University of Johannesburg- 2020- Bachelor of Architectural Studies- Year 2- Design Studio by Jabu_A_Makhubu

YEAR 02 Bachelor of Architecture, University of Johannesburg Design Studio 2020

Politics of Public Architecture

L A C

â&#x20AC;&#x153;Always design a thing by considering it in its greater LITcontextâ&#x20AC;? PO

Freedom Park towards Voortrekker Monument - April 2015 Image source: http://www.theheritageportal.co.za/

“Power”

Cover and back images by Caleb Naidoo

“possession of control, authority, or influence over others”

Why the ‘politics’ of public architecture? Architecture is possibly the most political of all the arts. Particularly within a civic and public sense, it usually requires large capital investment and is thus predominantly commissioned by political and cultural elites. Architecture defines the landscapes of our daily activities, giving a face to our political institutions, and measuring out the quality of our facilities, services and houses. More than any other art, it is linked to the material realm of politics, illustrating and shaping wealth distribution and access to power. But it also carries collective symbolic meaning, defining the public sphere, embodying history, mediating, narrating and shaping collective experience. Architecture is therefore politically important. For historians and researchers, it provides a rich landscape within which to explore political and social organisation and meaning. Looking at specific buildings – where they sit, their aesthetics – tells us about the history of the community and the ways in which values and ideas are expressed… allowing us to better understand common and sometimes contradictory understandings of cultural and social identities Historians study public buildings to tell us about our past, this studio is interested in discovering what public buildings tell us about our future. In other words, how can we reimagine/use architecture (the master’s tool) “to dismantle the master’s house”? is it a question of programme, symbolism, materiality or form? How can architecture forge a new political system?

Studio Leader Jabu Absalom Makhubu- MUD

Studio Assistants Nomalanga Mahlangu- MArch, Mxolisi Ntshona- MArch

External Examiners Afua Wilcox- MArch (PhD Candidate) Dickson Adu-Agyei- MTech (Prof)

Contents: 1. Pedagogical Approach

2. “Here is a Link to today’s class”

3. Architecture and Memory

4. Architecture and Memoralization

5. Architecture and Public Safety

6. Architecture and National Indentity

7. Architecture and Climate Change

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The Bachelor of Architecture is an entry level qualification(part 1) 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 purpose of this year 2 of 3 Design Studio module is to develop students’ design thinking skills, application of the design process, creativity and appreciation of the context. • Projects build from conceptual, small scale to the pragmatic, large scale and back to conceptual/technical, small scale • Projects are research inquiries, 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 • Projects are interdisciplinary, they borrow from other disciplines especially in terms of representation (tools/ instruments) • Projects are used to interrogate and deepen understandings of typology (building type)

1. Pedagogy Pagano argues that â&#x20AC;&#x153;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 legitimatedâ&#x20AC;? -(Pagano, 1994: 252) Much like Pagano above, my teaching is a form of storytelling. It draws from indigenous forms of knowledge building and passing. Like how possibly 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, constructivism as a theory is of the view that students construct their own understanding and knowledge of the world, through reflecting on their experiences. Thus they are as much of the subjects of enquiry as they are the researchers, and my role is to facilitate rather than dominate the process. In the second semester we deepened our explorations of the theme of politics of civic architecture in South Africa and the various narratives that are inherent in it. The Project of integration for the year looks closely at the ideals of national and transnational forms of identity within architecture by exploring and interrogating an embassy as an architectural artefact that speaks of this duality. We also reflect on the effects of climate change through very speculative projects that are based on an everyday weather instrument (the umbrella) and reimagine it..

2. “Here is a link to today’s class” We can all agree that 2020 has been a very different year. Filled with challenges that stretched us to our lengths. We have had to adjust to living within a pandemic, protest actions and lockdowns. As the first case of the Corona virius reported on 05 March 2020 in South Africa, life as we know it changed. On March 23, 2020 the president of the republic announced the country will be going on lockdown from the 27th. For us, this meant suspension of all contact classes at institutions of learning. The University of Johannesburg announced its decision to move all classes to online platform as of 20th April 2020. Something we had not previously planned for. Thrown into the chaos, we have had to navigate our way through it. From reconceptualising the rest of the year, managing stresses both ours as educators and those of our students, figuring out which platform is most suitable for the majority, testing things out, failing dismally and trying again to eventually learning to flow with and within the chaos. “Hello everyone, here is a link to today’s class...” became a familiar message on our WhatApp groups. A gentle reminder to get yourself together, motivated and log on. The excitment of teachng and learning from the comfort of our homes quickly wore off as the reality of our country’s disparity became even more pronounced. Those that have resources at thier homes quickly adjusted to the new norm and unfortunately those that did not faced even more challenges. We had to constatly adjust not just what we teach, but more importantly, we had to adjust how we teach and learn... We faced many challenges, overcame some of them, learned new skills, new was of communicating and we also failed... but i’ll let you be the the judge of that, so

“Here is the link to this year’s class...”

BACHELOR OF ARCHITECTURE: ARCHITECTURAL DESIGN 2 BAAD3Y2 2020

PROJECT 1A : ARCHITECTURE & MEMORY HAND OUT: 04 Feb 2020

HAND IN: 28 Feb 2020 T u to rs : J a b u M a k h u b u , M x o lisi N tso n a & N o m a la n g a M a h la n g u

“Architectural theory often embraces an understanding of buildings that would assume that buildings have an objective reality ‘out there’ while a number of subjective perspectives to that building are being expressed, compared, weighted and reconciled… Designers have a perspective, and every design project holds this perspective; that is, they attribute meaning to what they believe a building stands for. They acknowledge also the perspectives of others, their points of view to the objective reality of built forms .” Yaneva, A. (2017).

Umsebenzi onikeziwe (Your Task): Tell us about a significant public building that your great or grandparent/s used to visit often. This could be a church, mosque, cathedral, theatre, hall noma indawo yomphakathi (public space), any building/space other than a shop. Using this building/space, complete the following tasks:

1. Write an essay narrating the significance of this public building/space to your great or grandparent/s (250 words)- Interim- HAND IN:07 Feb 2. Draw a monochromatic cartography (map) from your great or grandparent’s home to the public building/space that is significant to them. The map must adhere to the following: conventions (scale 1:5000 or 1:10 000, North Point, Line quality, title), clearly locate the two spaces, illustrate topography, vegetation (trees), built fabric and the route your great or grandparent used to get to the public building/space. Interim- HAND IN: 14 Feb 3. Explore elements of the public building that contribute to its significance using 6 meticulously rendered and annotated perspective drawings (one point, two point and axonometric perspectives), these may be hand or computer drawn and rendered. Interim- HAND IN: 21 Feb 4. Curate the above information on one A1 SHEET using appropriate computer programs. (see attached for an example)- Final- HAND IN: 28 Feb

Imiphumela kanye nenqubo yokuhlola (Outcomes and assessment criteria) By successfully completing this project you will exhibit your ability to: • •

Generate suitable representation techniques in the making of architecture.

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

•

Effectively communicate design intentions.

Izimfuneko (Requirements) •

1x A1 Panel consolidating your project

•

250 word well-structured and edited essay

•

A meticulous monochromatic cartography at an appropriate scale

•

6 x Rendered Perspective Drawings at various scales

•

All drawings must be numbered and have brief captions

•

Pay attention to layout, font-type & size, colour, line quality and “perspective”

Ukufunda (Reading) Yaneva, A. (2017). Five ways to make architecture political : An introduction to the politics of design practice. Retrieved from http://ebookcentral.proquest.com

UKUBAKHONA (ATTENDANCE) 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.

UJ: DOA: BARCH Y2 2020: Project 1: Architecture and Memory Tutors: Jabu Makhubu, Mxolisi Nstona and Nomalanga Mahlangu

Sifiso Mwelase

Heike Melcher

Caleb Naidoo

Is-Haaq Khan 10

A PLACE OF REFLECTION AND MEDITATION BELL DESIGN ENTRANCE GATE - ENTRANCE

Michaela Naidoo

DJ Mushaathama

DENSE BIRD HABITATION

MICHAELA NAIDOO 201903227

BLAST FROM THE PAST 1997

My grandparents used to visit the Voortrekker monument as often as they could. To them, this majestic building was not only an integral part of their history but also a place where they could relax, have a drink and talk about the “good old days” when their grandparents and greatgrandparents used to tell them tales about the Great Trek.

VOORTREKKER MONUMENT

The 40-meter-tall granite building, situated south of Pretoria on a 240-hectare nature reserve, was designed by Gerard Moerdijk and built in a time when the luxury of cranes and quick cement did not exist. It took just over 12 years to complete the building. It was Moerdijk’s ideal to design a “monument that would stand a thousand years to describe the history and the meaning of the Great Trek to its descendants.” My forefathers believed that the deeply engraved granite stones, used to build the landmark, emphasised and symbolised the fallen heroes and their scars. The Great Trek is compared to scars, because scars leave an imprint on your body even after the healing process. For the Afrikaners, the Great Trek left an imprint on our being.

