ILUNGA, NK - 214623676

FACULTY of ENGINEERING and the BUILT ENVIRONMENT DEPARTMENT of ARCHITECTURE and INDUSTRIAL DESIGN

PLAGIARISM DECLARATION Although the lecturer/ study leader/ supervisor/ mentor will provide you with information regarding reference techniques and ways to avoid plagiarism, you also have a responsibility to fulfil. Should you feel unsure about the requirements, you must consult the lecturer/ study leader/ supervisor/ mentor concerned before submitting an assignment.

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Following Regulation 4.1.11.1(j) of Chapter 4 (Examination Rules and Regulations), and Regulations 15.1.16 and 15.1.17 of Chapter 15 (Student Discipline) of Part 1 of the 2021 Prospectus, I (full names & surname): Student number: Declare the following: 1.

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Nathan Kabinga Ilunga 214623676

I understand what plagiarism entails, and I am aware of the University's policy in this regard.

I did not copy and paste any information directly from an electronic source into this document.

I did not make use of another student's previous work and submitted it as my own.

I did not and will not allow anyone to copy my work to present it as their own.

I further declare that this assignment research proposal is my original work. Where I used the works of others, the extent to which it was used is indicated. It is fully acknowledged in the text and the list of references.

11-10-2021 Signature

Date

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THE DESIGN OF A DEMOCRATISED MEDIA CENTRE IN PRETORIA

By Nathan Kabinga Ilunga 214623676 Submitted in partial fulfilment of the requirements for the degree.

Master of Architecture At the Department of Architecture and Industrial Design In the FACULTY OF ENGINEERING AND THE BUILT ENVIRONMENT At the

TSHWANE UNIVERSITY OF TECHNOLOGY Supervisor: Dr M. Stander Design Supervisor: Mr P. Greyvensteyn

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ACKNOWLEDGEMENTS

I would like to thank God for everything He has done in my life. From spiritual and physical conception up to this stage of my life. Without Him I would not be where I am today.

I would like to express my appreciation to my supervisors, Pieter Greyvensteyn and Mel Stander, for their endless support in guiding my thesis work.

My acknowledgement also goes to my late father, Norbert Ilunga Kabinga, who passed away on the 31 of August 2021, the year of completing my master’s degree programme. He was always there for me from the time I was born. He raised and educated me, and encouraged me to climb the ladder of life. His memory will never be forgotten because my life will always reflect the seed he planted in me. May his soul rest in peace.

To my lovely mum, Jacquie Kakoma Kabinga, who continuously loves and cares for me. For the endless support she has given me in life; and particularly in my studies.

The only way I can respond to the indescribable things she has done in my life is by saying: “Thank you so much, Mum.” To my five lovely siblings, Naomi, Nissi, Merveille, Gloress and Christelle, for your love, empathy and unconditional support for everything in my life and particularly my studies.

My acknowledgement is expanded to my extended family. I appreciate your direct or indirect support given when it was needed.

To my brothers and sisters in the Lord from my local church PEVK in Kolwezi, the Democratic Republic of Congo and from Petra Full Gospel Church in Pretoria, South Africa.

To my dear friends, Tonia Rubi, Michelange Katende, Ilunga Wandelewe, Ruddy Kabeya, and many other friends, for the infinite and unconditional support I have received from you during my studies.

To the Tshwane University of Technology, Department of Architecture and Industrial Design. You have been a real family since 2014 when I started my foundation programme. I appreciate the knowledge and the passion you have used to create an architect like myself.

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ABSTRACT The core of this research relates to the role of architecture as a social tool in the process of democratising media platforms. The word democratising is defined as the action of introducing a democratic system or principle. The need for introducing a democratic principle amid the media industry is motivated by a thorough observation of its contemporary situation. Marshall McLuhan (1964: 89) argues that “the conditions of communication are not simply dictated by technology. They are the product of politics, economics and law.” This statement suggests that whoever has power in politics, economics, and law, is likely to be in control by dictating to the mass media industry. At the same time ordinary people, who happen to be media consumers, have no form of influence or significant input with the media. The architectural profession needs to design media facilities democratically, in order to challenge the status quo.

The methodology used for this study will be qualitative research. This research aims to investigate the problematic contributions of the media industry as a platform of communication and information, its corporate power and its effects on the everyday lives of normal people. The objective will be to identify the roots of the issue, and to provide one specific appropriate solution, expressed through architecture. For this thesis, the architectural intervention, and the research outcome, will be within South Africa in the city of Pretoria.

The architectural response, to the current state of proposed media dictatorship, will be to create a media centre which will provide a space for professional recording and broadcasting studios to facilitate both independent activism and professional media to meet halfway in a democratic atmosphere. The entire space will function as an intersectional hub serving both the public as well as the media management. The goal is to design spaces which will enable ordinary people participation in a democratic concept within the media industry.

Key words: Architecture, Communication, Democratised, Democratising, Information, Media.

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CONTENTS

Contents PLAGIARISM DECLARATION ....................................................................................ii ACKNOWLEDGEMENTS ..........................................................................................iv ABSTRACT ................................................................................................................ v CONTENTS ...............................................................................................................vi LIST OF FIGURES ................................................................................................... viii LIST OF TABLES .......................................................................................................xi GLOSSARY OF TERMS ........................................................................................... xii 1. INTRODUCTION .................................................................................................... 3 1.1 Project Overview............................................................................................... 3 1.2 Background ...................................................................................................... 5 1.2.1 Architecture’s involvement in organising public life .................................... 5 1.2.2 Architecture’s influence on social life ......................................................... 5 1.2.3 Examples of how democracy is achieved with architecture ....................... 6 1.2.4 Media as a platform of communication and information ............................. 7 1.2.5 Role of the media in society ....................................................................... 7 1.2.6 Professional media production versus media consumption ....................... 7 1.2.7 Nature of the media industry worldwide ..................................................... 8 1.3 Research Statement ......................................................................................... 9 1.4 Research Roadmap ........................................................................................ 10 2. PRECEDENT STUDIES ....................................................................................... 13 2.1 The Kgotla ...................................................................................................... 13 2.2 The Reichstag: German Parliament Building .................................................. 17 2.3 National Congress in Brasilia .......................................................................... 20 2.4 Media Centre for the “Radio e Televisiun Rumantscha” in Italy ...................... 23 2.5 Walter Sisulu Square – Freedom Square Soweto .......................................... 25 3. ANALYSIS AND APPRAISAL OF CONTEXT ...................................................... 27 3.1 Context Identification in the Region ................................................................ 27 3.2 Immediate Context – the City of Pretoria ........................................................ 29 3.3 Urban Study .................................................................................................... 30 3.3.1 Public programme development............................................................... 30 3.3.4 Investigation of a media dialogue with the public ..................................... 35 vi

3.4 Investigating Public Democratic Spaces in Pretoria ........................................ 37 3.5 The Tshwane District ...................................................................................... 40 3.6 Site Analysis ................................................................................................... 40 3.6.1 Site selection: reason and outcome ......................................................... 48 3.6.2 Revitalisation of the Pretoria Lukasrand Telkom Tower ........................... 49 3.6.3 Description of the Telkom Tower.............................................................. 50 4

BRIEF, CLIENT, USERS AND DESIGN PROGRAMME .................................. 51 4.1 Brief: A Multipurpose Facility .......................................................................... 51 4.2 ............................................................................................................................................. Client .............................................................................................................................. 52 4.3 The Design Programme and Description of the Media Centre Spaces ........... 52

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CONCEPT DEVELOPMENT............................................................................. 54 5.1 Primary Concept: Approach ............................................................................ 69 5.2 Secondary Concepts ...................................................................................... 69 5.2.1 Merging the public and the professional voices ........................................ 69 5.2.2 Access of public to the emblematic Telkom Tower .................................. 69 5.2.3 Media-censoring community .................................................................... 70 5.2.4 Revealed technical spaces....................................................................... 71 5.2.5 Intersecting spaces .................................................................................. 71 5.2.6 Democratic space .................................................................................... 71

7. DESIGN DEVELOPMENT ................................................................................... 72 8. TECHNICAL RESOLUTION ................................................................................. 89 9. SELF-ASSESSMENT AND CONCLUSION ......................................................... 93 10. REFERENCES ................................................................................................... 93

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LIST OF FIGURES

Figure 1: Word cloud associated with the term “democracy” Figure 2: The agora setting Figure 3: People watching TV Figure 4: A Kgotla meeting in 1700s Figure 5: Open place of meeting with wooden stick fence around the space and trees providing some sort of shade Figure 6: Wall composed of stone and mortar, forming a boundary Figure 7: A modern-day example of the Kgotla spatial configuration.

