Class of 2021_KINNEAR, PRL

The fence: PETER KINNEAR 96035233

An extension to the Pretoria Art Museum contributing to public placeand space-making

PAM 1

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Figure 1: View of Pretoria Art Museum and extension

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Figure 1 contnued: View of Pretoria Art Museum and extension

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Submitted in partial fulfilment of the requirements for the degree Master of Architecture (Structured)

FACULTY OF ENGINEERING AND THE BUILT ENVIRONMENT TSHWANE UNIVERSITY OF TECHNOLOGY

Department of Architecture and Industrial Design Supervisor: Prof J Laubscher Co-Supervisor: Dr Craig Duff Co-Supervisor: Mr Tebogo Ramatlo DECEMBER 2021

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The Department of Architecture and Industrial Design emphasises integrity and ethical behaviour concerning the preparation of all documents, I declare that this document is my own work. I will not allow anyone to copy my work to present it as his/her own work, where it is used, reference must be made of this paper.

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

I further declare that this research proposal is substantially my own work. Where reference is made to the work of others, the extent to which that work has been used is indicated and fully acknowledged in the text and list of references.

Signed PRL Kinnear

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Acknowledgement To change your profession (or finally accept your path) later in life is never easy, but the best decision I have ever made. If there is one piece of advice I will freely give, follow your dreams.

To my sister Rosemary, you made it possible for me to spend the hours I needed to focus on my dreams and passions. Thank you for your invaluable support.

To my father, thank you for your quiet strength and prayers. Your devotion to me has provided me with sensibility and steadiness.

To my family, blood and chosen, thank you for always being there. Without you at my back, I would not have the confidence to face each day with pride.

To my people, all the misfits, the creatives, and the misunderstood: never fit in, never change: because we dare to walk our unique path, it’s our lights that shine the brightest. Be bold, be daring, be YOU. To all my classmates, thank you for accepting

me as part of the class. Architecture made me old, but you kept me young. A special thanks to Riandrie, Nick and Jaco.

To Mo, thank you for always letting me vent, percolate and steam, then guiding me to the better choices. Your insight has steered me away from disaster on many occasions. To Wihan, thank you for steering me in my written word.

To all my lecturers over the last six years, criticism is never easy to take, but I hope it’s not easy to dish. Thank you for constantly questioning my decisions. A special thanks to Marinda Bolt, Stephen Steyn and Pieter Greyvenstein.

I would like to express my sincerest gratitude and appreciation to my supervisor, Professor Jacques Laubscher – thank you, thank you, thank you, for providing invaluable guidance, for your confidence (and excitement) in my project, and your generous contributions: patience, sincerity, wealth of knowledge and insight.

To my mother that never got to see me graduate, “Hey, look Ma, I made it”.

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Preface In this mini-dissertation, the terms FORMAL and INFORMAL are translated into the interdependent relationships that are evident on everyday life within South Africa. Where the artist still needs a stage or a street corner vendor still needs the farmer and market, just as much as the government needs the taxi operator to get the public from home to work efficiently.

Given the opportunity, informal can thrive in a setting where an alternative interpretation and substituted activities are possible within the shared space.

INFORMAL in FORMAL.

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Figure 2: Fenced off Pretoria Art Museum in Arcadia park

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NORMATIVE STATEMENT

The increased use of fencing for closing off parks and public space has negatively affected society, paradoxically creating a desolate and unsafe environment.

Figure 3: Constitution hill with fence superimposed.

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Figure 4: (Baan, 2012) Lady hanging washing opposite RLM

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ABSTRACT Boundaries, walls, and fences in the public realm often symbolises defence, division, and exclusion. It draws a distinctive line between here and there. The site boundary, although invisible to the naked eye, distinguishes what is inside from what is outside. A high wall restricts us from knowing what happens on the other side, while a fence simultaneously allows visual permeability, yet physical restriction.

In South Africa, we often cite crime as the main reason for restricting access to public spaces. However, prioritising security over accessibility has damaging consequences for public cohesion when it reduces diversity.

The Pretoria Art Museum (PAM) is situated in Arcadia, Pretoria, and occupies an entire city block. In 2019, the city erected a fence around the site to restrict people’s access to the 30,000m2 grass plain.