Route to the monument

My grandparent has an emotional connection with the monument which depicts the firm courage, boldness, integrity, and self-confidence of our ancestors. Each year they renewed their vows as they waited for the annual mid-noon sun to illuminate the encrypted cenotaph on 16 December. Therefore, the cenotaph has a deeper symbolic meaning for my grandparents. Not only does it represent fighting (whether it was fighting for their families, for right and wrong or battling against inner struggles) and freedom. It also symbolises love and compassion. They loved to take their children, and years later their grandchildren, to see the magnificent building and tell them the tales they were told about the courage and strength of the Afrikaners. As a family, we treasure the tales shared with us and we still visit the Voortrekker Monument occasionally to honour those who conquered an unknown land in their pursuit of a better life.

Perspectives

HOME

Today the Voortrekker Monument is arguably the most important heritage symbol for South Africans and has a deep symbolic significance for those who committed their lives to build a sustainable country.

3. Great trek descendants. 1. The Voortrekker Monument

2. The monument that would stand a thousand years and its lighting segment.

5. December 16- The illuminate encrypted cenotaph and the vows. 4. Deeply engraved granite stones

6. The courage and strength of the Afrikaners.

Heinrich Kok

7. Different races in South Africans who committed their lives Heinrich Kok 219003830 Accessed on 6 Feb 2020 https://www.places.co.za/html/voortrekker_monument.html

Brenden Schnehage

Qiniso Dlamini

Themba Gqabe

ADDERLY ST

Mcheal Sabeya

Koketso Mohwasa 17

Charmaine Maleho 18

Muaaz Mahomed

Precedent studies: •

Vietnam Veterans Memorial, Maya Lin

•

National Memorial for Peace and Justice, Mass Design Group

Izimfuneko (Requirements) •

A1 Visual Essay, Precedent Study

•

Yad Vashem, Moshe Safdie

•

A strong conceptual idea linked to remembrance for your design proposal

•

Steilneset Memorial / Peter Zumthor and Louise Bourgeois

•

Sketches of development of concept into architecture

•

Nelson Mandela Memorial, Marco Cianfanelli

•

ALL PLANS TO APPROPRIATE SCALES (1:200 Site Plan, 1:100 Floor Plans)

•

1 Longitudinal section (1:100) and 1 Cross section (1:50)

•

Minimum of 2 Elevations (1:100/1:200)

•

Presentation model at scale 1:100/ 1:200 in context (You will not be penalised for not having a

Your precedent study analysis must discuss the following: how the project was commissioned, what is being memorialised, site/location of project, concept, use of material, form, context and narrative.

2. Design a memorial space dedicated to the 1956 Women March (collective memory) or a series of individual memorial spaces for the five leaders of the march (Lillian Ngoyi, Helen Joseph, Rahima Moosa, Albertina Sisulu and Sophia Williams).

final model, however you are encouraged to complete the model after the lockdown and submit) Bonus: Present All drawings, images and models in a meticulously crafted physical, foldable/closable

Your design must critically consider history, symbolism, context, form, light, geometry, scale and

“memory box/es”.

proportion. The footprint of the main memorial may not be more than 100m2 and the other memorials

may not exceed 50m2 each. Site A is for the main memorial, Site B is for the five individual memorials

Ukufunda (Reading)

leaders must be clearly represented).

Dimković DM. Memorial Architecture as the Symbol of Remembrance and Memories. SEE J Archit Des. 2016 June 10;

Programme

2016:10018. http://dx.doi.org/10.3889/seejad.2016.10018

(these may be connected by paths, roof coverings or walls, however the distinct narratives of the four

Date

Minimum Expected Presentation

Percentage

28 Feb 2020 06 March 2020 13 March 2020 20 March 2020 21-29 March 2020 31 March 2020

Site Visit and Analysis Precedent Study Pinup Presentation Conceptualisation Pinup Presentation Sketch Plan (Scaled drawings/MODELS) PINUP

20% 10% 20%

Mid Semester Break FINAL PRESENTATION

50%

Imiphumela kanye nenqubo yokuhlola (Outcomes and assessment criteria) By successfully completing this project you will exhibit your ability to: •

Conduct basic research on the relationship between politics and architecture

•

Conceptualise from a research driven process

•

integrate concepts, materiality and tectonics

•

Appreciate the politics and poetics of architecture (memorialisation)

•

Respond sensitively to scale

•

Deconstruct and reconstruct your understanding of form in architecture.

UJ: DOA: BARCH Y2 2020: Project 1: Architecture and Memory Tutors: Jabu Makhubu, Mxolisi Nstona and Nomalanga Mahlangu

PROJECT 2: Mbokoto Memorial

Keneilwe Phahlamohlake Mbokodo Memorial

PLANS AND SECTIONS

MODEL

Caleb Naidoo

William Hindle 27

Ruqaya Soliman

Amiel Kista

Conceptualisation

Alexandra Hoad

Themba Gqabe

Tamara Oâ&#x20AC;&#x2122;Friel

Thea Scholtz

Minenhle Manana 35

.PAUSE.

.REFLECT.

O INTERIOR PERSPECTIVE

Tamara Mastilo 36

This monument sits in Freedom Park, Pretoria and is dedicated to the Women's March of 1956. It combines symbolism and an interactive journey to depict the events of 1956.

The main element mimics a boulder with a skylight, resembling the famous quote “strike a woman strike a rock”, the rough crackling surface with a skylight represents the rock (woman being struck) however the skylight and creepers growing despite the cracks shows that no matter how resilient the government was and how hard they struck the women’s strength and drive just grew stronger and brighter. The creepers speak to the existing site as it also adopts the concept of healing herbs, showing these women’s drive healed and is still healing the rights of woman today. The power of mother nature is used to describe the strength of the woman of the March and is personified such as the monument mimicking a wave and thin pillars alluding to having the strength to hold the earth from crumbling on anyone who walks past.

The metal poles mimic the reeds used in phase one of Freedom park and play on the same idea. In phase one the reeds speak of African beliefs concerning the emergence of new life and connectivity of ancestors and earth. In the Women’s march memorial, the reeds represent the emergence of new rights for woman and how over the generations (each march affected the future generations march) the rights of woman have improved. The reeds are small and petite yet allude to holding back this heavy load of earth. This represent how these women were pushing against the oppression of the government. The path is defined by a variety of poles, different heights and placed in no patterns - representing the variety of the masses of woman that united in the 1956 March. Along the path are information stands informing the visitors of the women’s journey that day as they proceed on their journey. The poles blur the vision of the element allowing it to seemingly camouflage into the surroundings preluding to a surprise effect just as the woman created when starting the March.

The use of material in the, memorial adheres to the existing architecture of Freedom park and mimics the concepts of phase one and two itself. The line between architecture and the landscape is blurred expressing the continuous presence of woman fighting for rights and growing with mother nature

CO NT EX T

SOUTH

ELEVATION

WEST

ELEVATION

NORTH

ELEVATION

230

1000 2000 3000

FLOOR PLAN scale 1:100

SECTION B-B scale 1:100

2500

1500

700

1400

700

1500

CONSTRUCTION OF FRAME plan view

elevation view

place four steel bars of diameter 100 mm around 4 points of circle with diameter of 400 mm

bend bars from base in the same direction at an angle of 45 degree

final steel frame structure (no rocks)

final column structure (with rocks)

7220 4220 1400

1400

1500

f.f concrete screed

1500

1400

400

230

1000

2500

SECTION A-A scale 1:50

1500

1286

1400

1500

Muhammad Moola 39

BACHELOR OF ARCHITECTURE: ARCHITECTURAL DESIGN 2 BAAD3Y2 2020

Police 1a: the department of government concerned primarily with maintenance of public order, safety, and health

PROJECT 3 : ARCHITECTURE & PUBLIC SAFETY: Wynberg Police Station

and enforcement of laws and possessing executive, judicial, and legislative powers HAND OUT: 24. April 2020

HAND IN: 12 June 2020 T u to rs : J a b u M a k h u b u , M x o lisi N tso n a & N o m a la n g a M a h la n g u

b: the department of government charged with prevention, detection, and prosecution of public nuisances and crimes

(Merriam Webster Dictionary)

‘we form cities and in turn, cities form us”... Jan Gehl Background:

Your Task:

Johannesburg, like many cities in South Africa still bare the legacies of a fragmented, segregated spatial morphology with high levels of disparity (gap between the rich and the poor). It is also the economic mecca of the continent. It is a city of contrast, constant change, inclusion and exclusion, formal and informal, us and other. More than this, Johannesburg is a place of dreams built on migrant labour due to the discovery of gold. Amongst all these contradictions are narratives of belonging and non-belonging.