Figure 8: Original Reichstag building Figure 9: The Reichstag building Figure 10: Section drawing illustrating the existing and the new design Figure 11: The Reichstag dome, on top of the building Figure 12: Overview of the Palace of the National Congress in Brasilia Figure 13: Protesters reclaiming the roof public space of the National Congress building Figure 14: Oscar Niemeyer’s concept sketch revealing the intent of a public space on top of the building Figure 15: Oscar Niemeyer’s conceptual drawing showing up and down movement of the public Figure 16: National Congress building in Brazil Figure 17: Physical model revealing the façade on the street edge interacting with the public Figure 18: Walter Sisulu Square, Kliptown Soweto, South Africa Figure 19: Map of Africa with highlighting South Africa Figure 20: Map of South Africa highlighting Gauteng and the city of Pretoria Figure 21: Pretoria CBD bird eye view from the ABSA building Figure 22: Boom Street, outside the Pretoria Zoo Figure 23: Connection of public buildings’ activities Figure 24: Media centre connected to secondary compatible activities Figure 25: Pretoria FM in Loftus Park Figure 26: The Union Building Park seen on elevation viii

Figure 27: The Union Building Park seen on plan Figure 28: Students marching at the Union Building for free education Figure 29: Church Square, Pretoria CBD Figure 30: South African musicians marching at Church Square to demand government recognition Figure 31: The Tshwane District Figure 32: Locality plan Figure 33: Site contours Figure 34: Site with trees Figure 35: Circulation around site Figure 36: Circulation around site in light grey Figure 37: Existing Lukasrand Telkom Tower emphasized in dark hatching Figure 38: Site with existing structures in it Figure 39: Bird’s-eye view of Lukasrand Telkom Tower site Figure 40: Bird’s-eye view of Lukasrand Telkom Tower site viewed from a different angle Figure 41: Lukasrand Telkom Tower/John Voster Communication Tower in Pretoria Figure 42: Lukasrand Telkom Tower view at night with blue lighting Figure 43: Concept development A Figure 44: Concept development B Figure 45: Concept development C Figure 46: Concept development Physical model Figure 47: Concept model focusing on building and site typology Figure 48: Concept model focusing on pedestrian ease access to site and buildings Figure 49: Concept development D Figure 50: Concept development _ Media Democratic Space on the roof Figure 51: Concept development _ Media Democratic Space’s canopy Figure 52: Concept development E Figure 53: Concept development F Figure 54: Stairs or ramp made of a series of hexagonal surfaces Figure 55: Concept development G Figure 56: Concept development H Figure 57: Site plan with new building Figure 58: Underground parking plan ix

Figure 59: First floor plan Figure 60: Second floor plan Figure 61: Roof plan Figure 62: Top roof plan Figure 63: Section A-A Figure 64: Section A-A close view Figure 65: Section B-B Figure 66: Section B-B close view Figure 67: View of hexagonal circulation spaces, top roof and existing Telkom tower Figure 68: View of circulation space to the top roof Figure 69: New building in context Figure 70: New building versus existing Figure 71: Democratic space_Outside, top roof video and audio broadcasting Figure 72: Indoor public circulation space, between broadcasting studios Figure 73: Radio broadcasting studio Figure 74: Television broadcasting studio Figure 75: Television broadcasting studio with different decoration Figure 76: Public Park and marketplace underneath the hexagonal circulation space Figure 77: Walkway to the roof and top roof is a transition to the existing Telkom Tower Figure 78: Closer view of the walkway Figure 79: Locality plan Figure 80: Site plan Figure 81: Ground floor plan Figure 82: Portion of ground floor plan Figure 83: Section and edge detail Figure 84: Edge detail and detail Figure 85: Edge detail, 3D view and roof plan

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LIST OF TABLES Table 1: Functional categories of public facilities Table 2: Compatibility matrix

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GLOSSARY OF TERMS Architecture Architecture is a profession that aims to create spaces in response to various needs of the society. For example, the need to democratise the media can be addressed through designing democratic spaces.

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Communication Following Richards and Schmidt (2013), communication is understood as the exchange and negotiation of information between at least two individuals through the use of verbal and non-verbal symbols, oral and written/visual modes, and production and comprehension processes.

Democracy The term “democracy” is derived from the Greek word demokratia, which means “rule by the people”. The Greek word is made up of the two roots demos, meaning “the people” and kratos, meaning “power” (Academy 4SC, 2021). In other words, the term simply means “ruled by people” (Electoral Knowledge Network, 2021). In administering a democracy, there needs to be a constitution that must be in conformity with one elementary principle: that all members are to be treated (under the constitution) as if they were equally qualified to participate in the process of making decisions about the policies the administration will pursue. In governing this association all members are to be considered as politically equal (Dahl, 1998). The concept of democracy, therefore, empowers people, directly or indirectly, to influence on the decision making of a common entity.

Democracy in a non-governmental or corporate setting Democracy in a corporate setting can be defined as a system of democratic governance that includes at least shared claims by all members of the organisation in combination with democratic decision-making rules and is embedded in a supportive organisational structure (De Jong & van Witteloostuijn, 2004). Dahl (1998) questions whether an association can ever fully meet these criteria.

Democratise (Democratising) To democratise is to introduce a democratic system or a democratic principle to a country or organisation (Oxford Language, 2021).

Information Information is knowledge (fact, news or data) obtained from investigation, study or instruction. It can also be a signal or character (as in a communication system or computer) that represents data. Lastly, it can be something (such as a message, experimental data or a picture) that justifies change in a construct (such as a plan or theory) that represents physical or mental experience or another construct (Webster, 2021).

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Media According to Tech Terms (2021), “In general, ‘media’ refers to various means of communication. For example, television, radio, and the newspaper are different types of media.” The media, from a general perspective, is an indispensable industry that serves billions of people today. This industry delivers news and serves as a platform of communication. Unlike other types of communication, which are interactive, news is mostly spread in one direction. However, social media has made it possible for the media platform to be an interactive sphere.

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1. INTRODUCTION This chapter gives an overview of the research themes developed in the thesis.

Problem identification and possible resolutions are explained in a road map. A sufficient understanding of the role of architecture in social and professional life is suggested. More specifically, the role of Architecture, as a social tool, in the transformation of a dictatorial media into a democratic the media industry is addressed.

1.1 Project Overview

Figure 1: Word cloud associated with the term “democracy”

While a research theme that is apparently not directly linked to the field of designing spaces and buildings may seem controversial, architecture is a profession that is known to address different societal problems. The architectural field has been used as a voice for a long time (Gupta, 2021), with the experience of spaces provided considered as a catalyst for bringing change to different realms. The media is considered to be an industry with the responsibility to bring information in a way 3

deemed reliable to everyone. This means that to many the content they receive from the media is absolutely true and remains unchallenged. However, scholars have pointed out the lack of democracy and transparency in the media. With architecture as a means to resolve societal issues, this presents an opportunity to address this issue in an unconventional manner.

Architecture has a strong influence on the human psychology. It affects how people feel from one space to another and how they behave in different spaces. It creates a feeling of fear, safety or joy when a human enters a particular space. It affects people’s interaction in a certain way, depending on the way it is designed.

Discovering this hidden powerful influence in architecture opens up a spectrum of endless choices how architects can use this skill to create positive or negative emotions.

Architecture has been used for positive or negative outcomes, depending on the purpose of the client, and, occasionally, the architect. In relation to democracy versus dictatorship, there are several buildings that send a clear message about who they are designed to serve.

“Democracy” or “democratising” are concepts that can also be achieved through architecture. Architects have the responsibility to be activists for certain causes.

Taking into account the social and psychological façades of architecture, the theme of democratising the media through an architectural response is an obvious concern.

To respond appropriately to the challenge of democratising the media through architecture, a thorough investigation of the true nature of the current media industry is necessary. The goal of this project is to uncover non-democratic aspects of the media and to propose a sustainable solution through architecture. The solution is aimed at offering a response to the problem that will carry a revolutionary response to the media producers, to the audiences being served and, most importantly, to the designers of media spaces.

Bringing the idea of architecture, the media and democracy together is an imaginary implementation and at the same time a tangible exercise. It is a way of bringing a complex abstraction to reality. As creativity arises from combining and using preexisting ideas, this project also examines applicable concepts and projects that are used as precedents for the project design.