Restricting access makes a public space private that affects its sense of place. At PAM, the fence halts the daily congregation of diverse nationalities who went to the lawn to play soccer, participate in the aerobics classes, meet friends, and lie in the sun. The ubiquitous fencing of parks negatively affects society and creates a desolate and ultimately a less safe environment.

The traditional role of an art museum is to collect objects and promote their production as a continuous process for future reference. However, art museums start social commentary that has the potential for radical, critical thinking not just about objects but also our modes of life.

This mini-dissertation investigates theories and research to decode PAM and its surrounding public park. The design proposal simultaneously addresses the changing role of museums in South Africa and public place making. The central design premise relies on a socially cohesive, external public space that accommodates diverse users and functions within the larger urban framework, because without it, the reduction of diversity and access to public space threatens civil rights.

FENCE MUSEUM THRESHOLD PUBLIC SPACE PLACE-MAKING 17

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WHY

THE

FENCE

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Figure 5: Concept incorporating design guidelines for modernism 20

INTRODUCTION

Methodology 22 Research Methods 23 Delimitations 23 Project AIM 25 Why the fence? 27

TOPOPHILIA BACKGROUND

CONTENT

BRIEF

Face, Space and Place 29 Park dissection 34 The infinite possibility 51 The finite object 57 Thresholds 60 Modernism: The expectation 63 Rietveld pavilion 65 The reality 66

The building: Present 70 The building: Future 77 The precedents Jane Jacobs 79

Comparative Study (RLM) 80 The park: Present 86

DEVELOPMENT THE BUILDING

MATERIALS & MATERIALITY

CONCLUSION APPENDICES

Site analysis 88 Concept development 95 Introduction 99 New//Old 102 Boundaries in mass: Oblique 111 Section 114 The Museum entrance 116 Detail concept models 118 Materials 120 Light studies 123 Detail sketch 126 Plans 128 Connecting inside & out 134 Digital tower 136 Render and plans 138Specifications 165 Connecting inside to out 131 Conclusion 171 Contract documentation 173 Appedix 1- Exhibition 202 Appedix 2- Speech 213

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METHODOLOGY

A blended methodology, including both Qualitative and Quantitative research methods, was used during the research for this project.

Qualitative methods: -Drawing pictures of the site and vicinity.

-Representation of information in figures and tables -Personal interpretation of findings (hermeneutics) Quantitative methods -Statistical differences -Developmental design (changes over time) -Observational studies Further to Qualitative and Quantitative: Positivism: As a researcher, I viewed reality as a separate entity, focusing on a reality beyond the human mind. Where the discussion fell outside of my knowledge or personal experience, I attempted objective and conscious decisions

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based on fact.

Interpretivism: As I have lived in Pretoria and enjoyed the Pretoria Art Museum and its neighbouring park for many years, certain aspects of this design originated from my lived experiences. My experiences in the park of PAM resulted in an inseparable reality.

Stated differently, knowledge of the world is intentionally constituted through a person’s lived experience.

I attempted to understand other viewpoints by reviewing multiple phenomenological theories and using hermeneutics to self-actualise the design concept into a built form.

RESEARCH METHODS

The design proposal is based on collected data and its evaluation. Although not linear, the process could be summarised as follows: -Determine the ethnic diversity within Arcadia by obtaining data from letting agents specialising in housing in the area. This information was readily available and did not include personal information.

-Determine how the PAM park was used previously and why the fence was erected by discussing it with the museum staff.

-Determine the safety of pedestrians in the area by obtaining the reported SAPS crime statistics.

-Review literature to establish the contemporary relevance of museums.

-Use case studies to analyse existing museums and events to guide the design proposal.

DELIMITATIONS

The limitations of this mini-dissertation fall within the scope of the architectural profession.

The design project has been set out according to the following criteria: -This project is limited to PAM and Arcadia Park.

-The design proposal is an extension of the existing Pretoria Art Museum.

-The removal of the existing fence is an integral part of the project.

-Public place- and space-making form part of the contextual response.

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Figure 6: Graphic representing multiple thresholds

Project AIM A truly diverse and democratic public space is intangible. It is nearly impossible to quantify or achieve as it is impossible to cater to everyone’s needs. The history of a country has affected different nationalities in different ways, for this a phenomenological approach is best used. Where phenomenology refers to human experience, their past, and how it shapes their intensions and affects the designer’s ethical considerations.