Given the above definitions of ‘police’ and the conflicting views from the public about ‘the police’, especially within unequal and racialised contexts such as Johannesburg, we as architects and spatial practitioners must think about the design of police stations in a different way than previously thought of. Your task is to design a police station in Wynberg (on the site highlighted below), that services both Alexandra and Sandton communities.

A microcosm example of this condition is found just north of the Central Business District, within the city’s region E where Sandton (African’s richest square mile is located) and Alexandra (one of the poorest townships in Johannesburg) are found, separated by an industrial buffer (Wynberg). In this project we are interested in understanding this spatial condition that makes up Johannesburg. The aim is to engage more critically with the conditions of spatial justice and right to the city. Our aim is to attempt to answer the question, who is the public? SITE

Sandton

Alexandra Wynberg Your design proposals must conceptually draw from the context, precedent studies, theory on spatial justice, your prelude montages and historical desktop research. The building must not exceed 1500 square metres

(FAR), it must have a basement parking of not more than 50 bays, a maximum of 3 floors including the

Aerial view of Alexandra, Wynberg and Sandton (2014)

basement and a memorial public space must be incorporated within the design. You may include a

maximum of 5 on ground parking bays for visitors, however this must be well integrated into the memorial

public open space through landscape design.

UJ: DOA: BARCH Y2 2020: Project 3: Architecture and Public Safety: Wynberg police station Tutors: Jabu Makhubu, Mxolisi Nstona and Nomalanga Mahlangu

Your design must cater but not limited to the following programmes (uses) public spaces • • • •

Memorial public open space Reception and waiting area

Training/community meeting room (capacity for 50 people) 3x Unisex Ablution cubicles

Admin and Office spaces • • • • • •

Open plan office space/workstations for 4 detectives

2x Superintendent offices Staff tea/breakaway area

Locker and change rooms Unisex staff ablution

Evidence store room

Detention spaces •

4x holding cells with ablutions in each cell

Bayside Police Station / FJMT: https://www.archdaily.com/135858/bayside-police-station-fjmt

Support spaces • • •

Koban Police Station, Japan: http://www.knstrct.com/architecture-blog/2012/04/02/koban-police-station-japa

Kitchen area for prisoner food prep area Support staff room

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):

Change room for support staff

•

You are also expected to conduct desktop mapping/analysis of your site to understand the movement

•

patterns, the social fabric and the nature of the built fabric around your site.

•

To help you develop appropriate design proposals, you are additionally tasked to conduct a thorough

Mapping and Analysis

Precedent study

Conceptualisation and design development sketches, models, PRELUDE montages and artefacts

•

Scaled, rendered, technical, architectural drawings in context (ALL PLANS Site, Floor and roof plan, 2

•

2 perspective drawings

SECTIONS, 2 ELEVATIONS all at 1:100

precedent study analysis through your own diagrams and brief annotations of one of the following

precedents (Click on images for links to the projects).

• •

1:20 Skin section

and 1:100 meticulously crafted presentation model in context

Assessment Criteria: • • •

Understanding of urban complexity

Contextual response- circulation, orientation and scale

Architectural resolution (function, materiality, form, concept)

•

Communication of design narrative (analysis, videos, concept, development and final scheme)

•

Crafts womanship of presentation model

Note interim “Pin Up” Presentation is scheduled for 19 May 2020 and will count 40% towards the final mark

https://www.archdaily.com/175494/sheboygan-police-department-zimmerman-architectural-studios/ https://www.archdaily.com/166842/windsor-police-department-roth-sheppard-architects/ UJ: DOA: BARCH Y2 2020: Project 3: Architecture and Public Safety: Wynberg police station Tutors: Jabu Makhubu, Mxolisi Nstona and Nomalanga Mahlangu

Guidance regarding specific requirements for submissions will be given during online crit 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.

UJ: DOA: BARCH Y2 2020: Project 3: Architecture and Public Safety: Wynberg police station Tutors: Jabu Makhubu, Mxolisi Nstona and Nomalanga Mahlangu

Caleb Naidoo

Lydia karigani 49

CONCEPTUAL EXERCISE 1) contrast drawing

2) continuous line drawing

3) closed eye drawing

4) drawing on magazine page

community room concept

first floor

central courtyard concept two buildings

-interlinks all departments. symbolic of wynberg linking Sandton and alexandra -provides breakaway/chill space -natural daylighting -cross ventilation

central memorial courtyard

public polic e

form exploration

ground floor program

different heights

design concept

materiality

first floor program

Muhammad Moola

PRODUCED BY AN AUTODESK STUDENT VERSION

NORTH STREET

4TH STREET

UNDERGROUND PARKING ENTRY

MALE LOCKER

FEMALE LOCKER

POLICE BATHROOM

STAFF ROOM

STORAGE

POLICE ENTRY LOBBY

PRODUCED BY AN AUTODESK STUDENT VERSION

DETECTIVE WORK AREA

COMMUNITY ROOM PUBLIC BATHROOM

ENTRY VIA PRETORIA MAIN ROAD

ENTRYWAY MEMORIAL AREA

fountain of reflection

WAITING AREA

EVIDENCE

RECEPTION

CELLS POLICE BATHROOM OFFICE KITCHEN

OFFICE

DETECTIVE WORK AREA

SCHOOL KIDS PLAYGROUND

STORAGE

4TH STREET

GROUND FLOOR PLAN scale 1:100

VENDORS CORNER

A RAUTENBACH AVN

RAUTENBACH AVN

PRODUCED BY AN AUTODESK STUDENT VERSION

SUPPORT STAFF ROOM

OFFICE RAUTENBACH AVN

CENTRAL MEMORIAL AREA

DETECTIVE WORK AREA

UNDERGROUND PARKING

NORTH STREET

UNDERGROUND PARKING ENTRANCE

SECTION A-A scale 1:100

4TH STREET

POLICE ENTRY LOBBY

CENTRAL MEMORIAL AREA

ENTRY WAY

ENTRY VIA PRETORIA MAIN ROAD

UNDERGROUND PARKING

SECTION B-B scale 1:100

Michaela Naidoo

DJ Mushaathama

David Mathee

BACHELOR OF ARCHITECTURE: ARCHITECTURAL DESIGN 2 BAAD3Y2 2020

PROJECT 4 Brief 1 : Theoretical Framing: What kind of Johannesburg are you forming? HAND OUT: 21 July 2020

HAND IN: 28 July 2020 L e c t u r e r: J a b u M a k h u b u : A s s is t a n t s : M x o lis i N t s h o n a & N o m a la n g a M a h la n g u

Background: Semester 1 introduced you to the theme of the year, that is politics of public architecture. Project 1 asked of you to consider memory as a way to give an architectural artefact meaning and importance. So that we gain a better understanding about the artefacts we create, their multiple meanings, from the individual to the communal and indeed the political. Project 2 challenged you to study and interpret a monumental political event (1956 Women’s March to Union Buildings) and to propose a memorial that symbolically memorialises this event and/or the prominent figures of the event. To help us understand that architecture has agency and is not complacent. Project 3 introduced you to the spatial morphology that South Africa has inherited from apartheid. A spatial morphology scared with fragmentation, economic disparity, socio-political inequalities and spatial violence which led us into a design challenge to reimagine policing and a police station within such a context. In this project 4, which is divided into 6 mini briefs, you will be introduced to another layer that makes up cosmopolitan urban centres such as Johannesburg. The layer of (im)migration, which is prominent in what Dough Saunders (2010) refers to as Arrival cities. You will see how we shift scales, from the individual (projects 1), to the monumental/national (project 2), the communal (project 3) to now the transnational (extend beyond national borders). Brief 1 of project 4 asks the question “What kind of Johannesburg are you forming?” As an attempt to articulate what makes up this particular cosmos and how we as spatial practitioners contribute to the form and image this cosmos embodies. In other words we give form to power through the artefacts (both material and phenomenological) we design. We design space to allow and exclude at the same time. We define what is in from what is out, public from private, yours from mine.

Your Task: What kind of Johannesburg are you forming? Produce a rigorous academic essay that discusses the above questions. Your essay must include at least 2 journal articles, and one from the following reading list. This is an argumentative essay and therefore you need to take a position and you must use literature to argue what Johannesburg you (as architects) are forming and what this Johannesburg means to you and the rest of the city. Use parts of Johannesburg to illustrate and spatialize your arguments. Pay particular attention to the migrant history of Johannesburg. Who lives in the city? Where are they from? And what parts of the city do they navigate through? How do they arrive in the city?

Deliverables: 1x A1 1000 word Visual Academic Essay Poster, referenced according to UJ Guidelines.