Combining the media, architecture and democracy is an appropriate recipe in a society craving to be nourished with the truth. The mandate of the physical architecture in this instance is to accommodate the concept of media and democracy within its own DNA. The building needs to reflect the sound of the media resonating democratic values. Valuable communication and vital information are made possible when the environment from where they occur is appropriate.

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1.2 Background The topic of this study, “The design of a democratised media centre in Pretoria”, is explored from an architectural perspective. Architecture is indispensable and acts as a governing tool in many industries. The media field is made up of architecture, a set of technological infrastructures and media professionals. Without architectural infrastructure or space, the technical infrastructure and media professionals would not manage to operate. Therefore, architects are partially empowered to make a direct difference in the media industry.

1.2.1 Architecture’s involvement in organising public life Architecture plays an important role in organising public life and has been perceived by some as a political tool. In Australia, for instance, the architectural firm Terroir has been involved with the Burnie and Parramatta City Council to work on particular ways of organising the city that shapes its future and to make design decisions in anticipation of years to come. This is a practical case of architecture’s influence on political decision making (Zilliacus, 2016).

1.2.2 Architecture’s influence on social life According to Julia Morgan (___:___), architecture is an art expressed visually; infrastructures convey a clear message about themselves. Architecture has been used as a voice for a long time, with for instance extravagant castles distinguishing rulers from the common people. It distinguishes the elite from the middle class, the rulers from the slaves, the policy makers from the ordinary people. The ruling class have often revealed their authority and superiority through extravagant infrastructures like castles. Meanwhile, the ordinary citizen struggled to offer themselves a shelter. Today the concept of democracy has been adopted by many nations. With this governing system, the ordinary person is entrusted with political decisions.

Democracy, as an aspect of social life, is considered to be the power given to people, by the people and for the people. But the question remains whether the voice of the ordinary people has an impact and how it can be heard. How does architecture come to play a role in such a complex socio-political aspect of life?

Walter Gropius has said that a building that reflects modernity, harmony and life is a clear indication of genuine democracy (Gupta, 2021). Additionally, the process of democratised architecture includes the aspect of diversity. Some scholars have argued that diversity is a crucial component of democracy, acceptance and egalitarianism. As Rafi Segal puts it (GSD, 2020), in architecture, diversity is an important way for achieving democracy.

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1.2.3 Examples of how democracy is achieved with architecture Architecture reflects the ideas of the time in which it is created. As Bragdon wrote in 1918: Throughout this stream of life, and thought, and activity, men have ever felt the need to build; and from the need arose the power to build. So, as they thought, they built; for, strange as it may seem, they could build in no other way. As they built, they made, used, and left behind them records of their thinking. Then, as through the years new men came with changed thoughts, so arose new buildings in consonance with the change of thought – the building is always the expression of the thinking.

Whatever the character of the thinking, just so was the character of the building.

The intention of creating a gathering space for democratic manoeuvrers originated with the Agora in ancient Greece. The Agora, however, chose a limited form of democracy. As Stefan Behnisch (2021) argues, the Agora developed a close exclusion of the public, with their democratic practice restricted to small circle of people.

Figure 2: The agora setting (Sketch by author) To achieve inclusive ruling, the people of no wealth need to be part of the democratic process. Another instance where architectural form was decided via democratic processes is the design of the Qatar football stadiums. According to Bleeckere (2021), a discussion was held around the construction of the World Cup football stadiums in Qatar. The fundamental question in the meeting was to evaluate to what 6

extent architects considered the people they were designing for in the use and civic value of those infrastructures.

This question points to open communities as empowering architecture to introduce democratic input into their works, particularly in the design of public spaces.

Architecture as a provision of service should not ignore its moral and political obligations. This suggests that design of spaces should respond to the democratisation ideal expressed by society. Thomas Jefferson, one of the pioneer architects of democratic architecture, believed that the strength of the democratic mindset resides in the openness of the people’s thinking, in continued conversation with nature and the provenance of knowledge and open areas. These architectural elements express democratic values (Bleeckere, 2021).

1.2.4 Media as a platform of communication and information The media is regarded as an impartial tool of communication and conveyor of information. In the event of failure or complete collapse of political organisations or trade unions, the media remains the principal information provider for people to engage in civic affairs (Voltmer, 2006). The media is a stabilised tool of communication and information configured to reach vast audiences. This is applicable in the traditional mass media made for network television, radio stations and newspapers as well as the new media technology consisting of computer and digital platforms. The new media enables a high level of interaction aimed at a particular group of individuals and possible democratic communication through social media (University of Minnesota, 2011).

1.2.5 Role of the media in society The media has a societal obligation to provide information, educate its audience, entertain people, persuade society on matters of crucial value, observe ongoing events such as natural catastrophes, provide an interpretation of data it receives, create links within society and be a catalyst for socialisation (Vilamor, Miranda, Gabinay, Nunez, Geco & Mayo, 2018). In addition, the article “What is the primary function of mass media” (2021) suggests that the media’s primary job is to make an in-depth observation of the public, frequently, and inform its audience of possible dangerous situations in order to prevent or minimise casualties.

1.2.6 Professional media production versus media consumption Productions from radio, television and other media stations are consumed daily by citizens. People are entertained, informed and communicate via current communication technologies. Apart from news, film and television broadcasting, media platforms provide the opportunity for engaging directly with an audience via different means of communication, an option not available two or three decades ago.

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Many topics of audio live broadcasting debates have external and independent inputs, which is a step toward democratisation of the media. Mainstream news is never verified by the audience or given the opportunity to be questioned. This is where the problem of the non-democratic atmosphere lies. The media is subject to the views of political and corporate elites, who transform the news to reflect their interests. An analysis of how the news is dispensed provides a valid motivation to pursue the establishment of a democratic media system within cities.

1.2.7 Nature of the media industry worldwide The media is represented in various forms, with online streaming, television, radio, newspapers and magazines making up the essence of the media industry. The following explanations are summarised from the article “What is mass media: types, functions, examples” (2021).

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Print media: essentially made of newspaper, printed journals, magazines and books. The printed resources are one of the oldest forms of the media industry.

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Outside media: mostly presented in the form of advertisement in outdoor public areas. This form allows companies to exhibit their names and products to influence potential customers.

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Broadcasting media: a transmission through the technological medium of audio, video, games and so on to a range of audiences with diversified needs.

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Numeric media: more than half of the world’s population is active on digital platforms (Chaffey, 2021). Companies have consequently invested more in advertising their products online through websites such as Instagram, Facebook and YouTube.

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Media acting as a platform of influence The interesting consideration here is to try to find out the possible impact of the media on its audience and society. Can the media influence thoughts, minds and behaviours of the people it reaches?

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Figure 3: People watching TV (sketch by author) 1.3 Research Statement Voltmer (2006) argues that “the media’s ability to promote democracy is limited and [people] have even held them responsible for many of the deficiencies from which established democracies appear to suffer.” The media often acts in passivity, serving as a platform to voice the views a certain elite class of people with an influence over the media.

In order to avoid autocratic governance and promote the growth of a confident society, it is imperative to add diversified opinions to the platform of the media. This study explores whether this can be achieved and democracy in the media as a platform of communication promoted through the architectural solution of a democratic media centre.

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1.4 Research Roadmap Project Title:

The design of a democratised media centre in Pretoria

Main problem statement What does architectural design that achieves democratic ideals in the media, look like?

Sub-problem 1

Sub-problem 1 posed as question What are the real needs of consumers of media content and what are the actual difficulties the media industry is facing regarding this?

Sub-problem 2

Sub-problem 2 posed as question Can the problem of undemocratic news-media information be partially resolved through an architectural solution?

Sub-problem 3

Sub-problem 3 posed as question Is there a specific location within Pretoria that could be considered ideal for this intervention?

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Hypothesis 1 It is hypothesised that people need to be informed of news worthiness from unbiased sources. Therefore, the media industry needs to be as reliable as possible. The challenge faced by the media industry is its lack of independence due to the embedded vested interests within big media.

Hypothesis 2 It is hypothesised that the proposed architectural design could illustrate a possible democratization of space within this industry.

Hypothesis 3 It is hypothesised that the Lukasrand Telkom Tower, in Pretoria is an ideal site to implement this architectural intervention.

1.5 Literature review A few works in line with this project will be presented; including a summary, how it will be beneficial and how it differs from this project.