The tumultuous history in this country’s urban development includes areas of segregated land parcels that guide the direction of development today, but removing (or relocating people) from the existing built environment will result in a repetition of the apartheid’s racial relocations that repeat past atrocities. We must be considerate of the history (and phenomenology) when we adjust the existing to accommodate the new.

At present, fences remove public spaces from the public realm. However, if we remove these fences to open these spaces up again, we must heed the reason they went up in the first place.

This mini-dissertation investigates how public spaces function as a threshold between the private life and the public realm. The extension to PAM simultaneously investigates how an art gallery gains relevance in a diverse community and a poor society.

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Figure 7: Parti diagram, broken object/removal of boundaries

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WTF? (WHY THE FENCE) We observe boundaries in both physical and metaphysical senses. Boundaries offer security, privacy, and (possibly) comfort in the personal realm. Well-adjusted adults result from clearly defined, respected, and nurtured boundaries.

When we ignore and cross these boundaries, it can lead to communication breakdown, discomfort, and even anger (Allen & Kelly, 2015). Mental boundaries include thoughts, values, opinions, and beliefs. We test and adjust these boundaries during our development and throughout maturity.

Within the personal realm, walls and fences define private space from public.

The physical boundaries that segregation created in South Africa left emotional scars. The oppression and intimidation caused anger and resentment that result in difficulties in the present-day democracy.

Continued exclusionary design practices in the South African public realm is a repetition of past atrocities.

Boundaries went up during the Group Area Act, excluding citizens from specific areas of life. The fence along the borders of Arcadia Park has the same effect.

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Figure 8: (Donald Currie & Co, 1895) The Castle Line Atlas of South Africa: Pretoria

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TOPOPHILIA: THE REINSTATEMENT OF PLACE AND SPACE.

in modernism that manifested the previous government’s legacies of Apartheid. These monuments remain in a new era where the public freely resent or simply are indifferent towards their maintenance and relevance.

Topo- is the root word in topography meaning place. -philia means love. We typically use topophilia to mean a strong sense of place.

In this instance, it focuses on the attractive aspects of a place, where topo-phobia, is the opposite meaning fear, would refer to the repulsive aspects of a place.

Although, architect Thomas Heatherwick –, in a discussion on his design of Coal-Drop yards (London) and the Vessel (New York) – suggests the importance of allowing the user to define the public space, for him, even if a public or commercial space has a strong sense of place.

The user will define how they inhabit the space (Heatherwick, 2019). This implies that within Pretoria’s public spaces, buildings gain relevance and acceptance even if they are not maintained.

To understand the extent of public spaces in Pretoria and why people fear them, we will study five of its parks. All these parks were established when Pretoria was first proclaimed.

We will look at how these parks changed throughout the tumultuous history of the city.

In Achille Mbembe’s statement, buildings are the physical manifestation of the ideologies they serve (Mbembe, 2017), a building’s form (or the object) becomes the representation of their contents, or what they manifest within the society they inhabit: The White House, as the residence of the President of the United States of America, infers ideals such as democracy and freedom of speech. Just as the Voortrekker monument represents the Afrikaner nationality in South Africa. These objects and spaces in the urban framework signify how the place should be appreciated, experienced, viewed, and used by society.

Pretoria’s built environment is heavily layered

In Homage and Refusal (2021) Heinrich Wolff discusses what he refers to as the “legacies of Apartheid.” This definitive point in development of the built environment in South Africa’s history that changed how the built environment grew and was used by its citizens. He attributes it to the 1950 Group Areas Act. The effects of this act are still evident in the South African built environment and shape any development within the urban environment. Built environment practitioners must actively address these legacies as part of their contextual studies, design process, and final product.

Therefore, to affect positive change in the urban fabric a designer has to understand the phenomenological relevance and the future needs within society. They must design a public space that will keep a balance between personal and community needs, while honouring the historical significance. This would allow for a 29

Figure 9: Pretoria map showing green spaces

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sustainable and gentle growth.

IF Buildings are the physical manifestation of the ideologies they serve (Mbembe, 2017).

AND Public space must not tell you what it is, nor tell you what to do; the user must define it (Heatherwick, 2018).

THEN How do you affect positive change in an existing urban framework without upsetting an equilibrium or changing an identity?

Positive change is possible when the designer starts by creating a community and allowing incremental development by its user. One of the first steps is by making individuals feel part of something bigger.

