YEAR 03 Diploma in Architecture, University of Johannesburg 2018 DESIGN STUDIO- “Makind Responses to an Arrival City”
“we form our cities and in turn
Studio Leader Jabu Absalom Makhubu- MUD
n, cities form us...�
Studio Assistants Afua Wilcox- MArch & Leon Krige- BArch
Contents: 1. Pedagogical Approach
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2. Theoratical Framing
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3. Intuivite Design Triggers
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4. Exploring the Clients
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5. Reading, Representing and Interpreting the SITE
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6. “Projects�
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1. Pedagogy Architecture is explored and developed in the physical context of the studio and the city (namely Johannesburg). In the Second semester, the project builds up and deepens critical thinking and relationships between design, technology and context from the elective system in first semester. Reinforcing connections between critical thinking, design and technology helps to establish a ‘critical architectonics’ (Tectonics and Stereotomics), whereby technology and making becomes an embodied component of each project. To the ancient Greeks for example, work with the hands or techne, meaning ‘skill with art or craft’, was inferior to philosophical speculation. Thus philosophers like Plato and Plotinus schematized a hierarchy of knowledge that expanded in an ascending scale from crafts to science, as it moved from the physical to the intellectual. Technical art however ranked somewhere in the midpoint of this schema. Furthermore, Aristotle believed that the business of techne was to “bring something into existence.” In architecture we use structure and mass, solid and void, light and heavy, frames and infill, and many such material to bring habitable spaces into existence. “Architect/historian/ethnographer Gottfried Semper, whose studies of building artefacts led him to break away from the Vitruvian triad of utilitas, fermitas and venustas, nd to differentiate the elements into categories that fall either into the lightweight tectonics of the frame or the heavy/stable stereotomics of the earthwork.” Thus, architectonics in this schema means not only technology deployed to find an optimal solution for a structure, but could be conceived as joining the intellectual with the physical, while poetically facilitating the uses, meanings and experience of space. This is how we wish to pursue and understand architectonics, as a craft that is both intellectual and imaginative. In the design module, design briefs will be used to build the frame (Tectonic) and the infill (stereotomic) will be explored through design charrettes. A constructivist learning approach is followed.
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DIPLOMA IN ARCHITECTURE: ARCHITECTURAL DESIGN 3 DAAD1Y3 2018
Semester 02 Brief 01/07: Theoretical Framing
DATE: JUL 23
Background and Aims Johannesburg, like many cities in South Africa still bare the legacies of a fragmented, segregated spatial morphology and high levels of disparity. It is also the economic mecca of the continent. It is built on migrant labour during the gold rush. 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. Amongst all these contradictions are narratives of belonging and non-belonging. In this studio we are interested in understanding the spatial conditions of migrants in and around the Johannesburg. The aim is to engage more critically with the conditions of arrival, spatial justice and right to the city. ‘we form cities and in turn, cities form us”… Jan Gehl This studio (and projects thereof) also follows a constructivist learning theory approach (that is, you- the student construct your own understanding and knowledge of the world, through experiencing and reflecting on your experiences and those of others). Therefore you are as much a subject of the research enquiry. The studio also follows a cyclic process of design instead of a linear approach to deepen our understanding of the project theme and objectives. Charrettes will be used to feed this cycle throughout the studio.