1.5.1 Mass Media, Politic and Democracy The book Mass Media, Politics and Democracy by John Street (2011) gives a significant understanding of the connection between the media and politics. With numerous illustrations from various democratic systems, it points out the political impact and policies of the current state of communication and information, examining the possibility of positive outcomes of democratic directives and the risk of a nondemocratic approach.

Notions of media, democracy, anti-democracy, and its connection to politics from John Street’s book will be benefiting this investigation. However, this study differs from my research in the aspect of interpretation of the result. The outcome in my line of work will be translated into architecture and space creation.

1.5.2 The News Alain de Botton’s The News (2014) explains how the news we often receive from various media sources is not the most important, but it is made up to appear to be more important. Meanwhile there are a lot more valuable information left unattended which can be part of the news programme and enhance our society in multiple areas of interest.

The perspective of de Botton is an enlightenment of a hidden truth about the tricks of the media industry. It strengthens the argument of this thesis concerning the idea of the media needing to be democratized. This work differs from this study in the area of implementing a democratic structure to defeat the current state of the media.

1.5.3 Public Service, Private Media; The Political Economy of the Cable-Satellite Public Affairs Network The research of Morris Glenn Michael called Public Service, Private Media: The Political Economy of the Cable-Satellite Public Affairs Network (2010) investigates an American Media company called C-SPAIN. His work reveals the schemes behind-the-scenes of powerful media moguls depriving the channel from having an authentic value as a media centre. His study focusses on C-SPAIN while my research is aiming to address this problem as a global scale phenomenon but implementing the solution through a local architectural design. An architectural experimentation that will consist of democratic spaces for a more transparent media centre.

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1.5.4 The RTR media centre The RTR media centre is a Master of architecture thesis project of 2 students which happened to have real clients with the involvement of a renowned architect, Peter Zumthor. (Patrick, 2003) The project consists of an architectural design of a new media centre in Italy; its main focus being transparency and visual interaction between the public and the media professionals. This project will help my research as a precedent study for an appropriate typology of a media centre that deals with transparency and visual interaction between the public and the media professionals. The main spaces addressed in the design of the new RTR media centre were editing, broadcasting and management, reception rooms, etc. , plus the local delegation of the DRS (Radio und Fersehen der deutschen Schweiz) and of the RTSI (Radio e Televisione di lingua italiana).

1.6 Research objective The main objective of this research is to address the concept of democratization in the media through Architecture. From the architectural design perspective, we will issue a spatial solution to allow the media to be more democratic.

The design solution to be implemented will dilute the media conglomerates’ powers by providing a democratic media solution.

This should also include the creation and accommodation of democratically elected representatives to regulate the media censorship policy and to ensure there are no presence of state or political influence or mogul influence behind the scenes. The decision to censor media contents will be taken by the censorship elected members.

This media centre will use a democratic approach unlike the traditional/existing firewall(s) (Wang, 2020).

New and upcoming approaches of managing media platforms and its content should not be based only on transparency. They should enforce the implementation of human right ideology within the system where it falls short by allowing external surveillance and introducing reformation of strategies for the mass media industry when necessary (Shahbaz & Funk, 2021). Therefore, people inclusion in the media spaces and the public constant engagement with the media professional will be carefully considered in the design phases.

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2. PRECEDENT STUDIES This chapter discusses relevant architectural precedents regarding the concept of Democracy and the Media. It explores the notion of Architecture in a democratic setting in the traditional African society. One of the better precedents is the Kgotla. It concludes with contemporary democratic spaces as well as a media centre designed with the intention of public visual inclusion.

2.1 The Kgotla The Kgotla, a social activity practised in the Setswana culture, is known as a public gathering for conflict resolution. It has given rise to the nurturing of civic integration through timeless riddles, proverbs and idioms that form part of the Setswana culture and encourage people to strive for positive civic moral standards. The proverb “Mmualebe o a be a bua la gagwe”, which means “everyone has the right to express their opinions (Burnham, 2021), promotes freedom of speech and democratic principles in the Setswana society by allowing an individual to raise their opinion when societal matters are being resolved. This gives a strong democratic characteristic to the Setswana political organisation (Moumakwa, 2010).

The Kgotla is made up of two distinguishable parts: a democratic activity and a tangible place or space. The democratic mechanism experienced in Botswana, the country that houses the Setswana culture, is exemplary for the African continent.

The government of Botswana admires the Kgotla system and considers it as an important element of ruling. The Kgotla is a crucial platform for addressing misunderstandings between societal members. It fulfills the role of mediation between politics and society by promoting dialogue and socialisation. The Kgotla plays a major role in justice restoration. Participants come together to address the way of handling repercussions of an unpleasant situation and predict its implications.

In discussing the symbolic order and built artefacts that define the Kgotla, Laubscher (2019) states: “The form of the Kgotla can support, encourage and strengthen multiple human interactions” (Laubscher, 2019:34). The infrastructure that constitutes the Kgotla space (floor, walls and roof) creates a particular atmospheric materiality and enclosure (Laubscher, 2019). Figures 3 to 6 below illustrate different Kgotla spaces and enclosures.

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Figure 4: A Kgotla meeting in 1700 (Sketch by author)

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Figure 5: Open place of meeting with wooden stick fence around the space and trees providing some sort of shade (Source: Illustration taken from Laubscher, 2019)

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Figure 6: Wall composed of stone and mortar, forming a boundary (Source: Illustration taken from Laubscher, 2019)

Figure 7: A modern-day example of the Kgotla spatial configuration, with an approximate 700 mm rise of brick wall delimiting the inside area, which is covered with a thatched roof (Source: Illustration taken from Laubscher, 2019) 16

2.2 The Reichstag: German Parliament Building The Reichstag building was initially designed by the neoclassical architect Paul Wallot as a government building of the German empire. The construction was completed in 1894 (Douglass-Jaimes, D. 2015a). In the 1990s, the building was redesigned by the British architecture firm Foster and Partners with the intention of involving the public with the politicians. In an interview with Mr M.C. Wagner (2015), Norman Foster, the leading architect, explained the philosophical process for the design input. The new intervention was intended to lift the weight of history, philosophically addressing the past by preserving all existing marks of vandalism.

The intervention was planned to bring changes and light and to involve the public and the politicians responsible to the public. This was made possible by allocating the public access to the top of the building, with multiple spaces for leisure in the form of a coffee shop and restaurant, among other places. These spaces have a clear view down to the space where the politicians are taking important decisions for the country.

As per Norman Foster’s own description: “Our transformation of the Reichstag is rooted in four related issues: the Bundestag's significance as a democratic forum, an understanding of history, a commitment to the public accessibility and a vigorous environmental agenda” (Douglass-Jaimes, 2015a).

The Reichstag building, with its attributes of democratic engagement between the public and politicians, sets a precedent that is seldom encountered but is crucial. Its key principles of “public and politicians sharing a common space” and “public overlooking the politicians as they make important decisions for the country” are taken into consideration in the designing of the current project.

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Figure 8: Original Reichstag building (Source: Douglass-Jaimes, Archdaily.com)

Figure 9: The Reichstag building (sketch by author) 18

Figure 10: Section drawing illustrating the existing and the new design (Source: Image taken from Archdaily.com)

Figure 11: The Reichstag dome, on top of the building (Source: Image taken from Archdaily.com) 19

2.3 National Congress in Brasilia This is a typical case study of a building designed with democratic intent. The Palace of the National Congress was designed by the architect Oscar Niemeyer and built between 1958 and 1960. These government buildings, located in Brasilia (Brazil), are composed of two domes (cupolas) that represent Brazil’s assembly of two chambers of legislature. The dome on top of the Senate chamber takes the form of a simple parabolic cupola. Over the bigger space for the gatherings of Deputies, there is an upside-down symbolic cupola that has the shape of a bowl. Administrative 27floor twin towers are located to the north of the building centre line, between the two domes.

There is a connecting ramp from the driveway to the edifice. Another connecting ramp leads to the top roof of the structure. The original idea was to make the top roof of the parliament building a public square. It was, however, closed supposedly for safety purposes. In the demonstrations held by hundreds of thousands of people of Brazil about public transportation prices and the government investment in the 2014 FIFA World Cup, protestors in Brasilia marched up the ramp to the marble roof square of the National Congress building, re-employing it as a public square, exactly as Oscar Niemeyer intended it to be as it can be seen in figure 13 (Douglass-Jaimes, 2015b).

