography • context model group in the Technical design drawings in context: Site plan 1:200, Ground Floor Plans with landscaping 1:50 • (inclusive of both 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 house of charrette in all your • renders 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), conceptuao lisation, design development (including precedent study analysis) and presentation drawings as per outputs of brief 3-4 Conceptual Models o 1 well-constructed presentation model o EVALUERINGS KRITERIA [Evaluation Criteria] Architectural resolution (scale, structure, materiality and envelope resolution) • Communication of design narrative (analysis, concept, development and final scheme) • Resolution of spaces showing understanding of context, differences between public, semi-public • and private spaces- and the thresholds in between Craftswomxnship of presentation model • VERWYSINGS [References] 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.

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Mukelani Zulu - Celebrating a life worth living

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Quatiatia. Explis tis as ad et facid experia lupta quidebit volorep e rorem sincte cusa volendelita voloreptiis a in prae dolor sed quo vellam quiam dollor aut aut aceatur, temporp oressunt untum faccusam essinc.

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Mukelani Zulu - Celebrating a life worth living

108

109

Aneesah Khota

110

111

Aneesah Khota

112

113

Ntsako Ngomane

114

115

116

Ntsako Ngomane

117

118

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Tanika Pimenta -Claiming Space

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