Task: What kind of Johannesburg are you forming? Produce a rigorous academic essay that answers the above question. Your essay must include at least 2 journal articles, and one from the following reading list. This is an argumentative essay and therefore you must use literature to argue what Johannesburg you (architects and urban planners) 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. Deliverables: 1x A1 1000 word Visual Academic Essay Poster based on the theme of the studio, referenced according to UJ Guidelines. READINGS 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, color, layout and images- see e.g.) Due Date : 30 JUL 2018 2
Architecture South Africa, Journal of the Institute of South African Architects, Special Issue: November/December 2004: ‘Integration and Transformation in Education: A 10 year profile of Architecture & Planning, UCT.’ Certeau, Michel de, 1984. Chapter VII, Walking in the City. In, The Practice of Everyday Life. University of California Press: Berkeley. Available at: http://users.clas.ufl.edu/rogerbb/classes/berlin/de%20certeau.pdf Landman, k., Ntombela, N. 2006. Opening up Spaces for the Poor in the Urban Form: Trends, Challenges and the Implications for Access to Urban Land, CSIR Built Environment (www.urbanlandmark.org.za/downloads/07LandmanNtombela.pdf) Murray, Martin, 2011. ‘Introduction: Spatial Politics in the Precarious City. In, City of Extremes: The Spatial Politics of Johannesburg. Duke University Press Tschumi, Bernard, 1995. Event-Cities (Praxis). The MIT Press, Cambridge, Massachusetts. Braham, William 2000. After Typology: the suffering of diagrams. University of Pennsylvania press. Available at: http://repository.upenn.edu/cgi/viewcontent.cgi?article=1024&context=arch_papers
DIPLOMA IN ARCHITECTURE: ARCHITECTURAL DESIGN 3 DAAD1Y3 2018 Blake K, 2015 Privatization: Poster prepared For Principles of Urban Design 4
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Student Name
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Liezel Pentz
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Edward Lobo 8
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C01
3RD YEAR DIPLOMA IN ARCHITECTURE 2018
CHARRETTE 01: SPATIAL TRIGGERS
DATE: JUL 25
Unlike more linear, time consuming, modernist methods of design, where projects are set already with an end goal in mind, inquiry through design/design through inquiry begins through ‘qualitative’ design inquiry, rather than ‘quantitative’ mapping and analysis. The process is a search, the outcome a discovery. In this process, analysis/research/mapping is not separate from design. Rather, design and inquiry are integrated, each guiding and informing the other. Design and inquiry occur at all stages. New information is fed into the process without the need to restart the whole process when decisions evolve and design becomes more clarified, resulting in a design that is thoughtful, engaging and integrated.
Task: In the absence of a site, program and scale, explore form making through model building that respond to the following triggers. Trigger 1: tectonic model that expresses light as a material describing arrival Trigger 2: stereotomic model that expresses Volume/ void as thresholds Trigger 3: architectonic model that expresses rhythm or movement Outcome: 3 x approximately 30mm X 30mm X 30mm intuitive cardboard models based on the three triggers (light, volume & movement) Assessment Criteria Visual interest and design intentions
Due Date : 25 July 2018
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C02 3RD YEAR DIPLOMA IN ARCHITECTURE 2018
CHARRETTE 02: Horizontal & Vertical Explorations
DATE: AUG 01
“Architects produce diagrams, not buildings, but diagrams that are wholly immanent, wholly embedded and coextensive with the materials, configurations, and forms of buildings. (…) Architectural concepts only exist fully in their realization, as discoveries through the non-linear process called design. That condition of immanence inspires the recurring attention to method and process in the architectural discourse ….” William Braham (2000) After typology: suffering diagrams
Task: Thoughtfully Photograph your C01 triggers, choose 1 top view and 1 side view of your most interesting trigger. Print each of the views to fit on an A2 size sheet. Bring these to your session along with 6 x A2 tracing paper and drawing pens to build the base for your Charrette 03 output. Follow the instructions given in the charrette to produce the drawings. Outcome: 2X A2 Prints of top and side view of C01 Layered explorations on 6X A2 sheets of tracing paper (3 layers on each photograph print) Assessment Criteria Quality of prints, level of exploration
Due Date : 10 August 2018
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C03
3RD YEAR DIPLOMA IN ARCHITECTURE 2018
CHARRETTE 03: Experiential Plan and Section
DATE: AUG 08
‘Alternative forms of visualization, imaging and drawing might be more effective in relation to an increased range of… architectural possibilities… to be honest I do think a radical change might be necessary.’ Perry Kupler Task: Now that you have developed your design triggers into scaled 1:20/ 1:50 line drawings. You are required to consider representational techniques to express the emotive experience of your drawings. Give thought to what you draw attention to, what is your intention and how to best represent that visually. What is tectonic? What is stereotomic? Thresholds? Movement? Heavy vs light? overall vs moment? Using hand-rendering techniques, render your top and side view of your triggers to express the experience of your design. Remember This is not a coloring in exercise. Minimal collage may be used.