The built environment can use space to facilitate a support structure where the social interaction is a layer of informal development. Promoting human interaction and social convergence stand central to this notion.

Some of the misconceptions of public space in South Africa include that people would misuse them, vandalise them, and that they are unsafe. The City of Tshwane cited these reasons to support their decision to fence off open spaces in the city. Making public spaces exclusionary negates people’s collective needs and changes the sense of the place.

Incremental movement.

Change needs to be organic: a wilful decision.

And positive a house to home when a neighbour is family a community makes.

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Figure 10: Graphic representing positive/ negative space

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Architects consciously or subconsciously employ face, space, and place when designing.

Face is the aesthetic attributes of the built environment; the space is the negative volume left behind by the built environment; and place (making) is the approach to the planning, designing and management of public spaces. Design decisions ultimately regulate user interaction. User acceptance determines how they use the spaces. The process of acceptance and assigning new functions continue long after designers have taken their photographs and left.

To design sustainably relevant buildings, for the future, one must understand the current user and predict how it will change their future needs.

Architectural phenomenology is the philosophical study of human experience, background, intention and historical reflection, interpretation and poetic and ethical considerations and how all of these will affect the viewers expectations of the built environment (Soltani & Kirci, 2019).

Employing this philosophical study to an architectural investigation and possible solutions will help to better understand the environment that humans inhabit. It is not only about the positive and negative space, but about how they view it through their past experiences.

This will help guide designers to recognise how users experience spatial interaction.

Although individual views are valid, it is necessary to understand the collective unconscious when designing public spaces.

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Figure 11: (Google, 2021) Street image of Reuben’s place, Pretorius street, Pretoria CBD

Comparative analysis on the following five parks in Pretoria help to understand the collective user: Burger’s Park Church Square The gardens of the Union Buildings Jubilee Park Arcadia Park At first glance, the parks seem to have different urban contexts, users, and genii loci, but all (except the Union Buildings) originate from Pretoria’s inception (see figure8).

To understand how context defines the space for the user and time adjusts the space, relevance must be placed on the surrounding neighbourhood and its community. Although the spaces transformed over time, their initial design intentions and the zeitgeist during their 34

conception remain evident. As the capital of South Africa, Pretoria’s history links closely to that of the country.

For this research, we use the following periods: Stage1: Proclamation (End of the Great Trek) 1855-1900 Stage2: Colonisation 1910-1948 Stage3: Independence (from the Empire) 1948-1994 Stage4: Democracy 1994-Present day Each stage is an important milestone within the history of Pretoria and defines the urban fabric in face, space, and place; while demarcating a point in which each public space inherited its genius loci.

Figure 12: (Alexander, 2016) Graphic showing urban densification between 1960 and 2016

Although the building functions and users of Pretoria’s urban zone changed significantly since 1994, the original planning principles for exclusively white areas only changed marginally as privately owned land has not changed ownership.

The urban demographics changed significantly from 1960 to 2016. In 1960, South Africa had a population of 17,396,367 where 47% of the population lived in cities. In 2016, the national population was 55,908,865 where 65% of the population lived in cities (Alexander, 2018).

Pretorius Street. This move from rural housing, where housing includes social and green space, to smaller denser housing, places an increased imperative for public and green spaces in urban environments.

In 2011, the Tshwane municipality declared that the Schubart Park and Kruger Park high-rise residential complexes were unsafe and ordered the residents to evacuate (Berkowitz, 2012).

This action shows how the forced removals during apartheid are still evident by the governing bodies today and still happen through the erection of fences in the public realm.

The urban densification trend in the statistic, illustrates that more people occupy urban housing such as high-rise apartments. An example of the functional changes includes office buildings being converted into housing in the CBD, as illustrated in Reuben’s Place on 35

Figure 13: (Braune & Levy, 1907) Burger’s park postcard.

Figure 14: (Budricks’ Art galleries, 1902.) Burger’s park

Burger’s park is named after Thomas Francois Burgers, who was the fourth President of the then Transvaal Union. It was founded in 1870 as a botanical garden (Hardijzer, 2018).

James Hunter. They designed the park, with first phase completed in 1892 and it remains relatively unchanged to date (Hardijzer, 2018).

The park is a heritage site because of the Victorian buildings in the park. In 1895, the pavilion-like bandstand arrived off catalogue from MacFarlane & Co. in Glasgow.