Figure 12: Overview of the Palace of the National Congress in Brasilia (Source: Douglass-Jaimes, Archdaily.com)

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Figure 13: Protesters reclaiming the roof public space of the National Congress building (Source: Douglass-Jaimes, Archdaily.com)

Figure 14: Oscar Niemeyer’s concept sketch revealing the intent of a public space on top of the building (Source: Sketch from Architizer, S.a.)

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Figure 15: Oscar Niemeyer’s conceptual drawing showing up and down movement of the public (Source: Drawing from Architizer, S.a.)

Figure 16: National Congress building in Brazil (Sketched by author)

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2.4 Media Centre for the “Radio e Televisiun Rumantscha” in Italy The design of a media centre for the Radio e Televisiun Rumantscha (a Swiss broadcasting company) in Italy was a master’s degree thesis project undertaken by two students, Edward Patrick and Gianmario Minazzi, in the early 2000s. While this was an academic project, it had real clients (Bernard Cathomas and Cristian Joos).

The project also includes the involvement of a renowned architect, Peter Zumthor.

(Patrick, 2003) The brief from the clients regarding the media centre indicated the following: •

• •

•

•

The spatial design should produce an experience of transparency and emotion. It should epitomize communication with the public and amongst collaborators. The architectural vision should intentionally convey the concept of communication.

Public vicinity, interaction, and dialogue should inform the architectural design and the spatial qualities taking advantage of the central urban context.

Ground floor uses in particular are to be envisioned and combined in an intelligent and dynamic way so as to create a semi-public place for gathering.

Broadcast talks, discussions, small concerts, and performances should be allowed in the entrance hall.

A central newsroom (core of the activity) should articulate around it the other editorial rooms so as to allow exchange and co-operation amongst the different programs and between radio and television.

Flexibility and adaptability should be an important feature of the design of the working spaces, in foresight of future changes or completions of use. (Patrick & Minazzi, 2003)

Principles used that may contribute to the current study: •

For a better dialogue and interaction with the public, as per the clients’ request, the building is light and opens toward the street. It has large window façades where pedestrians can have clear visual communication with the inside. This configuration has the purpose of creating a relationship with the community. (Patrick & Minazzi, 2003:14)

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Figure 17: Physical model revealing the façade on the street edge interacting with the public (Source: Image from Patrick & Minazzi, 2003)

•

•

The building does not have an elevation where people would feel like the building has turned its back on them. All elevations are designed with the idea of giving the public a pleasant experience with the Radio and Television station. (Patrick & Minazzi, 2003:16) The building has two distinct types of areas: an open space meant for circulation and private spaces. The private spaces accommodate technical rooms and offices for key positions. (Patrick & Minazzi, 2003:16)

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2.5 Walter Sisulu Square – Freedom Square Soweto Situated in Kliptown, Soweto, on the site where the Freedom Charter was drawn up in 1955, the Walter Sisulu Square has drawn the interest of national and international visitors (Walter Sisulu Square Kliptown, 2019). The site has two main blocks with a large, open space between them that functions as a public park. One of the blocks is predominantly made of concrete columns that support the roof structure. Between the columns is space for a market where local vendors and small-scale retailers operate. Another group of people, the homeless, use that same space as a place of refuge. The other block is made up of retail shops at ground level, offices and an auditorium. The site is entered via a roundabout on which stand vertical pillars. Taxis are on the street edge of the site and vendors are all over the place. At the front of the site historical figures stand on top of concrete standalone columns. And two conical elements have been constructed on the site in an asymmetrical pattern.

People move comfortably on the site as if it belongs to them. The history of Freedom Square conveys the spirit of a democratic space. From the attitude of the surrounding Soweto community and the management team towards the facility, it is evident that everyone is welcomed. There is no fence to delimit the site or any form of obstruction when approaching the square. The area is demarcated by the road around it. The security agents around the site adopt a friendly attitude towards visitors. Visitors to the square may enter the blocks without being escorted or looked after. This emphasises the idea of a building of the people, designed for the people and built by the people. Isn’t that the ideal of a democratic “genius loci” or spirit of the place?

According to the design rationale by the project’s architects, studioMAS (2010),

The conceptual idea for the Square is to celebrate and commemorate the birth of a democratic South Africa, by embodying the principles of the Freedom Charter. To create an equitable environment that gives a tangible expression to the aims of the Congress of the People and the principles of the Charter. The design resulted in a square split into two halves with the Freedom Charter Monument at the centre. To the west, the square commemorates past struggles and pays tribute to heroes and heroines who fought for freedom and equality. This space is intended to be used for large functions and meetings. The square on the eastern side celebrates the ideals of a Democratic society and is a utilitarian space for everyday use (trading, resting etc). This space is characterised by 9 smaller squares, symbolic of South Africa's 9 provinces and a symbolic mark of freedom represented as an X. The Square is bordered by a retail wing and multi-purpose hall to the north and by the market and hotel to the South. To the east, it is bordered by ten Freedom Charter Columns.

The sketch below is meant to communicate what has been discussed in this paragraph.

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Figure 18: Walter Sisulu square, Kliptown Soweto, South Africa (Sketched by author)

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3. ANALYSIS AND APPRAISAL OF CONTEXT This section presents a thorough investigation regarding the urban study, site identification and building a justifiable argument about its selection. The discussion reveals the following subsequent aspects: The choice for the country, province and district and city selection. The description of the city of Pretoria by conveying its most prominent genius loci. Mapping of some existing and possible media spots in the city. Urban analysis which includes urban public programmes, showing the compatibility between primary and secondary activities. And relating the compatibility study to the design of the media centre.. Development of viable media facilities around the city. Investigation of the media dialogue with the public. Investigating public spaces in Pretoria, also used as protestors destination for democratic purposes. Analysing the site with sketches and a description of the site context concludes this section.

3.1 Context Identification in the Region

Figure 19: Map of Africa with highlighting South Africa (Sketch by author)

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Figure 20: Map of South Africa highlighting Gauteng and the city of Pretoria (Sketch by author)

Figure 21: Pretoria CBD bird eye view from the ABSA building (Sketch by author) 28

This project could be applicable anywhere, preferably within an urban settlement. An urban environment is an ideal area for designing a democratic facility because of the high density of people. The city of Pretoria has been chosen for this experimentation as a place easily accessible to the researcher. At the same time, its urban setting and political significance in South Africa as the capital city are potentially a good foundation for developing this type of project. Accommodating such a revolutionary project of democratising the media in Pretoria will send a strong message to the entire country, the African continent and the world. The city of Pretoria, also called Tshwane, has major geographical importance. Its size, based on square meterage rather than people, makes it one of the largest cities in the world (City of Tshwane Metropolitan Municipality, 2015).

3.2 Immediate Context – the City of Pretoria A close analysis of the city of Pretoria provides us with rich insight into the context of the project. The current population of the city is estimated to be about 2 655 282 in 2021 (World Population Review, 2021) The city was designed along apartheid principles, which promoted separation and sprawl. It also allowed nature not to be subjected to man-made elements. Mountains and hills are usually left undisturbed.

The natural features dominate its landscape apart from the central business district (CBD) and some other areas with a high population density. The urban fabric is mostly made up of single-storey houses hidden in a forest of jacaranda trees. The city streets are mostly quiet, which communicates an atmosphere of calmness.

Exceptionally noisy streets are also present in the middle of the city. Harsh sounds of car hooting are encountered in streets used for public transportation. Areas in which merchants operate are busy but not necessarily unpleasant. These are normal noises, with people calling potential customers and negotiating a better deal for themselves. The city also has a different set of commercial facilities run by elite capitalist merchants, the shopping malls.

Some people call Pretoria the Jacaranda city because of its trees with their purple flowers in spring and summer. The city of Pretoria is an inland city. It is situated in the Gauteng Province, in the Republic of South Africa at a fairly close proximity to the city of Johannesburg, with direct road connections to other major cities of the country. Like the rest of South Africa, Pretoria is known for its diversity of languages, races and social statuses. The segregation of races initially embedded in the city DNA is still visible and has an impact on the economic growth of certain groups of its

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population.

Figure 22: Boom Street, outside the Pretoria Zoo (Sketch by author)

3.3 Urban Study This section describes the rational design of an urban settlement. In other words, an appropriate approach guiding the design of specific public facilities. It will determine the functional categories of public facilities, the nature of facility and the provider.

This description will make it easy to identify in which category the media centre falls into.