Outcome: -Considered and well rendered 1:20/1:50 experiential plan and section of triggers on A size sheets (A0/ A1/ A2)
Exhibition Quality Assessment Criteria Mastery of rendering technique employed Composition Tone, balance and intention Experience of drawings Level of Completeness
Perry Kulper
Due Date : 15 AUG 2018 13
Liezel Pentz: -Stereotomic and Tectonic Study models
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Meshack Mogashoa: -Stereotomic and Tectonic Study
pg 18-19 Brian Rafuma- Experiencial Plan 16
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Brian Rafuma: -Stereotomic and Tectonic Study 21
Brian Rafuma -Conceptual Models
next page Tumelo Legote- Experiencial Plan 22
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DIPLOMA IN ARCHITECTURE: ARCHITECTURAL DESIGN 3 DAAD1Y3 2018
Semester 02 Brief 02/07: Life Worlds
DATE: JUL 30
Larry Nare and Romeo Tay 2014
Architecture’s primary tool is space. Yet who is the space for?
Task: Who is Johannesburg designed/made for? Discovering the patrons/clients/end users Produce a comic strip spatially narrating the story of the guests who presented themselves to you today. What brings them to the city? What do they hope the city should be? Consider their relationship to the city in your narrative. Deliverables: 16 -26 frame well curated and rendered comic strip [book, poster or individually mounted frames] narrating the story of all your actors, this may also include the actors relationship our resident photographer and design lecturer, Leon. How and where did they meet? Assessment Criteria • Clarity of Narrative/s • Quality of Illustrations- drawing and rendering techniques • Presentation quality/ Curatorship- layout, balance, hierarchy, use of text • Interpretation of the stories Due Date : 13 AUG 2018 25
Liezel Pentz 26
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by Claudio Pavan
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Brian Rafuma
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DIPLOMA IN ARCHITECTURE: ARCHITECTURAL DESIGN 3 DAAD1Y3 2018
Semester 02 Brief 03/07: Read a Place… the S I T E is
DATE: AUG 13
Background and Aims “To have an understanding of the status quo of a city, we utilise mapmaking, which is primarily quantitative. It sets out a basis of empirical knowledge, through recording and measuring of a broad range of variables. Mapping is also qualitative, whereby emphasis is also placed upon the networks, lineages and associations that exist between specific places and the people that occupy and transform them. Mapping opens the frame of reference and widens the inquiry from narrow absolutes to become inclusive of both phenomenological and structural 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-critical mapping. ” Ludwig Hansen Critical mapping can follow many methods: Erasure-the removal of non-essential information Amplification- developing a core idea Collapse- represents the merger of different sources Inscription- building new knowledge OBSERVE- INTERPRETE- REPRESENT
Task: In the groups given, You are required to investigate the relationship between material culture (urban form) and human experience (phenomenology) of your study area: North/South strip of Newton Precinct in Johannesburg and its surrounds, using critical mapping technique/s. Use two of the following theoretical readings to conduct your tissue study. Readings: Simone, A. M. M. (2004). People as Infrastructure: Intersecting Fragments in Johannesburg. Public Culture 16(3), 407-429. Duke University Press. Retrieved August 8, 2018, from Project MUSE database. Bentley, I. Alcock, A. Murrain, P. McGlynn, S and Smith, G. (1985), Responsive Environments, Architectural Press, London UK. Lynch, K (1981), Good City Form, The MIT Press, Cambridge, Massachusetts. Tibbalds, F. (1992), Making People Friendly Towns: Improving the Public Environment in Towns and Cities, Longman, Harlow. Trancik, R. (1986), Finding Lost Space: Theories of Urban Design, Van Nostrand Reinhold, New York Purpose: To conduct a subjective reading of how people are using space. To develop your own questions and hypotheses about the problems and issues facing a specific neighbourhood.