Assessment Criteria: •

Academic rigor (depth of research)

•

Clarity of argument and coherence of thought

•

Referencing- intext and list

•

Quality of illustrations

•

Presentation quality of Poster (use of text, colour, layout and images- see examples attached)

Compulsory Reading list Caroline Wanjiku Kihato (2010) ‘A picture speaks a thousand words’, Scrutiny2, 15:1, 3354, DOI: 10.1080/18125441.2010.500457 Khangelani Moyo & Erma Cossa (2015) ‘Ethnic Enclave of a Special Sort?’ Mozambicans in La Rochelle, Johannesburg, Journal of Southern African Studies, 41:1, 141-158, Matsipa, Mpho. (2017). Woza! Sweetheart! On braiding epistemologies on Bree Street. Thesis Eleven. 141. 31-48. 10.1177/0725513617720241.

Guidance regarding specific requirements for submissions will be given during online crit 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. Please also ensure that you use your surname when logging online so you can be accounted for.

UJ: DOA: BARCH Y2 2020: Project 4 Brief 1: Theoretical Framing Tutors: Jabu Makhubu, Mxolisi Ntshona and Nomalanga Mahlangu

Is-Haaq Khan

Rahul Mohan

Michaela Naidoo

What type of

JOHANNESBURG am i forming?

INTRODUCTION

Figure 1: “Here is my familiy, a happy family”

Caroline Wanjiku Kihato’s article ‘A picture speaks a thousand words’ identifies what is called the “feminisation of migration”. It highlights the challenges that women go through as migrants and asylum seekers in their daily lives, such as poverty, unemployment, patriarchy and police harassment through pictures that have been taken by the women she interviewed (Kihato, 2010). Her research translated sensibly through her article and her perspective and one of the comments she made that stood out for me was that these women see their homes, in some cases where domestic abuse is absent, as safe spaces where they can feel in control and dominant, as compared to being in the city of Johannesburg CBD and feeling vulnerable. Which brings me to my point.

architects and designers can counteract hierarchy, police harassment, vulnerability and segregation through the walls we face every day. Alex Opper made use of the theatrical term ‘forth wall’, which refers to the ‘invisible wall’ between the audience and the actors, to elaborate on the spatial impact of facades. “I use this exchange –between the disciplines of theatre and architecture – as a generative tool to begin to shed light on what the façade is able to be, and to become, once it ‘lets-go’ of its comfortably entrenched tendencies to select who is in, and who is out.” (Opper, 2019:3).

We preach of a rainbow nation yet implement colonial tactics towards our very own cultural diversity. You would think that with the evolution of great minds, history wouldn’t repeat itself but unconsciously we have adopted the ideas of segregation and hierarchy through selfishness, fear and lack of UBUNTU. In the context of this essay I will be discussing the discriminatory conduct towards migrants, particularly female migrants as they make up approximately 40% of all migrants (Kihato, 2010), and how we as

and how you interact with the space will determine whether you are the predator or the prey, which shouldn’t be the case. And some of these cases are caused by bad design such as high solid unwelcoming walls. Hence my understanding that architecture can change that by discontinuing the design of colonial façades, ‘into what so called expert consensus believes cities should be and look like’ (Opper, 2019:2), and start designing facades that represent us as a diverse community. An excellent example of the impact that facades have is seen in rural areas. Many rural areas only have fences, and that gives way to a more social connected community. You get to know your neighbours as the migrant women know their adjacent seller, South African or not, you start to build a relationship you can trust, that way you can fight the law enforcement that is against you.

Figure 2: Hellen in Yoeville Market

WHAT TYPE OF JOHANNESBURG AM I FORMING? What type of Johannesburg am I forming? There are numerous things that are unlawful and faulty about the city and one of the major flaws is that we don’t trust each other, there is no sense of community as a diverse group

Figure 3: Fragile Spaces

CONCLUSION As Opper would put it, the ‘undoing’, of architecture is something that could really change the current social impurities. I believe this method has a chance to also change how mistreated migrants are by including and not excluding. Facades are a first impression and we need it to be one that represent a socially interactive diverse community.

Figure 4: Corner of Claim and Plein

Figure 6: What being a mother means to female vendors

SOURCE LIST Caroline Wanjiku Kihato (2010) ‘A picture speaks a thousand words’, Scrutiny2, 15:1, 3354, DOI: 10.1080/18125441.2010.500457 Alexander Opper (2019) ‘Breaking Johannesburg’s architectural fourth wall: An interrogation of three façade-conditions as interstitial sites of appearance, reality and possibility’

Figure 5: Map of Africa with South Africa Highlighted

Figure 6: Map of South Africa with Gauteng highlighted

Michelle Mahamba 63

Your Task:

BACHELOR OF ARCHITECTURE: ARCHITECTURAL DESIGN 2 BAAD3Y2 2020

PROJECT 4 Brief 2 : Life Worlds: Whose Johannesburg are you forming? HAND OUT: 28 July 2020

HAND IN: 03 August 2020 L e c t u r e r: J a b u M a k h u b u : A s s is t a n t s : M x o lis i N t s h o n a & N o m a la n g a M a h la n g u

“When we teach, we tell stories... We tell stories about how it is to be a human knower” (Pagano, 1994) Architecture’s primary tool is space. Yet who is the space for?

Return to your prescribed readings about Johannesburg. Choose a reading that resonated with you. Why did this particular reading resonate with you? From this reading choose a character who is a migrant to Johannesburg (and by extension, South Africa). Narrate their story about their relationship to Johannesburg through a graphic comic strip. Consider where this character originates from? What brings them to the city? Find out/speculate how they (might have) got to the city (was it by bus, train, taxi, private car or air travel?) What would have been their first encounter with city (taxi rank, Park station, OR Tambo)? What special items or memories about their place of origin do they bring with to the city? Where about in the city do they live, work or play? Build a concise but clear story based on these questions through the comic strip.

Deliverables: 16-26 frame, well curated and rendered comic strip [poster, book or individually mounted and photographed frames] narrating the story of one or more migrants in Johannesburg featured in one of the articles you read for brief 1. The narrative should be of a migrant from outside South Africa. Remember not every frame has the same importance, play with different frame sizes but keep the overall graphic style consistent throughout the presentation. The choice of medium (hand drawing or computer drawing, colour or monochromatic, speech bubbles or text box) is up to you. Try to capture the essence of the story of your chosen character.

Assessment Criteria: •

Clarity of Narrative/s

•

Quality of Illustrations- drawing and rendering techniques

•

Presentation quality/curatorship- layout, balance, hierarchy use of text

•

Graphic interpretation of stories in articles.

UJ Student work (Liezel Pents, 2018 and Larry Nare, 2014)

Matsipa, Mpho. (2017). Woza! Sweetheart! On braiding epistemologies on Bree Street. Thesis Eleven. 141. 31-48. 10.1177/0725513617720241.

Background: In the first brief of project 4 you engaged various literature that aim to highlight the spatial conditions that make up Johannesburg as a city. You learnt about the city’s diverse migrant populations and the deeply complex multi-layered relationships they have with the city. In your theoretical visual essays you argued for an alternative vision for the city that appreciates this complexity. However, who exactly is this alternative vision for?

Whose Johannesburg are you forming?

UJ: DOA: BARCH Y2 2020: Project 4 Brief 2: Life Worlds Tutors: Jabu Makhubu, Mxolisi Ntshona and Nomalanga Mahlangu

Sifiso Mwelase

The following comic strip shows the challanges that one female immigrant can go through in order to make a living and survive. It shows her journey from moving away from home, to living in a big city in order to find a job. This journey comes with unexpected turns and sacrifices

Michelle Mahamba

DESIGN PRINCIPES SCALE

Because the structure is devided into three building, a sense of hierachy needs to be established through scale. The embassy levels will be the biggest as it contained the majority and most important of the programs. The consolar and visa building requires more public interact theres will be place closer to be busy side of the street. The residential building being the smallest best suits the least busy side.

MOVEMENT

Movement is important when it comes to urban design, not only for vehichle users but aslo for padestrians. Making certain areas easy acceseble counteracts the notion of belonging and nonbelonging that threatens our society and causes immagrantsto be uncomfortable.

PATTERN

Because the embassy is divide, cohesiveness is necessary. This can be achived by using patterns that feature on all three structures. This also ties in with the Mozambican pattern concept

PERMEABILITY

Mariam Makeba and Gwigwi street are the busiest streets adjacent to the site therefore the staff has to use Gerard Sekoto st to enter the structure. My design also features staff parking which is accesible through Gerard Sekoto st.