3.3.1 Public programme development Pretoria has several facilities developed for the public. Public programmes or facilities could be explained as premises that “satisfy specific individual or community needs – including safety and security, communication, recreation, sport, education, health, public administration, religious, cultural and social” (CSIR Building and Construction Technology, 2000:1). Public facilities are preferably located at sites of easy access for people, and they are categorised into higher-order, middle-order, lower-order and mobile facilities. These categorisations will help determine in which one the media centre will be allocated. Table 1, taken from the Guidelines for human settlement planning and design (CSIR Building and Construction Technology, 2000:2-3) identifies different categories and provides examples of these categories.

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Table 1: Functional categories of public facilities (CSIR Building and Construction Technology, 2000:2-3) Functional categories of public facilities FUNCTIONAL CATEGORY OF PUBLIC FACILITIES

NATURE OF FACILITY

PROVISION: PUBLIC OR PRIVATE

Educational facilities Creche/nursery school

Local/middle order

Generally, privately provided

Primary school

Local/middle order

Generally public provided, but may be private

Secondary school

Middle order

Generally public provided, but may be private

Tertiary facilities (colleges, technikons and universities)

Higher order

Generally publicly provided

Adult learning centres

Middle order

Generally public provided, but may be communal

Mobile clinics

Mobile

Publicly provided

Clinics

Middle order

Publicly and privately provided

Hospitals

Higher order

Publicly and privately provided

Playgrounds

Lower/middle order

Publicity provided

Sports fields

Middle order

Publicly provided

Sport clubs

Middle order

Usually privately provided

Sports stadiums

Higher order

Publicly provided

Health facilities

Recreational facilities

Cultural facilities

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Functional categories of public facilities FUNCTIONAL CATEGORY OF PUBLIC FACILITIES

NATURE OF FACILITY

PROVISION: PUBLIC OR PRIVATE

Libraries

Middle order

Publicly provided

Community centres

Lower/middle order

Publicly provided

Religious centres (churches, synagogues, mosques, etc.)

Lower/middle order

Publicly provided

Cemeteries

Middle order

Publicly provided

Magistrate’s court

Higher order

Publicly provided

Municipal offices/pay points

Middle order

Publicly provided

Post offices

Middle order

Publicly provided

Police stations

Middle order

Publicly provided

Fire stations

Middle/higher order

Publicly provided

Old age homes

Middle order

Publicly provided

Children’s homes

Higher order

Publicly provided

Information centres

Middle order

Publicly provided

Administration facilities

The media centre, in this case, can be identified as an information centre. In other words, a centre providing information. According to Table 1 description, information centres are recognised as functional public services that fit into the middle-order categories, and they are publicly provided.

The design of a functional public service correlates with other activities that can be added to it as secondary design programme. Figure 23 shows an example of interconnection between public facilities and their users. This illustration elaborates the type of design programmes compatible with school design as the primary function.

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Figure 23: Connection of public buildings’ activities (CSIR Building and Construction Technology, 2000:3) Facilities are compatible with some activities but not with others. A description of how these facilities correlate with each other is presented in Table 2, which provides a compatibility matrix of urban facilities. The description in the following table will inform us of the activities or design programmes compatible with the media centre as an information centre.

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Table 2: Compatibility matrix (CSIR Building and Construction Technology, 2000:4) The media centre falls under the category of information centre, which is compatible with a recreational space (playground), two cultural places (library and community centre) and two administrative facilities (municipal and post offices). This compatibility study, of primary and secondary design programme, is of substantial value in the composition of the design brief later.

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Figure 24: Media centre connected to secondary compatible activities (Sketch by author) 3.3.4 Investigation of a media dialogue with the public Media centres as facilities are usually out of the public realm, with hidden production operations that could be categorised as secret. Should media content production be kept from outsiders? Is there any reason for such a lack of transparency? People see the media content but do not have the opportunity to see how and where they are being produced. The effect for media consumers has been, over the years, to normalise this factor. In other words, the media is perceived in a similar manner as for instance electrical power. We see its effects but do not usually know where it comes from. The same is true for most restaurants. The customers are only allowed to enjoy the served food but do not know where it comes from and how it is prepared. Many other industries also practise a lack of transparency in their line of production. There has been, however, some attempt to shift the paradigm in the media industry.

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The Pretoria FM station, situated in the middle of the Loftus Park shopping mall in Arcadia, a suburb of Pretoria, is one of the rare examples of a media centre situated in the middle of a public shopping park.

Figure 25: Pretoria FM in Loftus Park (Image from Topshell, 2021) The position of the Radio station promotes visual dialogue between people and the media. The technicians and journalists can clearly be seen from outside the centre. It is an unusual and valuable experience. The shopping park ambience with the proximity of people circulating to the Radio station triggers the inside atmosphere for journalists and technicians. There is a severe restriction of sound penetration inside the studio, with heavy sound-proofing materials built around the semi-glass cabin.

Apart from the visual interaction between the public and the media, the facility does not suggest further involvement of the community in the media production line. A dialogue of the media and public, which is a vital component of democratisation, is partially achieved. However, according to Showme (2019), an online guide to South Africa, the intention of such a design and location is to provide to the audience and people who pass by the chance to get in touch with the radio presenters and be aware of what happens inside a broadcast studio.

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3.4 Investigating Public Democratic Spaces in Pretoria The Union Building Park is a typical example of a democratic space. Situated in front of the official seat of the South African government, it accommodates people performing diverse activities, such as merchants, Wi-Fi users, young people playing soccer, runners, and people coming for fitness exercises, dating couples, people coming for self-reflection, concerts, meditation and prayer. Some protest actions such as the “fees must fall” movement have revealed the democratic potentiality of the Union Building Park. In fact, most of the major riots, strikes or protests happening in Pretoria have considered the Union Building Park as their culminant point. The space gives to anyone the chance to express themselves and it appears to be an ideal place to be heard.

Figure 26: The Union Building Park seen on elevation (Sketch by the author)

Figure 27: The Union Building Park seen on plan (Sketch by the author)

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Figure 28: Students marching at the Union Building for free education (Image from Eyewitness News, 2017)

Pretoria Church Square has functionalities of a democratic space similar to those of the Union Building. Surrounded by some of the most powerful institutional buildings in the city, the square is used as a public park, a market, a playground and a place for public expression where protesters gather, among other things.

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Figure 29: Church Square, Pretoria CBD (Sketch by the author)

Figure 30: South African musicians marching at Church Square to demand government recognition (De Beer-Procter, Hogg & Mbele, 2020)

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3.5 The Tshwane District The map with main circulation routes of the district of Tshwane in which the city of Pretoria is located.

Figure 31: The Tshwane District (Source: Google maps)

3.6 Site Analysis The following drawing is a locality plan showing areas and streets surrounding the site where the design will be implemented.

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Figure 32: Locality plan (Source: Tshwane GIS)

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Figure 33: Site Contours. (Sketched by author)

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Figure 34: Site with trees. (Sketched by author)

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Figure 35: Circulation around site. (Sketched by author)

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Figure 36: Circulation highlighted in light grey. (Sketched by author)

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Figure 37: Existing Luskasrand Telkom Tower emphasized in dark hatching.

(Sketched by the author)

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Figure 38: Site with existing structures in it. (Sketched by author)

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Figure 39: Bird’s-eye view of Lukasrand Telkom Tower site (Sketched by author) 3.6.1 Site selection: reason and outcome This project attempts to dismantle or deconstruct the undemocratic element in the media industry using an architectural solution. The Pretoria Telkom Tower has been chosen as an appropriate site for this purpose because of its major significance in the city, which suggests that using the Telkom Tower as the site will have the highest impact.

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Figure 40: Bird’s-eye view of Lukasrand Telkom Tower site viewed from a different angle (Sketched by author) 3.6.2 Revitalisation of the Pretoria Lukasrand Telkom Tower The site of the Lukasrand Telkom Tower (also called the John Voster Communication Tower) has the geographical advantage of being situated at one of the highest points in Pretoria geographically. Its site provides enormous possibility. It is easy to make a visual statement from this location within the city of Pretoria. With the integration of the new media centre in the Telkom Tower site, the different voices will reach not only the city of Pretoria but also the connected world. It is, therefore, an ideal place for consensual voices, protesters, human right activists and marginalised people, among others, to be heard. However, to achieve such an ambitious outcome on a regular basis, the site needs to be revitalised.

The revitalisation of this site necessitates a mix-used urban design intervention.

Apart from the primary activity, the media centre, there should be secondary programmes of attraction added to the site, with drop-off and pick-up hubs for taxis,

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buses, uber vehicles and private transport. Markets places, shopping spaces, restaurant(s) and other secondary activities should also be included.

