University of Johannesburg -2017 Architectural Design 3 YearBook (Diploma in Architecture)

YEAR O3 Diploma in Architecture, University of Johannesburg 2017 Architectural Design 3- STUDIO- “making responses�

Studio leaders: Absalom Jabu Makhubu (MUD) Tariq Mughammed Toffa (MArch)

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

Contents 1.

Programme outlines

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Introduction 2 3.

Chapter 1: “the SELF”

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Chapter 2: “THERE & HERE”

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YEAR: 3 Third Year, Diploma in Architecture

NQF LEVEL 6

AIMS + PURPOSES: The programme addresses a range of knowledge fields within the architectural discipline. In particular it emphasises the relationship between theory, design and technology. Design concepts and design development encourage an interdisciplinary design approach. The programme prepares students for further study or registration and employment as Candidate Architectural Technologists (SACAP Part 1).

To generate relevant approaches to architectural design, the programme focuses on: •the technical making of architecture, •appropriate architectural languages that engage the environment and user on a critical level •specific contexts (which includes the self as a context) with a variance in scale and complexity, •Producing relevant, contextual and resolved architectural responses in a connected urban fabric.

•demonstrating an understanding of contemporary architectural theory and the application of contemporary design tools OUTCOMES: •The ability to conduct architectural research.

•Identifying and taking cognisance of contextual and environmental imperatives.

•Using historical and theoretical precedents in technological design development and documentation.

•Applying architectural design processes and principles creatively in designing construction details.

•Designing, selecting and incorporating appropriate structural systems, construction methods, materials, building services and systems.

•Applying professional architectural office management practices and procedures within the framework of standard professional documents, guidelines, legal and ethical prescriptions.

•Using professional-standard computer programmes for, and solving problems pertaining to the production of standard documentation.

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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 tectonics’, 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.”

Thus, tectonics 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 tectonics, as a craft that is both intellectual and imaginative

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Chapter 1: “the SELF”

This chapter comprises of the first 3 brief of the semester (issued weekly), each provoking the student to reflect on the self and the world around them. Putting the student both as the researcher and the subject of the inquiry.

Brief 1: ARRIVAL ‘You are here’ An ‘inquiry’ is a personal engagement with a question- explored through design.

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, mapping/analysis/research in not separate from design. It does not end before design begins. 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. The result is a design that is thoughtful, engaging and integrated.

Task 1: carefully curate 3 x 2Dimesntional line monochromatic drawings (approx. A2 in size) that explore/investigate and capture your personal views/experience of what the title of this brief ‘Arrival * YOU are here ’ means to you in this place. Mount these images as though for a gallery exhibition (on foam boards cut to size.) , Although static, drawings must explore flow and movement.

Give a short (200 word) and poetic description of your drawings and how they relate to the theme Outcomes: conduct qualitative research. Description of concepts through use of architectural graphic techniques.

Evaluation criteria •Depth of inquiry and investigation (level of engagement with theme, research, personal reflection, interpretation) (50%) •Quality of drawings (scale, line weights, type and quality, hatching, drawing layout/ balance and narrative/s)- (35%) •Quality of presentation-size mounting quality, arrangement and flow of exhibition including titles and description of drawings (15%) Brief 2: LEXICON 1.

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the vocabulary of a person, language, or branch of knowledge. a catalogue of a language’s word 3

Briefs, in the architecture industry, are how we provoke thinking and initiate progress in the academic realm. Through the careful use of language, we design how you, the student, should see and approach the world. In practice, briefs tell us what the client wants. The vision that the designer creates is founded on the terms that are outlined in the brief. Ultimately, briefs inspire the world we are likely to create.

Task 2: create/design a VISUAL LEXICON (24 xA6 Entries -Words, photographs and found objects) of things/thoughts/places that brought YOU HERE/ keep YOU HERE/ shape YOU HERE/ support YOU HERE/ things you LEFT behind. Consider how your 24 entries come together when mounted. How do they speak to? Do they tell a story?