Miguel Franco

Lydia karigani

Is-Haaq Khan 67

Michaela Naidoo

Your Task:

BACHELOR OF ARCHITECTURE: ARCHITECTURAL DESIGN 2 BAAD3Y2 2020

Conduct a desktop site analysis using secondary data and photographic images of the site provided by your lecturers. Your analysis must comprise of the following:

PROJECT 4 Brief 3 : Site Narratives: Where is this new town? HAND OUT: 04 August 2020

Theme Her-storical development

HAND IN: 28 August 2020 L e c t u r e r: J a b u M a k h u b u : A s s is t a n t s : M x o lis i N t s h o n a & N o m a la n g a M a h la n g u

Quantitative

“Architecture does not have consciousness, the site gives it consciousness” (Makhubu, 2014)

Qualitative

Description Location of civic buildings and evolution of built fabric Her-storical time line

Representation Maps Important (Dates, maps, photographs, drawings, texts)

Mapping and Site analysis of the physical environment ( figure ground, land use, movement, networks, connections, open spaces)

Maps, diagrams

building forms and typologies, massing and density Narratives of the lived experiences of the site(street activities, economic activities, nodes)

street elevations, 3D Massing Maps, diagrams and Montages

Deliverables: 3 x A1 PANELS (edited and well curated) narrating your findings through: Site

• • • • • •

courtyard

Scaled maps (1:5000/ 1:1000/ 1:500/ 1:200) Photographs (consider grayscale and colour use in the images) Diagrams Timeline Montages Brief written description of each graphic

Assessment Criteria: • • •

Ability to read a place from both quantitative and qualitative means Clarity of Narrative/s Quality of Illustrations- drawing and rendering techniques

Google earth image

Background: Now that you have an idea of what kind of a Johannesburg you are forming and whose Johannesburg is it for, it is time to consider an acupuncture point to test your ideas out. Acupuncture is defined as a treatment derived from ancient Chinese medicine. Fine needles are inserted at certain sites in the body for therapeutic or preventative purposes. These acupuncture points work together to heal the whole body. Consider your site as having the potential (when connected to other points) to heal the city. Your Site is located on the corner of Gwigwi Mrwebi st and Miriam Makeba St, Newtown Johannesburg. Newtown is referred to as the cultural precinct of Johannesburg CBD. It is the industrial edge of the city, with a rich historical heritage. It draws people for social, public annual events such music festivals, dance shows and educational tours. It consist of a diverse mix of people, cultures and architectural typologies.

Compulsory Reading list Bentley, I. Alcock, A. Murrain, P. McGlynn, S and Smith, G. (1985), Responsive Environments, Architectural Press, London UK. Available at: https://nexosarquisucr.files.wordpress.com/2016/05/responsive_environments_by_ian_bentley_et-_al.pdf accessed [04/08/2020]

UJ: DOA: BARCH Y2 2020: Project 4 Brief 3: Site Narratives Tutors: Jabu Makhubu, Mxolisi Ntshona and Nomalanga Mahlangu

HISTORY Timeline–

area

study

1994

The government tried to remove Indian residents from Pageview as it was declared a “black spot”. This sparked protests. In 1956 the area south of 22nd street was declared a white area.

Street

New developments arose as a chance to prevent the run down of Newtown. This included the cooling towers which became a familiar landmark.

Miriam Makeba He was a South African artist and musician. He is recognised as the pioneer of urban black art and social realism. .

New residential apartments + petrol station

She was a South African singer, songwriter, actress, United Nations goodwill ambassador, and civil rights activist. she was an advocate against apartheid

2009 Demolishment of industrial building to accommodate Newtown Junction + construction of new road. Kippies renovation and statue unveiled.

She was a South African antiapartheid activist, the first woman elected to the executive committee of the ANC and launched the Federation of South African Women.

Demolishment of more buildings to accommodate Newtown Junction. Start of construction. Mary Fitzgerald square renovation + taxi rank construction.

2016 Newtown Junction + new taxi rank complete. New nature park established. NAC built.

2018 Various new developments and renovations. More sustainable buildings. Big development on east.

Gwigwi Mrwebi

Lilian Ngoyi

2013

Museum Africa opened, which was dedicated to preserving South Africas history.

names

Gerard Sekota

2004

Nelson Mandela bridge was completed helping restore and modernise Johannesburg.

2003

1990

Newtown was declared a cultural hub. This influenced the development of many of the architecture we see in Newtown today.

1985

1960s

The original market theatre was constructed (Indian fruit market)

and

The Johannesburg Town Council decided to name the district Newtown. A fresh produce market, a mill and an abattoir as well as a power station were erected and Newtown became not only a hub of agricultural trade, but also the producer of much of Johannesburg’s power.

1950s

A plague spread throughout the location. “to prevent the spread of the disease” the location was fenced off, evacuated and burnt down by authorities. All occupants were sent to racially segregated areas. Majority of Indian people moved to Pageview.

1976

1930

1918 1913

1904 The bricks manufacturing was removed and Kazerne Marshalling Yard came (the first railway marshalling yard)

Timeline

Black and white activists united for the first time to protest.

First forced removal:

Market theatre (old Indian fruit market) doors open the same week as the Soweto uprisings: became a place where controversial plays that address the inequalities of apartheid were shown

Mary Fitzgerald square emerged. This was inspired by Mary Fitzgerald who was a labour activist and woman's rights campaigner.

Wage Campaign

Tramway strike: Strike against biased enquiries of the tramway workers.

1911

1900

Johannesburg's new British governor imposed order along strict racial criteria.

1890s Late

Newtown

1920

As a result of people being chased from their land, the now Newtown was divided into a racially mixed working class district where bricks were manufactured (Brickfields) and a location.

Before

1890s

Historical

Analysis

He was a well known alto saxophonist. Successful musician that was

part of

many bands.

history

The Historical timeline shows how Newtown has

a strong history and events that took

place there often empower the rights of people. This is something I would like keep in mind while designing the embassy, as both Newtown and an embassy promote citizens rights.

This area timeline demonstrates the progressive development of more industrial build-

ings throughout the years and shows a fairly uniform growth between each 2 year gap. However between 2018– 2020 the consistency ends and focus seems to shift onto more temporary structures. This shows a shift in developments to more temporary structures that promote the cultural precinct title and

shows how more money is

going towards crating this cultural hub rather than to permanent developments. This concept should be taken forward into the embassy design. This will be discussed fur-

2020 Demolishment of new development on east. Addition of new art and sculptures. Streets quieter due to Covid-19.

ther in the design principles analysis (brief 5).

All Newtown streets are named after South African artists/ musicians/activists. This shows the extent to which this town is a cultural precinct and a strong value and rich embodiment for arts, culture and history. This should be considered when designing as the embassy should display the same appreciation to these factors as the rest

TAMARA MASTILO 219011061

of the town

Tamara Mastilo

Lilian Ngoyi Street

• Newtown is a social hub and acts as a market place for entrepreneurs to sell their products. • A theme of Unity can be found in Newtown, The rich interacts with the poor and see each other as equals. • Supporting locals

A theme of “Then vs. Now”: The bank portrays the success story of Newtown and the present. Where the old spaza shops and buildings are rich in history by portraying the old Netherland design in its exterior

Gerald Sekoto Street (Courtyard) • Taxis’ and cars are being washed within Gerald Sekoto Street • This can be seen as a service being provided by Newtown’s entrepreneurs. • NUMSA is the joining building on the corner of Lilian Ngoyi Street and Gerald Sekoto Street • A lot of commercial and retail can be srrn in the street. • The joining courtyard for the site can be accessed in this street.

Gwigwi Mrebi Street

SITE

Communication is a key element in the streets of Newtown, therefore sound is a plays a major role. Red- Sound waves Gwigwi Mrebi Street

Miriam Makeba Street

Heinrich Kok

Tamara Oâ&#x20AC;&#x2122;Friel 75

Your Task:

BACHELOR OF ARCHITECTURE: ARCHITECTURAL DESIGN 2 BAAD3Y2 2020

In groups of not more than 3 or individually, you are to meticulously build a MONOCHROMATIC Exhibition Urban Model of your site block and its surrounds (see aerial images above). This monochromatic model must be in either grey or brown cardboard (see examples herewith).

PROJECT 4 Brief 4 : Context Model

The model must be at scale 1:200. At this scale, more details need to be shown such as: HAND OUT: 18 August 2020

HAND IN: 01 September 2020 L e c t u r e r: J a b u M a k h u b u : A s s is t a n t s : M x o lis i N t s h o n a & N o m a la n g a M a h la n g u

“Always design a thing by considering it in its larger context- A chair in a room, a room in a house, a house in an environment, an environment in a city plan.” (Ellen Saarinew)

• •

Topographic profile (contours), surfaces (roads, walkways), Landscaping (trees, street lights, street furniture) Built form- shape of each building, roof profile, openings, threshold, walkways, columns ect

Treat this both quantitatively and qualitatively, that is the models must be accurate (measured) and beautifully crafted (cutting, glue, choice of material). Also consider the position of your north point, scale & title Though a physical model is preferred, a digital model will also be considered for submission.

Deliverables: 8 photographs/views of your MONOCHROMATIC SITE MODEL from different angles/views.