3.6.3 Description of the Telkom Tower The Lukasrand Telkom Tower is a telecommunication structure located in Muckleneuk, Pretoria, at the corner of Leyds and Devenish streets. It is made up of four main vertical pillars – three at its edges that form a triangular shape and one in the middle – and a two-storey building constructed at the base of the Tower. Situated on a hill, the tower is an emblematic structure that faces the official office of the South African government, the Union Building. It can be seen from most parts of the city. An enormous soccer ball was temporarily installed as part of the tower during the 2010 World Cup in South Africa. Since then, the tower has been perceived as a symbol of Pretoria globally (Héctor, 2007). Made predominantly out of a reinforced concrete structure, the tower has three hexagonal-shaped concrete masses at the top of it, which provide blueish light during the evening and night-time. The site is closed to the public and entirely fenced off. No one is allowed to enter unless they are employed there.

Figure 41: Lukasrand Telkom Tower/John Voster Communication Tower in Pretoria (Source: Photograph from Héctor, 2007)

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Figure 42: Lukasrand Telkom Tower view at night with blue lighting (Source: Hanno Labuschagne) In conclusion of this section on urban study, the ideal context and site has been identified. A public development study has been done to find the compatible design programme with the media centre. An elaboration of a good example of dialogue between a media centre in Pretoria and the public. And also a description of the Union Building park and the Church square as democratic public spaces in Pretoria.

4 BRIEF, CLIENT, USERS AND DESIGN PROGRAMME This is a broad view of this thesis’ objectives. The brief will be elaborated. The client and the users of the space will be identified. And the design programme of the media centre will be given in detail.

4.1 Brief: A Multipurpose Facility The media centre is planned to be a multipurpose facility. A multipurpose facility is one building or a group of buildings containing multiple activities. The space with multiple functions is generally set together with one or more urban hub elements. In addition to the media centre, the site will accommodate a public square with a playground, a library, a community centre and a market (CSIR Building and Construction Technology, 2000:4). The site is located on the Lukasrand Telkom Tower premises in Muckleneuk, Pretoria, South Africa, and as such has space to accommodate multiple activities.

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4.2 Client The proposed design of the democratised media centre in Pretoria is an initiative of the International Telecommunication Union (a United Nation specialised agency).

The organisation manages information and communication technologies.

4.3 Prospective Facility Users In order to draw more people to this facility on a permanent basis, the media centre will include secondary activities in its programme. The new democratic media centre has been designed to be used by not only the community of people living in the city of Pretoria and those visiting the city but also the broad audience from worldwide.

Employees include media professionals, media technicians, restaurant workers, librarians, sellers and people on duty in the secondary facilities in place at the media centre.

The community that is attracted to the centre is made up of those that hold particular views, people that are concerned or interested in finding out about the media being democratised and would like to see it to provide accurate and unbiased content.

The users are planned to include media guests, activists, protesters, human rights defenders and vulnerable voices, along with tourists, shoppers, artists, readers and people involved in park activities (such as fitness, jogging, sitting and picnics).

4.3 The Design Programme and Description of the Media Centre Spaces The spaces that will form part of the media centre are outlined below.

Television broadcasting studio: this is the space for audio-visual broadcasting. It will be multifunctional, broadcasting news and open discussions. This space needs to be visually accessible to everyone passing by and soundproofed to avoid public interference in broadcasts.

2x Radio broadcasting studio: these are the spaces for audio broadcasting and recording. These should also be provided with multifunctional options for news and open discussion broadcast and soundproofed to avoid noise interference.

1x Technical space for television broadcasting studio: this is the space for the television technicians to work in and keep their work equipment.

1x Technical space for radio broadcasting studio: this is the space for the radio technicians to work in and keep their equipment.

Social media management space: a team of media professionals will work a democratic social media platform created by the media centre. Any content will be allowed, apart from restrictions set by the media censorship board.

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Computer equipment space: A space for working with digital technology for the media centre workers.

Democratic spaces: these are the areas that contain the DNA of the project. These spaces need to be versatile and generally open apart from poor weather conditions.

They need to be established in a public setting or a park. The democratic space will host visual as well as audio broadcasting programmes. For the word “democratic” to be applicable, the public will have access to the democratic spaces and empowered to contribute to programmes under the coordination of broadcast facilitator. In other words, the spaces are multifunctional for radio and television broadcasting, allowing the general public to access the space and contribute their opinions during broadcasts.

Democratising the tower: the tower will be retrofitted with new lifts and fire escapes to the top to allow the public access to the various parts of the tower, and parts will be adaptively reused.

Restaurant at the top of the Telkom Tower: “Food brings people together on many different levels. It’s nourishment of the soul and body; it’s truly love” (De Laurentiis, 2021). The influx of people to such a space as a restaurant at the top of the tower will open up the site as well as the Muckleneuk neighbourhood to the city.

Censorship board space: this will be an area mainly used for media-censoring decisions. A democratic media centre needs to value the opinion of the majority.

However, despite the willingness to integrate the voices of the entire community with regard to media content, it will be difficult if not impossible to obtain such a result.

With this in mind, a few people will be elected with a yearly mandate to represent the majority of the community with seats on the media censorship board. The space also needs to be visually transparent to the public from the circulation space in the centre.

The people in the circulation space will be able to hear what is being discussed inside without creating any noise interference. The points of order and decisions taken during the censorship board meeting will be displayed on a screen outside the meeting space as well as on the media centre’s website.

Open workspace: an open space is provided for journalists, media professionals and technicians to work in. The aim is to have an open working space in order to enhance opportunities for democratic dialogue between the employers of the media centre.

Circulation spaces: these are areas that facilitate public movement in the building.

The idea of having such spaces is to bring democratic value to the entire media centre by enhancing the transparency of all media activities. While touring in the facility, people will be able to see what is happening in the studios in the same way as a window-shopping activity or museum visit. The circulation spaces need to be designed in a way that reveals most parts of the media centre to the public.

Public library and media exhibition space: these spaces will serve the interest of both the public and the media centre personnel. For the public, the spaces will be used as a sort of community centre and a place of learning. These activities will bring about diversity to attract more people to the media centre.Staff tea roomnside the 53

centre: these spaces cater mainly for the workers at the facility. These are spaces where the workers will make coffee and warm their pre-cooked food.

Public park: since the theme of the architectural intervention and the activities that will be performed in it aim to achieve the most tangible living democratic result, it is necessary to let the community feel that the media centre belongs to them. The design will integrate a destination public park with the media centre. This idea correlate to the precedent study about the Walter Sisulu square in Soweto discussed in chapter two, where the facility portrays the sense of belonging to the community.

Public market: a place for a local market, small business retailers, food making and selling, commissioning of handmade items by local tailors, artworks, and selling areas for local artisans will be set up.

Parking: a parking space will serve the workers as well as the public.

Public ablutions: as a vital space, this needs to be designed with diligence and provision for ease access. A space with no ablution or without a decent sanitary facility is not a welcoming place for people.

5.

CONCEPT DEVELOPMENT

This chapter will discuss the development of the architectural concept of “The design of a democratised media centre in Pretoria.” The concepts will be presented in a hierarchical order to emphasize the most prominent ones. First, the primary concept design. It is the idea that represent the crux of this thesis. After that, the secondary concepts which are the ideas derived from the main concept idea. The secondary concepts are all used to promote or enforce the main design concept. A massing experiment is carried out with the aim to respond to the site typology and to facilitate ease of access for the public to the site.

5.1 Big box with its top roof horizontal and linked to the top of the hill on the site.

The idea around this is to obtain almost a flat and continues surface of the top of the hill with the roof of the new proposed building.

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Figure 43: Concept development A

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5.2 Big box as transitional space with movement route to existing tower on site.

The second attempt introduces pedestrian movement routes from the site entrance to the existing Telkom tower. The new proposed building (the media centre) is used as a transitional space for those who are going to the tower. The idea of the ramp in the movement route is proposed for wheelchair users. Access to the roof is inspired from the Brazil National Congress as discussed in a previous chapter.

Figure 44: Concept development B

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5.3 Box rendered transparent aiding visual communication.

The lower ground floor is now left open. The new proposed building has 2 floors. The exterior walls are made transparent for maximum visual dialogue. The new proposed building’s interior space is linked to the existing Telkom tower.