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DIPLOMA IN ARCHITECTURE: ARCHITECTURAL DESIGN 3 DAAD1Y3 2018
Deliverables:
3x A1 PANELS (edited and well curated) narrating your findings through scaled maps (1:200/ 1:500/1:1000), photographs, diagrams, written narrative (400-500 words) and models SKETCHBOOK with all field notes, diagrams, photographs of site thoughts and record (rough work/unfiltered thoughts). Assessment Criteria: • • •
DIPLOMA IN ARCHITECTURE: ARCHITECTURAL DESIGN 3 DAAD1Y3 place as a ‘planner’ vs. reading
Knowledge of the differentiation between reading a a 2018 place as an inhabitant of the ‘everyday’. Clarity of narrative (graphic quality of presentation) Application of critical mapping technique/s- giving supporting arguments for the choice of technique/s. Student No
Surname
Initials
201417091
AUNGUNU
JS
201432389
BALOYI
JM
201313809
DA GAMA
SME
201236553
FERLITO
TD
201509608
KGOMO
TG
215013198
KHAUOE
TL
201512412
LEGOTE
T
216016931
LOBO
EL
201475975
MABUDUSHA
LKE
201430632
MAPHOSO
LT
201603951
MASHAZI
AMV
201417481
MDLALOSE
NDT
201431493
MOGASHOA
KM
215012948
MOKOENA
AM
201403936
MTHOMBENI
LI
201283979
MUAMBA
M
201101622
MUMBA
M
215002789
NAICKER
L
201229930
NARAN KARA
E
215043115
NDONGOSIEME
N
216006671
NGULUBE
NG
201470444
PAVAN
C
216019536
PENTZ
L
201496582
QUVANE
ZL
201302789
RAFUMA
BRR
201498282
RAMASHALA
TD
215061363
VAN TONDER
C
201433896
VILAKAZI
K
216011472
WEPENER
L
201320640
WILLIAMS
M
201441977
YIBA
N
200912830
ZWANE
M
201333180
GLASSMAN
Signature s
SITE BLOCKS Y X L L L Y Y Y A L Y A A L A X L Y L L Y A A Y A X X X X X A X
A
_________________
Due Date : 24 August 2018
Name: Examiner
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DIPLOMA IN ARCHITECTURE: ARCHITECTURAL DESIGN 3 DAAD1Y3 2018
Semester 02 Brief 04/07: Design Your Intentions
DATE: AUG 24
Background and Aims “Architects produce diagrams, not buildings, but diagrams that are wholly immanent, wholly embedded and coextensive with the materials, configurations, and forms of buildings. (…) Architectural concepts only exist fully in their realization, as discoveries through the non-linear process called design. That condition of immanence inspires the recurring attention to method and process in the architectural discourse and equally the frustration with the embedded quality of the theorizing that it reveals.” William Braham (2000) After typology: suffering diagrams Make your mark
Task: In Brief #3--read a place-- you were introduced to Newton and asked to investigate the relationship between material culture (urban form) and human experience (phenomenology). In this brief, Brief #4, you are asked to design your intentions. First, it means that you bring together and integrate your own voices and those of your actors (briefs 1&2), with your study of the material conditions/urban tissue of the site and its human experiential and everyday (phenomenological) conditions (brief 3). Second, based on this complex, integrated and layered perspective, you (as a group) are tasked to identify three conditions/environments for intervention. ..Why have you identified these areas for intervention? ..Why are they important? ..What themes/principles have you applied to identify them? ..How could these conditions/environments be transformed? ..What would this facilitate for? Conceptually and principally represent how you would intervene/change/improve these three conditions/environments. Purpose: To develop your own voices/values. To read environments both quantitatively (material infrastructure) and qualitatively (human/experiential). To develop means to appropriately engage conditions of urbanity by considering the quality of the pedestrian (everyday) environment. To explore various representation formats to express intent and expectations.