Assessment Criteria: • Presentation quality • Topographic expression • Detail in built form • Craftwomxnship- edges, glue techniques,

Google earth image

Background: CONTEXT noun: context; plural noun: contexts the circumstances that form the setting for an event, statement, or idea, and in terms of which it can be fully understood. Similar: circumstances, conditions, surroundings, factors, state of affairs, situation, environment, milieu, setting, background, backdrop, scene, climate, atmosphere, ambience, mood, frame of reference, text, subject, them, topic

The parts of something written or spoken that immediately precede and follow a word or passage and clarify its meaning.

SITE MODEL PHOTOGR APHY SCALE 1:200

PAYAL ITCHU 219032898 77

CONTEXT MODEL5HOWJNG AREA AROUND NEW View ot site trom across Miriam Makeba st

View ot building across Miriam M. st trom site

View ot site trom across Gwi wi Mrwebi st

View ot buildin s across Gwi wi M. st trom site

View ot site trom balcon

overhead view ot site

_1 __ --

View ot site trom across intersection

View ot building across intersection trom site

View ot court ard entrance on Gerard Sekoto st

View ot court_y ard carport

on Gwigwi Mrwebi st

Intersection ot Gwigwi m. st and

WTOWN 5JTE

Gerard S. st

Âˇ------

Overhead showing court ard trom Gerard Sekoto st

Overhead view ot model showing North direction

View ot Miriam M. st trom Gwigwi M. st

View ot Miriam M. st trom Lilian Ngo_y i st

1 View ot Gwigwi Mrwebi st trom Gerard S. st View ot buildings along Lilian Ngo_y i st

View ot Gerard Sekoto st trom Lilian N. st

Group Members: 1) Muhammad Moala

Muaaz Mahomed

:,) Nabee! Vawda

BACHELOR OF ARCHITECTURE: ARCHITECTURAL DESIGN 2 BAAD3Y2 2020

PROJECT 4 Brief 5 : Design Principles HAND OUT: 21 August 2020

HAND IN: 28 August 2020 L e c t u r e r: J a b u M a k h u b u : A s s is t a n t s : M x o lis i N t s h o n a & N o m a la n g a M a h la n g u

•

the greater context (Newtown),

•

the site (for your architectural design) and

•

for design of details (e.g. façade, public furniture, circulation etc).

Each diagram should be your own original ink hand drawing. Curate this info considerably on 1 A1 Portrait Poster. You may use the table below as a guide for the structure of your layout:

“Design is not a monologue; it’s a conversation.” Whitney Hess

Vision/aim/objective of design Design Principles

Application of Design principles on: Context (Newtown)

Name Principle 1

Building Design

Detail Design

Insert a Diagram of how principle 1

Insert a Diagram of how principle one

Insert a Diagram of how principle 1

will be applied to context

will be applied to building

will be applied to detail

Name Principle 2 Name Principle 3 Name Principle 4 Name Principle 5

Deliverables: 1x A1 Portrait poster of your illustrated design principles

Assessment Criteria: • Clarity of your design principles • Application/interpretation of design principles • Quality of your illustrations

Background: In Brief 3 – site narratives-you were introduced to Newtown and asked to investigate the relationship between material culture (urban form) and human experience (phenomenology). And in brief 4-contextual model- you were tasked to build your site 3 dimensionally to express your understanding of the physical environment for which your design will respond to.

Your Task: In this brief, Brief 5, you are tasked to illustrate at least 5 design principles to help you achieve your goal/aim/objective for the kind of Johannesburg (Newtown) you hope to form, for you and the actors you have engaged with in your theoretical framing and comic strips. Use the lecture on Design Principles presented in class today (also available on Blackboard) to extract your design principles. Illustrate each principle with neat parti diagrams showing how each principle will be applied to:

Regenerating the city through spaces welcoming everyone, despite their race, culture and gender, creating unity within a community.

B u i l d i n g s a s w e l l a s a r t t h ro u g h o u t N e w t o w n h a ve h i s t o r i c m e a n i n g . Th i s s y m b o l i s i n g va r i o u s a s p e c t s a n d e l e m e n t s o f t h e p a s t . Aiming to design my embassy in the same way, having meaning a n d s y b o l i s m i n c o p e ra t e d w i t h i n t h e d e s i g n .

E l e m e n t s t h a t g i ve t h e b u i l d i n g a sense of belonging to its homecountry i n re l a t i o n t o t h e h o s t c o u n t r y . Pa r t s o f t h e b u i l d i n g s y m b o l i z e s o m e t h i n g s p e c i f i c

De s i g n e l e m e n t s s u c h a s fa c a d e s d e s i g n e d i n a certain and specific manner add symbolism.

Th e p ro p o s e d n e w b u i l d i n g s h o u l d h a ve s t a t u re . Fo r t h e c o m m u n i t y i t m u s t h a ve c u l t u re . Th e b u i l d i n g s h o u l d p o r t ra y a s e n s e o f fe e l i n g a n d e m o t i o n w h e re o n e wo u l d fe e l w a r m , s a fe a n d s e c u re . B e i n g a n e m b a s s y o n e n e e d s t o fe e l a s e n s e o f b e l o n g i n g .

Hierachy and impor tance of proposed new building.

Hierachy of various programmes that take place within the new proposed building.

Hierachy of spaces and their requirements ie.large windows-views and natural light skylights-natural sunlight, warmth

Size of spaces dependant on program required for that space

- S e p e ra t i o n o f s p a c e s t h ro u g h p ro g ra m m e .

L I V E- P R I VATE S e p e ra t i o n o f s p a c e s t h ro u g h p a s s a ge s a n d s t a i rs a c c o rd i n g t o p r i va t e a n d p u b l i c s p a c e s .

C o u r t y a rd s a n d b re a k s p a c e s s e p e ra t e d i f fe re n t p ro g ra m m e s w i t h i n t h e b u i l d i n g .

R ETA I L- P U B L I C

Emphasizing on certain aspects and parts of a building t o p re vo ke m e s s a ge o r m e a n i n g . E m p h a s i z i n g o n c e r t a i n p a r t s t o c re a t e i n t e re s t a n d a t t e n t i o n , p ro vo k i n g m e a n i n g .

C re a t i n g e m p h a s i s t h ro u g h d e t a i l s s u c h a s t h e ro o f .

D i f fe re n t s p a c e s t h a t wo r k w e l l with one another

D i f fe re n t p ro g ra m s i n a n a re a wo r k i n g t o ge t h e r c re a t i n g a f u l l y f u n c t i o n a l s p a c e fo r o n e t o wo r k , p l a y a n d l i ve ( a t o w n / c i t y ) .

Bringing the whole space t o ge t h e r C o n n e c t i n g s p a c e s t h ro u g h g a rd e n s , g y m s , re c re a t i o n a l fa c i l i t i e s , , c re a t i n g a u n i f y i n g e n v i ro n m e n t . Th u s i n f l u e n c i n g c o m m u n i t y e n g a ge m e n t .

Payal Itchu PAYAL ITCHU 219032898

BACHELOR OF ARCHITECTURE: ARCHITECTURAL DESIGN 2 BAAD3Y2 2020

PROJECT 4 Brief 6 : The Embassy of -------------HAND OUT: 28 August 2020

HAND IN: 29 September 2020

L e c t u r e r: J a b u M a k h u b u : A s s is t a n t s : M x o lis i N t s h o n a & N o m a la n g a M a h la n g u

“Never design a thing unless it is useful and functional, and it if is both useful and functional by all means make it beautiful.” Unknown

Lebo Mbewe: Healing the city: UJ Arch Diploma 3, 2017

Background: All the previous 5 briefs have been leading/building up to this brief. You have explored the theoretic underpinnings of the project (transnational identity). You have studied the potential users, their narratives, the site’s narratives, the physical environment for your intervention and you have also developed design principles to help you achieve your objective. It is now time to bring it all together in a coherent, clear spatial proposal.

Your Task: Brief 6 challenges you to design an Embassy based on the origins of the main character in your comic strip on the given site in Newtown. Your building may not exceed 2000m², it must be a perimeter building (must not need a fence around it) made of framed construction (columns, beams and slaps as load bearing structures), it must be between 3-5 storeys above Natural Ground Level (NGL), consider the courtyard in the proposal, must be permeable (especially on ground level between Miriam Makeba street and Gerald Sekoto street)and must accommodate the following programmes:

• •

•

• •

•

Entrance Hall with public art display areas (100m2) Consular and visa areas (200m2): must be situated so that the public has easy access with a waiting room onto the street. In connection with biometric features in travel documents, it will be necessary to have at least two workspaces for scanning biometric features. An office area not accessible to the public (2-3 visa workspaces with security window, 2 consular offices and ablutions for staff and separate ablutions for the public. Note that entrances for staff and public must be separated) Embassy level/s (500m2) with the following accommodation (reception area, 2 meeting rooms, formal dining room for 30 people including a fully fitted kitchen, lounge space, tech support room and ablution facilities) Staff Area (100m2): kitchenette, breakaway area, cleaning store room, Locker rooms with ablutions Residential level/s (300m2) for temporary accommodation for immigrants from which the Embassy is designed for can seek shelter temporarily (3 varieties of units must be considered- bachelor, two bedroom and 3 bedroom units- at least two of each type must be accommodated). Outdoor performance/cinema/amphitheatre space/courtyard

Use the above data to formulate and present a design proposal that includes conceptualisation, precedent study of an embassy of your choice, design development drawings, models and explorations. Your presentation must include but not be limited to: • • • •

Technical design drawings in context: Site plan 1:200, Ground Floor Plan with landscaping 1:50, All other plans 1:100, 2 SECTIONS 1:100, 2 ELEVATIONS 1:100

2 Perspective drawings- Use your comic strip characters in all your renders 1:20 Skin section as per Sustainable Design brief 1:1000 context model and 1:100 presentation model in context

Deliverables: A series of well curated A1 Posters showing the whole design process and the final product and Physical models of concepts and design proposal.