Outcomes: ability to appraise and define urban and cultural issues related to inquiry, Ability to present ideas/concepts in a logical manner, Ability to develop design principles Assessment Criteria: Depth of research and inquiry of the lexicon (language) Presentation quality of Narrative of the lexicon- is it clear, logical and professional Brief 3: Artefact Urban artefact An inquiry through design Reinforcing connections between critical thinking, design and technology helps to establish a ‘critical tectonics’, 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.”

Task: create/BUILD an artefact no smaller than 250mmx250mmx250mm built using your subjective/introspection (brief 01 and 02) that EXPLORES the RELATIONSHIP it(brief 1 and 2) has spatially (through form, space, experience, shelter) with the following: “MY university” and or “THE universe-CITY” Outcomes: knowledge of critical urban issues. Ability to present design synthesis in a logical manner.

Assessment Criteria: level of critical engagement with subject matter (university), clarity in argument-research.

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Arrival

Lexicon

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Kingsley Mashau 5

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Richard Krige 7

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There’s a war inside my head, sometimes I wish that I was dead, I’m broken. The deadliest war in history, in terms of deaths since its start, is the Second World War, but this is not that kind of war. It’s the kind that keeps me up at night with answers to questions I haven’t even formed. War is characterized with aggression, destruction and mortality.

War is often a mass discharge of accumulated internal rage where inner fears are discharged in destruction. But my war is fueled by frustration at the inability to master my own self.

Acceptance of who I am, why I am and where I am. Not accepting the everyday image of a self-portrait in the mirror. There is no general agreement on which are the most common motivations of war. Every day has its own kind of war, its own limiting conditions, and its own peculiar preconceptions. I have ARRIVED on the battlefield of my own mind.

So I search the city streets, trying to find the missing piece of my mind. So now I’m going to show you crazy. Isn’t it funny how this battle in my mind can control me every day in this mundane life? Battling a war of self-acceptance, questioning everything that I do, every step that is taken. Questioning the morals of existence and why I am here. It’s not a battle to be won or lost but simply just a struggle of every day. Every day might seem like an ordinary face but the real truth of me lies inside my mind, and oh what a scary and crazy place it is. But I’ve mastered the art of crazy. If we wore our minds on our foreheads, what a different place it would be.

So HERE I AM, I HAVE ARRIVED in a place where I learned that we never lose our demons, we only learn to live above them.

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Liezel Steyn

Seabi Lekoape

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Arrival

Lebo Mbewe

Artifect

Lexicon

Blessing Mohape 13

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Arrival

Alex Pottie

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Lexicon

Artifect

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Joshua Errero 17

Lexicon 18

Chapter 2: THERE & HERE

In this chapter, the students are introduced to their physical site of inquiry where question about the self are further tested. Students work in groups to unpack the site of inquiry through the lenses of their first 3 briefs. The chapter itself, comprises of two briefs (4 and 5).

Brief 4: Read a Place Mapping “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 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: University of Johannesburg’s Doornfontein Campus and its surrounds, using critical mapping technique/s.

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: •Knowledge of the differentiation between reading a place as a ‘planner’ vs. reading a 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.

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SITE: University of Johannesburg’s Doornfontein campus and the surrounds

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Brief 5: Design Your Intentions “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 TASK In Brief #3—“Artefact”—you were required to write a place (‘the university’) through your own voices and perspectives.

In Brief #4--read a place-- you were introduced to Doornfontein and asked to investigate the relationship between material culture (urban form) and human experience (phenomenology).

In this brief, Brief #5, you are asked to design your intentions.

First, it means that you bring together and integrate your own voices (briefs 1-3), with your study of the material conditions/urban tissue of the site and its human experiential and everyday (phenomenological) conditions (brief 4).

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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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.

ASSESMENT (1)This Task will be marked to form a part of the overall Design mark for this project.

(2)The Task will form “PART 1” of the overall History and Theory (DAHA 1Y3) mark for Semester 2.

READINGS 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 For History and Theory 3 also consider the following readings: 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 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

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Brief 6: Intergrated Design and Theoritical response TASK

In Brief #3—“Artefact”—you were required to write a place (‘the university’) through your own voices and perspectives.

In Brief #4--read a place-- you were introduced to Doornfontein and asked to investigate the relationship between material culture (urban form) and human experience (phenomenology).