It matches many similar gazebos found in Muslim palace complexes. There are fountains, greenhouses, and a garden keeper’s cottage that are all well preserved. Strolling paths divide the park into quarters before they converge at the central fountain.

Apart from the rose gardens, the majority of the trees vary in origin as the botanical gardens received seeds from the Royal botanical gardens in Kew and from the Cape botanical gardens.

The Coniferous trees provide shade all year round.

It has the following characteristics: -It covers a total area of 51 332 m².

-In 1896, 1m high fence was erected (Figure 13) -There are five access points to the park.

-The surrounding residential rental market pays R3,000-6,500 per month for a two-bed room flat (without parking).

-Built during Stage 1 and 2 (Proclamation)

Face

Burgers Park is the oldest park in Pretoria.

It covers four acres adjacent to the historic Melrose House. George Heys, the first owner of Melrose House, worked with the botanist, 36

BURGER’S PARK

Figure 15: (Google earth, 2021) Burger’s park.

Space

With strolling paths meant for wandering, Burgers Park is a green urban pocket offering an outdoor area for a radius of 1km or five city blocks, even though the City Hall’s square, Pretoria station square, and Church Square are within easy walking distance.

Apartment blocks, retail, commercial offices, governmental buildings, and museums surround the site. The museums include the Ditsong National Museum of Cultural History, Melrose House, and the heritage promenade from Church Square to the Pretoria Station. During the six site visits, diverse user groups emerged including children accompanied by their parents, businesspeople from nearby offices, and informal traders.

Activities mainly occur during daylight hours since the park is dark at night.

The ablution facilities, in the north-eastern

corner, is close to an entrance and are shaded by large trees and shrubs. The municipality maintains these facilities poorly and users do not respect them. These factors contribute to its derelict state.

The considered landscape design of the park helped it defines the built environment that grew up around it.

Place

Many trip advisor reviews state that Burgers Park is known for its night-time drug use and prostitution. These nefarious night-time activities contribute to vandalism. A large portion of the 1m high metal picket fence has been removed.

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Figure 16: (Pretoria News, 1910)

Church Square got its name for the fact that there used to be churches in the square. It was the epicentre of Pretoria’s development from 1851.

Church Square has the following characteristics: -It covers a total area of 21 033 m².

-It is accessible from all sides, except for the landscaped areas and retaining walls.

-Two main citywide axes intersect at the square: Paul Kruger and Church streets (now WF Nkomo street to its west and Helen Joseph street to its east).

-The Paul Kruger statue was unveiled in 1954 after years of controversy.

-The surrounding residential rental market pays R1,750-8,000 per month for a two bedroom flat (without parking).

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Figure 17: Paul Kruger photo representing the disjointed history

Face

The buildings around the square are of historical significance and date from pre-1900. Sytze Wierda designed The Palace of Justice and the Government’s Ou Raad saal and define the public space.

They stand proud as a unique neo-classical design specific to South Africa, the ZAR style.

The human and public scale of these government and commercial buildings add to the heritage and significance of the public square and its aesthetic.

Space

This historic square originated in 1855 and was the first public space in Pretoria. The church was in the centre of the square with a market surrounding it. The church eventually gave way to a larger unobstructed public space designed by architect Vivian Rees-Poole in 1911

Figure 18: Showing the fence erected around Paul Kruger statue

(Martinson, 2010). The square is accessible from all sides except from the south due to retaining walls. The prominent north-south and eastwest axes cross at the statue of Paul Kruger.

The human scale is welcoming but the lack of retail, commercial traders, informal markets, and visitors there for leisure leaves the public space empty.

Place

The square has a strong identity and symbolic meaning to Pretoria and visitors. This cluster is the very origin of Pretoria with the two axes, Church and Paul Kruger Street crossing at the square. The Surrounding urban fabric on Church Square is well-maintained historical buildings, while the public square itself is very accessible and has an intimate scale.

It is a very successful space and place in the heart of the CBD. In the present day, the Palace

CHURCH SQUARE of Justice is a working high court that has seen historic cases such as the Rivonia trials.

With a recent upgrade in 2014, the space is easily accessible with limited vehicular access through the A re yeng rapid bus transit system.

The square stays vibrant and active during the day, however since there are few residential properties in the vicinity, it becomes unsafe at night.