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DIPLOMA IN ARCHITECTURE: ARCHITECTURAL DESIGN 3 DAAD1Y3 2018
Deliverables: (1) 1x A1 Poster of the plan (monochromatic, line drawing). (2) Diagrams should be used to support the design principles. Each diagram should try to use 2 mediums (i.e. ink, pencil, colour) (3) 3x (594`mm x 210mm) conceptual but detailed 3D Layered, physical montages of views of the identified areas of improvement (4) 700 word description of the process factored into the overall presentation (not a separate A4). You must show evidence of reading, with correct supporting referencing. Assessment Criteria: Clarity
Representation
Ambition
Translation
Engagement
Innovation
Narrative
Urbanity
Due Date : 07 September 2018
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View Towards JHB city centre from the M1 Highway on the left is John Foster Police Station:
Phote: Meshack Mogashoa 2018
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Group x: Newtowns’s Cultural Precinct
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Group y: Newtown’s Legislative Precinct 47
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Group a: Newtown’s ChinaTown
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DIPLOMA IN ARCHITECTURE: ARCHITECTURAL DESIGN 3 DAAD1Y3 2018
Semester 02 Brief 05/07: Architectural Resolution
DATE: SEP 07
Background and Aims
“Architecture starts when you carefully put two bricks together. There it begins.” Ludwig Mies van der Rohe
Gipsy Trail Residence.Archi-Tectonics
GIVE ME
SPACE
Task: In this brief, Brief #5—architectural resolutions—you are tasked to identify an area/space of intervention to resolve in more detail. Individually, From your group’s Detailed framework, identify an area/space/site to investigate and resolve in more depth individually. 1. This site/area/space must relate to some of the discoveries from inquiries in briefs #1-4. 2. The site/area/space must also reflect engagement with complexities in material culture (urban form) and human experience (phenomenology). 3. Your resolution must reflect a thorough understanding of the pragmatics of architecture (structure, form, tectonic, scale, typology, services, sustainability).
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DIPLOMA IN ARCHITECTURE: ARCHITECTURAL DESIGN 3 DAAD1Y3 2018
PURPOSE
To develop your own voices/values. To read environments both quantitatively (material infrastructure) and qualitatively (human/experiential). To develop means to appropriately engage conditions of urbanity by considering the quality of the pedestrian (everyday) environment. To explore various representation formats to express intent and expectations. To learn to shape architectural resolutions through these layers of complexity.
DELIVERABLES
(1) Well curated Panels following architectural representation conventions (Plans, sections, elevations, Perspectives, exploded axonometric, skin details, series of conceptual models and 1x presentation model at appropriate scales in context ) and OTHER (Films, montages, installations) (2) Individually, write a 700 – 1,000 word description of the process (framework & architectural resolution) factored into the overall presentation (not a separate A4). The text must be coherent (not fragmented sentences), showing the development of your own thought. You must show evidence of reading, with correct supporting referencing. ASSESMENT
(1) Design: This Task will be marked to form a part of the overall Design mark for this project. (2) Both “Part 1 & 2” must be pinned up at the final presentation. Assessment Criteria: Clarity
Representation
Ambition
Translation
Engagement
Innovation
Narrative
Urbanity
Due Date : 05 October 2018 Program See SEMESTER 2 GUIDE document for the project program. 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.