In Brief #5, you were asked to design your intentions. That is, bring together and integrate your own voices (briefs 1-3), with your study of the material conditions/urban tissue of the site and its human experiential and everyday (phenomenological) conditions (brief 4).

In this brief, Brief #6—frameworks + resolutions—you are first tasked to build on brief #5 and resolve your intentions, and secondly you are to identify an area/space of intervention to resolve in more detail.

TASK 1: DETAILED FRAMEWORK As a group, reflect on your intentions from brief #5 and resolve your framework spatially by considering the following: built form (buildings-use, typology, density), movement systems (identifying patterns), open spaces (types, use, access, opportunities), thematic issues (‘you’, ‘others’ and /in university), threshold, and overlaps.

TASK 2: ARCHITECTURAL RESOLUTION Individually, From your group’s Detailed framework, identify an area/space/site to investigate and resolve in more depth individually.

This site/area/space must relate to some of the discoveries from inquiries in briefs #13.

The site/area/space must also reflect engagement with complexities in material culture (urban form) and human experience (phenomenology).

Your resolution must reflect a thorough understanding of the pragmatics of architecture (structure, form, tectonic, scale, typology, services, sustainability 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.

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DELIVERABLES Part 1: Detailed Plan and section or detailed scaled model at 1:500 or 1:200 (dependent on scale of intervention) Part 2: 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) and OTHER (Films, montages, installations) 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 Design: This Task will be marked to form a part of the overall Design mark for this project.

History and Theory: The Task will form “PART 2” of the overall History and Theory (DAHA 1Y3) mark for Semester 2. Both “Part 1 & 2” must be pinned up at the final presentation.

Correct referencing is ESSENTIAL, of (1) the images, (2) the text, and (3) the bibliography/source list (see FADA style guide); Construction of a logical argument; Appropriateness and relevance of illustrations; And academic professionalism: grammar, spelling, presentation and pagination.

The above evaluation criteria is grouped and marked into four basic categories: References – in image, text, source list (AUTOMATIC FAIL WITHOUT REFERENCES), Images, Language, Content/critical thinking.

READINGS 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 For History and Theory 3 also consider the following readings: 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 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

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Ethembeni Children’s Home Ivan Andonov

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A Sense of Place Mnvuleni Mnisi

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eMakethe

Fezekile Nombembe

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Doornfontein Social Centre Portia Mabudisa

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Porous Boundaries Samkelo Maseko

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Aobakwe Mathlaku

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Untitled Bunny Bala

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De/Re-Spiritual Zakkiyyah Haffejee

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Denstiny Walk M Nemukula

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NEW THEATRE

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Carl Du Plessis

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Broken Boundaries Lethabo Mathabathe

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Self Knowledge Centre Mukhethwa Nevhutanda

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One with Nature Alex Pottie

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Knowledge Park Joshua Erero

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Connection between University & Trainstation (Doornfontein) Group Y Doornfontein mapping Lebo Mbewe 201383187 Martin Botha 201472286 Franklin Ndhlovu 201581220 Rhodé Lubbe 201590679

Lebo Based on Task 1-3, the notion of finding a purpose within architecture has been a consistent theme.

The university experience has played a major role in transforming a superficial idea of architecture to one which embodies a fluid identity of sensitivity to one's context. In this task, the aim is to find the relationship between the experiences and personal views of the 'self' with the other thus, broadening the lenses in which university and the city should be studied. My primary focus is mapping typologies with a purpose in a physical, metaphorical and phenomenological sense.

Martin Project 1: DEPARTURE “Finally you got to settle somewhere You have no place to go anywhere One can think of resting there It is wonderful place with no fears” “It is opening of new chapter The life to be made joyous and roar in laughter Each day is to be lived new challenges and outcome Not to be afraid of any eventuality but always welcome….”

Project 2: Rhythm through the journey I took to come here, where I saw an opportunity to study, and to explore the city through architecture and music. ” the more objects or artefacts found together,the easier it togethe may be to determine what type of society had lived there.”