Assessment Criteria: • Understanding of urban complexity • Contextual response- circulation, orientation and scale • Architectural resolution (scale, structure, material and envelope) • Communication of design narrative (analysis, concept, development and final scheme) • Resolution of spaces showing understanding of the differences between public, semi-public and private spaces- and the thresholds in between • Craftsmanship of presentation model

Programme: Date

Deliverables

28/08

Project hand out

Minimum Outputs

01/09

Conceptualization, developing multiple ideas based on Design principles

Conceptual Models, drawings and artefacts

04/09

Conceptual Development

strong concept

08/09

Design development

Working at scale, drawings and test models, structure and space

11/09

Design development

Working at scale, drawings and test models, envelope and roof

15/09

Presentation Drawings at 1:100, 1:50

Computer drawings

18/09

Presentation Model crit- 1:100 in context

Layout and rendered drawings, skin section, model

21-25/09

Mid Semester break

Production

29/09

Project Handin/Presentation

Final HANDIN on Black Board

Brian Rafuma: Newtown Cultural Centre: UJ Arch Diploma 3, 2018

Kingsley Mashau: Newtown Arts Theatre: UJ Arch Diploma 2, 2016 UJ: DOA: BARCH Y2 2020: Project 4 Brief 6: The Embassy of Tutors: Jabu Makhubu, Mxolisi Ntshona and Nomalanga Mahlangu

DJ Mushaathama Embassy of Zimbabwe 85

Payal Itchu 89

Brenden Schnehage

Payal Itchu 91

Embassy of Kenya Heike Melcher

SECTIONAL VIEW

Nabeel Vawda MODEL IN CONTEXT

Themba Gqabe

Embassy of Kenya Caleb Naidoo

Physical

Model

Explorations

Form

This explorative montage shows the influence of a Bosnian landscape on form. Mountains and bridges shape the building while an eagle landing on the river completes the building with a roof

FORM

STRUCTURE

Facades

Form

Ă&#x2021;

Tribevic is a famous mountainous region Bosnian is known for. The exterior walls and faĂ§ades of this building mimic Tribeca while also being inclusive of Newtowns Geometric form

Courtyard

Form

The courtyard functions as a social area and contrasts with the function of an embassy. The shape of the auditorium is influenced by traditional Bosnian social dishes: PITA and Turkish Coffee, as there is tradition to have these at social events and is disrespectful to not. Therefore the form takes place of these physical dishes being present in this social space.

SECTIONAL

Tamara Mastilo Embassy of Bosnia

MODEL

SCALE:1:50

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Embassy of Mozambique Amiel Kista

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Architecture Mozambique

figure 3: Britannica

figure 1: pinterest

figure 2: Culture Trip

https://i.pinimg.com/originals/d1/71/cb/ d171cb4657d3d78e60fa296ecda7aed9.jpg

https://cdn.theculturetrip.com/wp-content/uploads/2019/04/mozambique--bildagentur-zoonar-gmbh-shutterstock.jpg

https://cdn.britannica.com/13/177913-050-0802B78D/ dhow-sailing-coast-Island-of-Mozambique.jpg

figure 4: Archdaily

figure 5: Archdaily

https://images.adsttc.com/media/images/5e17/704b/3312/fd47/f500/01b4/medium_jpg/4_ (1).jpg?1578594371

https://images.adsttc.com/media/images/5031/ 8507/28ba/0d18/3000/0331/newsletter/stringio. jpg?1414255188

combining these lines creates the form of the facade as well as inspiration for the art at the entrance

Mozambique national flower Maroon Bell Bean

Markhamia zanzibarica, also known as bell bean tree or maroon bell-bean, is a species of plant in the family Bignoniaceae. It is found in East Africa and Southern Africa, from Kenya to South Africa

Spider Hibiscus figure 7: Wikipedia figure 6: Urban Tropicals https://urbantropicals.com/ wp-content/uploads/MARZAN-w1.jpg

https://upload.wikimedia.org/wikipedia/ commons/thumb/7/7c/Markhamia_zanzibarica_-_Pemba_%2811773383856%29. jpg/300px-Markhamia_zanzibarica_-_Pemba_%2811773383856%29.jpg

Hibiscus schizopetalus is a species of Hibiscus native to tropical eastern Africa in Kenya, Tanzania and Mozambique. Its common names include fringed rosemallow, Japanese lantern, coral hibiscus, and spider hibiscus Living wall/ green wall added within breakaway spaces to create a sense of relaxation and calmness for visitors and staff

figure 8: iNaturalist https://static.inaturalist.org/photos/1029312/large.jpg?1545560393

Using this form of concrete can be included in the exterior of concrete slabs figure 9: Greenroofs.com https://www.greenroofs.com/wp-content/uploads/2019/07/irrigation-maintenance-monday-post_after2.jpg

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m r

Approach to embassy

Entrance to embassy Waiting area for embassy

Embassy of Mazambque Heinrich Kok 103

PERSPECTIVE scale 1:100

RECEPTION

EXTERIOR VIEW OF LIVING WALL AT FOOD COURT

FOOD COURT/CAFE

1ST FLOOR WORKING SPACE NORTHERN CORNER

1ST FLOOR WORKING SPACE SOUTHERN CORNER

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SECTION A-A scale 1:100

SECTION B-B scale 1:100 Living wall/ green wall with Mozambican flowers.

Clay from tradisional Mozambican methods are used as a cooling and type of cladding system. Steel reinforced I-Beam

Roof garden overlooking Newtown and the Johannesburg skyline. Roof garden acts as a energy skin and a cooling device for the embassy.

Wooden facades inspired from Mozambican architecture (refer to attached precedent study), creates these playfull patterns throughout the building by using the sun. It also acts as a shading device.

SECOND FLOOR Floor is dedicated for residential use with 3 seperate living spaces, bachelor, 2 bedroom and 3 bedroom. Patioâ&#x20AC;&#x2122;s on both sides of the building with a living wall/ green wall with Mozambican flowers.

FIRST FLOOR Floor is dedicated to the staff of the embassy Glass curtain wall

GROUND FLOOR Entrance to the embassy is situated on the corner of Gwigwi Merwebi street and Mariam Makeba street. By creating the entrance space on the corner of the street it is interacting with two of the most active streets in Newtown. The aesthetic of the embassy is intriquing but uses the offset of art form toattract people to the embassy.

SKIN SECTION scale 1:20

Gwigwi Merwebi street

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Embassy of Mozambique Michaela Naidoo 106

Rahul Mohan 107

Embassy of Kenya Tamara Oâ&#x20AC;&#x2122;Friel 108

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Embassy of Zimbabwe Is-Haaq Khan

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Zimbabwian Embassy

First and second floor

Curtain wall

Embassy:

Embassy: - Kitchen Curtain wall

Curtain wall

Staff - Kitchenette - Locker Room - Store Room (Produce and Staff) Male Bathroom: - 2x Toilets - Urinal - Washbasin

-2x Meeting Rooms

Female Bathroom: - 2x Washbasin - 2x Toilets

Reception/Lounge Area Reception Area

- Dining Room Catering 30 People

Office Space

Male Bathroom: - Toilet - Washbasin - Urinal

Male Bathrooms: - Toilet - Washbasin - Urinal

Female Bathroom: -2x Washbasin -2x Toilets

Female Bathroom: - 2x Washbasin - 2X Toilet

Residents:

Two Bedroom Apartment:

- Lounge/Dining Area - Pantry - Master and Guest Bed. - 2x Bathrooms

FIRST FLOOR Scale 1:100

SECOND FLOOR Scale 1:100

Residential

Embassy

North and west elevations

NGL

NGL WEST ELEVATION Scale 1:100 West Elevation - Ground Floor; The Traditional Arches have allowed for larger spans and create a curiosity from the road for people to look in. It also Creates a transparency of action/relationship between the embassy and the public, offering passive surveillance and trust within the community. The arches also provide a larger airy space. -First and Second Floor Due tothe facade being located on the west, the afternoon sun is the hottest of the day. Therefore the Necessary shading devices have been implemented to combat this through a sun screen, overhangs and the pompon trees placed along the corridor, breaking up the Light/heat.