Figure 45: Concept development C

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Figure46: Concept development Physical model

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Figure 47: Concept model focusing on building and site typology

Figure 48: Concept model focusing on pedestrian ease access to site and buildings

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5.4 A different experimental concept of transparent box split into two and used as a linked space.

An attempt to link spaces in a different way. The purpose here is to explore various space configurations in order to see which one is best suited to ease accessibility of the public to the proposed intervention.

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Figure 49: Concept development D

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Figure 50: Concept development _ Media Democratic Space on the roof

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Figure 51: Concept development _ Media Democratic Space’s canopy

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5. 5 Hexagonal shape identified from the existing Lukasrand Telkom Tower.

In order to be considerate of the site context, the new proposed design, examines prominent features on the site. After looking carefully at the existing monumental tower, the hexagonal geometrical shape is seen on multiple level and appears to be dominant. It is then included for further exploration.

Figure 52: Concept development E

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5. 6 Hexagonal shapes adapted to the massing and conceptual experimentation.

The rectangular minimalistic shape is substituted by the hexagons (shape picked up from the tower) that forms an irregular shape after placing them together.

Figure 53: Concept development F

5.7 The usage of hexagonal shape for ramp circulation spaces. Inspired from a parallel conceptual exploration.

The ramp system is also substituted by a ramp made out of hexagonal shapes. The inspiration was drawn from the following precedent study.

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Figure 54: Stairs or ramp made of a series of hexagonal surfaces. (Source: Pinterest.com) 66

Figure 55: Concept development G

5.8 Populating the site to explore the dialogue between public and the new proposed design layout.

Removing fences around the site. Populating the area. Showing a variety of activities performed by people, using the playground, vendors and buyers, people visiting the park, on the roof top of the new proposed building and toward the existing infrastructure.

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Figure 56: Concept development H

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5.1 Primary Concept: Approach In the process of scrutinising precedents as set out in Chapters 2 and 3, it has become evident that spaces that carry a democratic spirit demonstrate prominence in their approach to the space. In other words, the access to the space is unobstructed and easily reachable. Approaching the site is the first step of movement configuration, where people are getting ready to view and experience the spaces (Ching, 2007:242). The design of the democratic media centre aims to promote a good approach on both an urban and a neighbourhood scale. On the urban scale, the approach is from within the city to the site. By connecting public transportation hubs to the site and creating an enjoyable path for pedestrians who are interested in climbing the hill to the Telkom Tower the design provides a good urban approach. On the neighbourhood scale, removing the existing fences from around the site will make an easy and smooth approach for the community. In addition, spaces are provided for transportation and to park vehicles.

5.2 Secondary Concepts The secondary concepts are: • • • • •

Democratic space Protester destination Transparency Attraction Public ownership

These are all included in the design as specified below.

5.2.1 Merging the public and the professional voices The project focuses on democratising the media as an institution of communication and information. Democratising is understood, from discussions presented in the previous chapters of this book, as dismantling an organisation that has been restricted to a minor elite group. Knocking down the current system of the media is for the benefit of the people and achieved by the community. The architectural take on, in the process of taking apart the media power from the ruling conglomerate, will consist of designing a deconstructing space at the Lukasrand Telkom Tower site.

Deconstruction refers to the term “dismantling” and democratisation of the media system.

5.2.2 Access of public to the emblematic Telkom Tower The existing Lukasrand Telkom Tower is highly symbolic in the city but not accessible by the public. It has a sort of mysterious power surrounding it, and no one is allowed to approach it apart from those who work for the public company that 69

owns it. To democratise the telecommunication tower, the design would need to explore a controversial approach. Steps to increase access would include removing the fence around the site and to use the new building, the media centre, situated right next to the tower as a linking bridge between the pedestrian from the street and the tower.

5.2.3 Media-censoring community A democratic system is monitored either directly or indirectly. “Through election or selection, representatives stand for, speak for, and act for those who cannot be present in places in which political decisions are deliberated and made, owing to constraints of scale, time, complexity, knowledge, and attentiveness” (Castiglione & Pollak: 39). In the case of the media-censoring community incorporated into the media-centre design, considering the limited space on site, the censoring system will have to be implemented via an indirect democratic process. An elected censoring team will have a space within the building for eight representatives. This principle is reached via a mathematical equation after looking at the number of seats allocated for Gauteng’s representative members at the National Assembly (Ferree, 2021). If Gauteng Province, with approximately 15 055 000 people (Statista, 2019), has 47 representatives at the National Assembly, the city of Pretoria with 2 655 282 people (World Population Review, 2021) would have allocated 8 people. This suggests that eight seats are enough for a democratic representation in the media-censoring community of the city of Pretoria.

Mathematical equation to establish number of representatives The Gauteng population of approximately 15 055 000 has 47 seats at the National Assembly. The city of Pretoria has a population of approximately 2 655 282.

Equation Gauteng: 15 055 000

47 (seats at the National Assembly)

Pretoria: 2 655 282

?

Solving the equation

15 055 000:47

47:47

320 319

1

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One seat at the National Assembly of South Africa is a representation of a population that approximates 320 319

For the Pretoria’s population of approximately 2 655 285, how many seats would be needed?

2 655 285:320 319

8,2

rounded to 8 seats

5.2.4 Revealed technical spaces The management of radio, television and social media needs appropriate technical spaces. An audio editing, sound control, video editing, computer and server room have been included in the design.

5.2.5 Intersecting spaces These spaces can be defined as the spaces used by the professionals and public at the same time. They are open workspaces, circulation spaces and lounge or coffee spaces.

5.2.6 Democratic space A feature or space of this project with a special meaning is “the democratic space.”

This area is situated on the top roof of the new media building. It is an open space with canopies resembling to umbrellas or trees. Here both the concepts of the Kgotla and Reichstag are implemented.

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7. DESIGN DEVELOPMENT Site plan

Figure 57: Site plan with new building (sketch by author) Floor plans

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Figure 58: Underground parking plan (sketch by author)

Figure 59: First floor plan (Drawn by author)

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Figure 60: Second floor plan (drawn by author)

Figure 61: Roof plan (drawn by author)

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Figure 62: Top roof plan (drawn by author)

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Sections

Figure 63: Section A-A (sketch by author)

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Figure 64: Section A-A close view (Sketch by author)

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Figure 65: Section B-B (Sketch by author) 78

Figure 66: Section B-B close view (sketch by author)

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Figure 67: View of hexagonal circulation spaces, top roof and existing Telkom tower

Figure 68: View of circulation space to the top roof

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Figure 69: New building in context

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Figure 70: New building versus existing Telkom tower

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Figure 71: Democratic space _Outside, top roof video and audio broadcasting

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Figure 72: Indoor public circulation space, between broadcasting studios

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Figure 73: Radio broadcasting studio

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Figure 74: Television broadcasting studio

Figure 75: Television broadcasting studio with different decoration 86

Figure 76: Public Park and market place underneath the hexagonal circulation space.

Figure 77: Walkway to the roof and top roof is a transition to the existing Telkom tower.

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Figure 78: Closer view of the of walkway.

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8. TECHNICAL RESOLUTION

Figure 79: Locality plan

Figure 80: Site plan 89

Figure 81: Ground floor plan

Figure 82: Portion of ground floor plan 90

Figure 83: Section and edge detail

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Figure 84: Edge detail and detail

Figure 85: Edge detail, 3D view and roof plan 92

9. SELF-ASSESSMENT AND CONCLUSION This section explains, as a conclusion of the dissertation, whether the problem statements and hypothesis raised in the first chapter of this dissertation is found to be true.

After a long study, investigating and questioning the possibility of architecture achieving a democratic environment in the design of a media centre, the research has produced some conclusions.

Based on the roadmap, the research was conducted in a series of questions identifying problems and providing hypothetical answers. The main problem statement, about the possibility of architecture achieving a democratic ideal in the media industry, was elaborated by three sub-problem statement.

The first concern or question was to identify the needs of the media’s consumers. It has been found, from reliable sources, the dominance of a non-democratic environment in the media industry. The lack of democracy is translated by the absence of independence from the content production side. The need of the people is indeed to receive authentic information from the media.

The second problem planned to be analysed was the question around the possibility for architecture to serve as a tool for solving the issue of lack of democracy in the media environment. It has been proven through this research that architecture, as a social tool, can be used as a catalyst in creating democratic spaces for the media environment.

The third aspect was about finding out an ideal location for the establishment of the physical architecture of the democratic media centre in Pretoria. The Lukasrand Telkom Tower’s site in the muckleneuk suburb was proven to be a meaningful site where this project could be implemented.

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