Project 3: How I see the University ;By defined subdivision of the broader discipline of anthropological archaeology that seeks to examine the ways in which the social dimensions of human life structured,social relations inform and influence present interpretations,the study of the development, structure, societ and functioning of human society.Developing a body of knowledge about social order, acceptance, and change.

Connection between University & Trainstation (Doornfontein) MANUFACTURING PRECINCT LOCALITY The railway to north and east, Nugget Street to the west and Bezuidenhout to the south.

The area is approximately 40ha CHARACTER Predominant land uses are-warehousing and industrial uses.

This precinct is historically industrial and therefore has few community facilities.

It is home to the Jeppe Police Station and the Doornfontein station.

CURRENT LAND USE PATTERNS The land use zoning for this area is mostly general, allowing for a mix of land uses.

COMMUNITY FACILITIES STRATEGIES: Strategy 1: Support the networking and interaction between institutions to share information on their facilities, programmes and resources to facilitate access by others in the precinct and the larger Study Area.

Strategy 2: Support any regeneration project that provides additional open space or squares as the area needs 'opening up' and gathering places for students –including the Beit Street Piazza.

Strategy 3: Support initiatives that will improve physical access to facilities through the station upgrading and road proposals.

Strategy 4: Support environmental upgrading of the area to improve visual and security aspects to encourage access to facilities Proposed Phasing.

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Frank Task 1 spoke about my development through learning and meeting other creative minds through varsity.

Task 2 began to unpack key events in my life that molded me to what I am today. Expressing the contrast between my experiences as a teenager within relation to being an adult.

Task 3 artefact gave an overall perspective of my 1.1 and 1.2, which expressed that through time body and mind developed through experiences and learning.

Rhodé In my task 1 Lexicon, and personal vie Everything w an influence explained th personal vie I covered a l cracks that s for people to universe insi the whole ide manner I dec thresholds. T my personal of the univer

1-3, arrival you are here, d my artefact I explain my ews on the university in general. works together and has e on each other, this is hrough mind maps on my ews. Creating my artefact light with a black box with shows how there is potential o escape from the small ide the universe. To sum ea up in an architectural cided to concentrate on This will allow me to connect l views to the disconnect rsity.

University of Johannesburg, Doornfontein Campus

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The Link Between Neuroscience and the Built Environment 25 July, 2017 Sarah Williams Goldhagen: “What’s important is what’s on the ground, and how people respond to it. Ultimately, the architect’s intentions are of secondary importance.”

Livon Diramerian: ”Architecture is not only how we see a space, but it is more important how people feel the space & whether they are comfortable or not.”

Section 1:200

Section 1:200

The psychology of architecture

The psychologist Joan Meyers-Levy, at the Carlson School of Management, conducted an interesting experiment tha examined the relationship between ceilin height and thinking style. She demonstra that, when people are in a low-ceilinged room, they are much quicker at solving anagrams involving confinement, such a "bound," "restrained" and "restricted." In contrast, people in high-ceilinged rooms excel at puzzles in which the answer touches on the theme of freedom, such "liberated" and "unlimited." According to evy, this is because airy spaces prime us to feel free.

Section 1:200

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Space Framing Rhode Lubbe

We're only beginning to grasp how the insides of buildings influence the inside of the mind. For now, it's safe to say that tasks involving accuracy and focus - say, copyediting a manuscript, or doing some algebra - are best suited for short spaces with red walls. In contrast, tasks that require a little bit of creativity and abstract thinking benefit from high ceilings, lots of windows and bright blue walls that match the sky. The point is that architecture has real cognitive consequences JONAH LEHRER SCIENCE 04.14.11 04.14.