NGL

NGL NORTH ELEVATION Scale 1:100 North Elevation - The Curtain wall allows for sufficient natural light to enter the spaces located on the north side of the embassy (Kitchen, Staff Area and Meeting Room). - The Pompon Trees sprout pink flowers and are visible from the road. Not only do they benefit the interior of the space through passive cooling, Humidit Etc, but provides a psychological serenity and peace to both pedestrians and occupants of the building.

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Connor Robert

Zimbabwian Embassy

Perspectives and skin section

NGL SKIN SECTION 1. 340mm Thick re-inforced Waffle Concrete Slab 2. Pompon Tree 3.Balau Sun screen (38x38mm Timber Struts) 4. Planter Boxs for Pompon Trees 5. Double Glazing Glass Windows

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Site Plan

Model in Context

s Section

1:100

s Section

levations Sections Sections

1:100

Cross SectionSection h Elevation Longitudinal Cross Section Scale1:100 1:100 Scale Scale 1:100

:100

Cross Cross Section Section Longitudinal Section Scale Scale1:100 1:100

h Elevation

:100

Elevations Scale 1:100

North Elevation West Elevation Scale 1:100 Scale 1:100

North Elevation Scale 1:100

West Elevation Scale 1:100

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Michael Potgieter 219004930

Longitudinal Section Longitudinal Section Scale 1:100 1:100 Scale

Longitudinal Section Longitudinal Section Scale 1:100 Scale 1:100

Michael Potgieter 219004930

Michael Potgieter 219004930 Embassy of Britain Micheal Potgieter

Concepts of Space in Embassy Courtyard perspective

water feature along pathway

Courtyard perspective water fountain feature

steel columns from ground to roof -symbolic of Acacia tree being rooted to ground

pond water level same as pathway

stone tiled floor stone tiled floor

plants around seating area symbolic for being land-locked seating extends into shallow pond symbolising the importance and interactions of Lake malawi to native people and plants

shallow pond symbolic of lake Malawi

Art Gallery Perspective

larger volume space with glass panels on upper part

Second floor overlooks art gallery

Art gallery exhibiting Malawian art To waiting area

Marble tiled flooring symbolising rich rock art collection

Marble tiled floor

Entrance

Waiting Area Perspective

Low hung lights

TV screen

Tv screen

Low hung lights

Open plan waiting area

Embassy of Malawi To Reception

Muhammad Moola

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Embassy of Mozambique David Mathee

Embassy of Italy Matteo Panter

VISION OF THE EMBASSY

Embassy of Nigeria Micheal Sabeya 117

BACHELOR OF ARCHITECTURE: ARCHITECTURAL DESIGN 2 BAAD3Y2 2020

PROJECT 5: ARCHITECTURE & CLIMATE CHANGE: A Weather Station HAND OUT: 29 September 2020

HAND IN: 20 October 2020 ( In Studio) T u t o r s : J a b u M a k h u b u , M x o lis i N ts h o n a & N o m a la n g a M a h la n g u

Part of what architects do is control weather conditions, much like skin is to the body.

42architects.com

Bokamorao/Background: There is a lot to be said about climate change and the role architecture and real estate play. With rising sea levels, what used to be prime real estate close to the sea may and in some cases has become unliveable land causing a move to more resilient land up the coast which in most cases is occupied by low to middle income population resulting in what is referred to as climate gentrification. Scheer and Moss (2019) describe climate gentrification as a “relatively new term describing what happens when neighbourhoods traditionally overlooked by wealthy people become more attractive—and expensive— given their siting in geographic areas that happen to be more resilient to climate-related threats such as stronger, more frequent hurricanes, flooding, wildfires, etc.”

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A weather station is a facility, either on land or sea, with instruments and equipment for measuring atmospheric conditions to provide information for weather forecasts and to study the weather and climate.

• •

Explore the relationship between proportion and connection of components that form part of an organism, such as joints, skeleton and skin Explore the dynamic forms of motion of these components (rotate, slide, fold or even bend).

Mushumo/ Task: Find an unused/slightly damaged umbrella/or two. Deconstruct this umbrella to its basic components. Use parts of these components and other found material to build the following:

Part 1 1. A skeleton model of a hypothetical weather station instrument to measure one aspect of atmospheric condition (wind-direction-speed, rain fall, cyclones, cold fronts, heat, light, earth quake, etc). this model will be largely steel, or timber in its construction, explore the joints and connections, remember this in not a building, just an instrument so have fun, speculate, reimagine these umbrella structural components as something else. Photograph this model under professional lighting and background (you may find the photo-studio next to Loveness’ office useful for this part). Curate at least 1 well mounted (on foamboard) or well framed photograph. Think carefully about composition, light and colour of the image/s. Perhaps these are grayscale A2 image/s, or maybe full colour A5 image/s.

Part 2 2. Using the fabric component of your umbrella, build a skin model of the same hypothetical weather station instrument. This could either be a new model altogether or added to the skeleton model. Similar to the first model, photograph this model and curate at least 1 well mounted/framed image.

Part 3 3. Produce and extra image on photoshop showing part/s of your model in motion/action- to express how the apparatus/instrument measure the atmospheric condition. What part of the model moves to respond to the condition and how does it move (up/down, fan out, spin, expand and contract, pull push)? Curate this similar to the two images above. This is not a new model but a manipulation of your model via photoshop to express this movement. All this work will be presented exhibition style in studio for evaluation and also uploaded on blackboard for records.

Inqubo Yokuhlolwa/Assessment Criteria: •

Crafts womanship of model/s

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Presentation and curatorial ship of the photographs.

Some reading on climate gentrification: Inspirational images sourced from pintrest

Doelstellings/Objectives: •

Nathan, Aparna. 2019. Climate is the Newest Gentrifying Force, and its Effects are Already Re-shaping cities. Available at:

•

Scheer Roddy and Doug Moss. 2019. Is Climate Gentrification Killing Our Communities? Available at https://emagazine.com/climate-

http://sitn.hms.harvard.edu/flash/2019/climate-newest-gentrifying-force-effects-already-re-shaping-cities/ [Accessed 28 Sep 2020)

gentrification/#:~:text=Climate%20gentrification%20is%20a%20relatively,as%20stronger%2C%20more%20frequent%20hurricanes% 2C [Accessed 28 Sep 2020]

This project deals with large scale issues through small scale speculative and playful design approach that views modelmaking and photography as ways of drawing, imagination and realisation. UJ: DOA: BARCH Y2 2020: Project 5: Architecture and Climate Change: A Weather Station Tutors: Jabu Makhubu, Mxolisi Nstona and Nomalanga Mahlangu

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Guidance regarding specific requirements for submissions will be given during online crit 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. UJ: DOA: BARCH Y2 2020: Project 5: Architecture and Climate Change: A Weather Station Tutors: Jabu Makhubu, Mxolisi Nstona and Nomalanga Mahlangu

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DJ Mushaathama

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Koketso Mohwasa

Sifiso Mwelase 125

William Hindle 126

Karabo Raphepele 127

Alexandra Hoad 128

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666

10 10 10

Iman Basha- The Scorpio

Miguel Franco 129

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Caleb Naidoo

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Is-Haaq Khan: “Aqua Thermohaline Metre” 132

Tamara O’Friel : “Station Draught” 133

Michelle Mahamba 134

Charmaine Maleho 135

Minenhle Manana: “Glider”

Muaaz Mahomed 136

Payal Itchu 137

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Muhammad Moola

Michaela Naidoo

Matteo Panter 139

PHASE 2 - SKIN

Thea Scholtz

PHASE 2 - SKIN

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Nabeel Vawda NABEEL VAWDA - 218015973

Tumisang Pitsi 141

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Alex Clark Alexandra Hoad Amile Kitsa Aqeel Mamoojee Brenden Schnehage Caleb Naidoo Charmaine Maleho Connor Robert David Mathee DJ Mushaathama Joseph Shaku Heike Melcher Heinrich Kok Iman Basha Is-Haaq Khan Karabo Raphepele Keneilwe Phahlamohlake Koketso Mohwasa Lungelo Nyawose Lydia Karigani Matteo Panter Michaela Naidoo Micheal Potgiter Micheal Sabeya Michelle Mahamba Miguel Franco Minenhle Manana Mohammad Moola Muaaz Mahomed Muhammed Nana Nabeel Vawda Obakeng Maluse Okuhle Mciteka Payal Itchu Qiniso Dlamini Rahul Mohan Ruqaya Soliman Sifiso Mwelase Tamara Mastilo Tamara Oâ&#x20AC;&#x2122;Friel Thapelo Douse Thea Scholtz Themba Gqabe Torbjorn Dam Thoto Makokoe Tumisang Pitsi William Hindle Zolani Sibanyoni

Class of 2020 Design Studio

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2020