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Prisoner 311: Meshack Mogashoa
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NEWTOWN CULTURAL CENTER
Newtown Cultural Centre: Brian Rafuma
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Newtown Market: Thato Ramashala
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Untitled: Jaedely Muamba
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Culture Tower: Njabulo Mdlalose
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Untitled: Nobuhle Ngulube
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Lucky China: Liezel Pentz 82
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Walking on Stilts : Lerato Khaoue
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Level 15 Level 14 21021 20740
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Level 13 FOURTH FLOOR 17740 --17485
Level 12 11 THIRD FLOOR 14485 14230
Level 10 SECOND FLOOR 11230 10975
Level 9 FIRST FLOOR 7975 7720
Level 8 4720
GROUND FLOOR 1720 Level 1 0
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SECTION A-A 1 : 100
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Multi-Layered: Lesego Maphoso 89
CONCEPTUAL SKETCHES
CONCEPTUAL DIAGRAMS
DESIGN EXPLORATION
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ATRIUM RESTAURANTS & RETAIL OFFICES FASHION SCHOOL PARKING AND DEPARTURE
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MUMBA 201101622
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BRIDGE VIEW The program of the intervention is a new “Fereirasdorp Transportation Hub”(henceforth referred to as FTP) for the Fereirasdorp precinct. On a functional level, the FTP provides residential cost effective apartments for Bachelors and co-habitators, exhibition spaces, a fashion school, restaurant and café and let able spaces for local vendors and hairstylists. The exhibition spaces, used by both student and local artists, will provide an attraction to local restaurant patrons or tourist as a showcase for fashion or transportation based art. This creates more space in which to display objects stored in the existing museum. The FTP is part of a marketing strategy of the Fereirasdorp precinct to shine a light on darkened spaces in the neighbourhood and increase tourism. The theoretical intention of the design intervention is as following: • To create a contemporary live, work, study area that blends into the context of Fereirasdorp. • To expose inhabitants of Fereirasdorp to culture as a social practice artworks from local artists and students. Architectural intention The live, work, study new Building is derived from a concept of movement and exhibitionism where residential, educational spaces are lifted of the ground floor as the building attempts to mimic the M1 highway. The ground floor will therefore be used as open park-like spaces catering to dog walkers, families and children at play while providing bicycle parking spaces for local commuters. The welcoming atrium space emulating the tracks of a train station will provide patrons a space for pause and provisional amphitheatre space with it’s play in different step heights. The atrium draws patrons in towards the restaurants and views of the M1 highway which the connecting bridges above will act as an extension of. The vendor spaces on the other side be both welcoming to arriving patrons via taxis and act as impulse purchases areas for those departing. Serenity yards above aim to calm local resident with a space for contemplation to the sounds of running water and the sculpture yard above will double as further exhibition space for students and artists creating a direct link between working professionals and students.
Bridge view: Oliver Mumba
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Morphosis: Kealeboga Vilakazi
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Graffiti Art & Exhibition School: Jes-sherita Angunu 94
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China box: Tzippora Glassman
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AXONOMETRIC VEIW 1:500
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Public Park: Jerry Baloyi
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Mechanic Shop: Thulisile Kgomo 108
Fox Creche: Innocerntia Mthombeni 109
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Open Cells: Zakahle Quvane 112
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The Shard Loreshan Naicker 115
NATHAN NDONGOSIEME 215043115 N.DIP 3
BRIDGE DIAGRAM
DIAGRAM 02
DIAGRAM 01
PROCESS WORK
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Permeable Nathan Ndongosieme DEPARTMENT OF ARCHITECTURE NATIONAL DIPLOMA ARCHITECTURAL DESIGN DAAD1Y3 2018
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Untitled Traci-Lee Ferlito 118
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Untitled Claudio Pavan
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Stacked Liam Wepener 122
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Mfundo Zwane-
Tower of Light Museum Scanned by CamScanner
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Aungunu Jess-Sherita Baloyi Jerry Da Gama Shaolin Ferlito Traci-Lee Glassman Tzippora Kgomo Thulisile Khauoe Lerato Legote Tumelo Lobo Edward Mabudusha Lerato Maphoso Lesego Mdlalose Njabulo Mogashoa, Meshack Mokoena Albert Mthombeni Innocentia Muamba Jeadelley Mumba Oliver Naicker Loreshan Naran Kara Eshara Ndongosieme Nathan Ngulube Nobuhle Pavan Claudio Pentz Liezel Quvane Zakahle Rafuma Brian Ramashala Thato Van Tonder Chantelle Vilakazi Keabetswe Wepener Liam Williams Marki Yiba Nondumiso Zwane Mfundo
Class of 2018 Design Studio
Mfundo Zwane- Model -Tower of Light Museum
(Opp. Page)
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