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Healing the City Lebo Mbewe

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Come In

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Skills Transfer Billy Kgoedi

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Free Space

Liezel Steyn

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The Bilboa Effect Richard Krige

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SCALE: 1 : 500

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The Backbone

SCALE: 1 : Jabu 500 Maluleka

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24H Centre Edward Bikitsha

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Work/Play/Live Markos Themba

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Lefetong Multipurpose Centre Never Nyakane

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Un-masquerade Rehan Vermeulen

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Biophilic

Kingley Mashau

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The Transition Jennifer Sibanda

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Community Health-care Center G Huma

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STAIRCASE NOTE: concrete staircase 1000mm steel railing, 50 steel post and 50 steel rods 50mm alluminium noising riser: 150mmX tread: 200mmX

Sports roll rubber flooring 500x500x15mm, simple lay dow n f ixing w ith PU adhesive

1000mm height and 115mm interior w all w ith 1000mm height door w ith 50 steel door frame

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ENTRANCE North 2100mm WEST w ith tw o steel and glass double doors

DUA L A DJUSTABLE PULLEY – Stand alone unit 20 adjustment positions per column = 225 diff erent exercises

w ooden 1200x760 cof f ee table at w aiting area

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DUA L A DJUSTABLE PULLEY – Stand alone unit 20 adjustment positions per column = 225 diff erent exercises

Sleigh retro sofa (3) seated sof a 915x2150x500mm Seat, backrest and armrests

DUA L A DJUSTABLE PULLEY – Stand alone unit 20 adjustment positions per column = 225 diff erent exercises

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Sports roll rubber flooring 500x500x15mm, simple lay dow n f ixing w ith PU adhesive

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Agricutural Rehab Adam Makwela

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GA ATO SAR

AVE It all started with a small shanty-town in 1886. In 1888 the Braamfontein Cemetery was opened, followed by Joubert Park, and by 1903 Johannesburg had 10 parks and one cemetery.

Before gold was discovered in the area in 1886, there were several farmers on the Witwatersrand.

These early farmers brought seeds from the Cape and planted oak and walnut trees.

The Bezuidenhout family were among the first white se�lers in the area and built their farmhouse in 1863 on the farm Doornfontein. They planted fruit trees in Judith's Paarl and Cyrildene, east of the city centre, but the trees no longer exist.

The farm had a "walnut walk", an avenue of walnut trees leading to the present-day bowling green.

Walnut trees only last about 50 years, so the walk and trees are long gone. A curved row of around six glorious large oak trees remain in front of the house, probably offspring of the original oak trees.

On the other side of town was the farm Braamfontein, owned by Louw Geldenhuys, who built his farmhouse against the Melville Koppies ridge. His wife, Emmaren�a, planted an oak tree and five palm trees in front of the house. These trees s�ll exist, as does the house.

When the suburb of Emmaren�a was laid out in 1937, the town planners wanted to cut down the oak tree because it was in the path of a road. Emmaren�a put her foot down - the oak was to stay. The tree is now on the pavement.

More recently, former mayor Amos Masondo issued a direc�ve to Johannesburg City Parks to plant 300 000 trees to bridge the green divide.

Tree plan�ng commenced in areas such as Soweto, Orange Farm, Alexandra, Lenasia and Eldorado in earnest and over 240 000 trees have been planted as part of this process.

OUTDOOR SOCIAL MARKET

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E TRE LL S

E RW

SHE PUBLIC SPACE AND AMPITHEATRE

WETLAND TO BE CONSTRUCTED AS A SOURCE OF WATER FOR ALL FUTURE URABAN AGRICULTURAL DEVELOPMENTS E.G ROOFTOP GARDENS

BOUNDRIES

BUILT STRUCTURE, FLOOD/CAVITY DAM WALLS AND SOFTER AND INTERACTIVE BOUNDRIES TO BE INTRODUCED TO PROMOTE SOCIALISATION AMONGST GENERAL PUBLIC AND STUDENTS

SHERWELL STREET PUBLIC PASS AND SOCIAL SPACE

GREEN SPACES AND WATLAND LAND CREATE A WORKING ECOSYSTEM, THIS IS THE SAME FOR HUMANS AND OPEN AND INTERACTIVE WORKING SPACES

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LINK

Berea Link - This provides a link to Doornfontein and the ReaVaya Station whilst providing a community space aswell as a mini market for nearby users and residence.

Agronomic Centre - A multi-use form acts as a halting point in the link and provides an educational empowerment function serving the community and the university.

Doornfontein Link - Safe transition across Saratoga transport route from DFC and a link to Berea residential fabric

ReaVaya Link - The intervention is in close proximity to act as a proxy for the transport station to surrounding areas.

Egornomics Tyron Stephan

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