As history is visible during stage 4, the past oppression remains tangible through the statue of Paul Kruger that remains a point of contention to the extent it is fenced off for fear of vandalism.

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Figure 19: (eNCA, 2016) Union buildings during #feesmustfall.

Figure 20: (Eybers, 2016). During #feesmustfall, Pretoria news.

The Union Building and its gardens got its name from the Union of South Africa. This building has been the seat of government is South Africa since its opening in 1913.

Face

Union buildings has the following characteristics: -The gardens cover a total area of 94 703 m².

-The building sits on a hill and commands presence.

-It is on Church street, which is one of the main access routes in the old Pretoria (now Helen Joseph that turns into Stanza Bopape street) -The surrounding residential rental market pays R3,500-8,000 per month for a two bedroom flat.

-Built during Stage 2 (Colonisation)

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This site sits on the highest point in the old city and it stands between the city centre and the governor’s residence. Herbert Baker designed this imposing Neo-classical building to signify the might of the Union of South Africa at the time and was the largest building in the Southern hemisphere when constructed. The public’s façade faces south so that viewers look into the sun. This creates it monumental dominance.

Space

This object holds the space captive as it defines the landscape it occupies. The building’s terraces help increase the threshold between structure and negative space. National significance informed the scale of the lawns and terraces, yet they still welcome daily use by local residents. The lawn was fenced off in 2013.

Figure 21: (Mabaleng Sports Center Facebook, 2020) Union buildings park is utilised by many.

Place

Although it is still partially open to the public, this open-aired space is below the seat of government and sectors of society use it to make their voice heard. This space needs to be filtered since mass riots are a reality. Figure 7 shows the mass demonstration by students in the #feesmustfall campaign of 2016.

From November 2018 until present, the KhoiSan people camp on the terraces just below the main building in protest. One of their demands is for the government to recognise their language as an official language of the country. Currently, another two groups camp in the same area.

As this is the executive seat of power of a democracy, administrators accept and allow the protestors their human rights and freedom of speech.

The previous regime did not allow such demonstrations.

UNION BUILDINGS: GARDENS Even though the built form and the gardens did not change, the change in government allows the user to take ownership by accepting the structure as a place of democracy, which allows the citizen to make a stand. Here the user’s phenomenology has taken precedence over superficial face.

This park proves that the aesthetic holds less importance than placemaking to the user, which will define the available space according to their needs.

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Figure 22: Jubilee square. Photo showing public using gym equipment while homeless sleep

Figure 23: Jubilee square. Photo showing signage at pedestrian entrance.

This park’s name commemorates either Queen Victoria’s 60th Jubilee anniversary in 1897 or the unearthing of the Jubilee diamond in 1895 at Jagersfontein Mine Figure 8 shows the park’s notation on a map published in 1895.

built forms are the buildings around it and a non-descript derelict bathroom block on the western edge. Political posters plaster this block to illustrate the multiple layers of democracy.

An attempt to defining the aesthetic includes signage, hardscaping, and vegetation.

Jubilee square has the following characteristics: -Opposite sides of Troye street in Sunnyside -It covers a total area of 4 992 & 7 144 m².

-High-density housing surrounds the site.

-The surrounding residential rental market pays R1,750-7,000 per month for a two bed room flat (without parking).

-Stage 4 (Democracy)

Face As T Heatherwick said, “the user must define”, this square has no discernible style. The only 42

Space In this square, the surrounding built environment defines a negative space. The municipality installed outdoor gym equipment, children’s jungle gyms, concrete furniture, and paved the whole square. The hardscaping did not thoughtfully incorporate the existing vegetation into the new layout. For a non-descript public space, it thoughtfully gives what the community needs. And the community uses it. Care could be given to the ablutions block as vandalism has

Figure 24: Jubilee square. Children’s play area.

left it unusable.

Place This park is the starting point for political rallies (and protest action) by national and local parties.

Before the Covid pandemic, the South African National Blood Service (SANBS) would set up the mobile blood bank stations. During the Covid pandemic, the Gauteng Department of Health sets up testing stations here.

Tshwane’s website does not earmark this public space as a notable point of interest, but supplies WiFi hot spots to the general public.

JUBILEE SQUARE With the outdoor gym equipment available for all, a WiFi hotspot, and jungle gyms, and concrete seating there is something for everyone that makes it a diverse and well used social space.

There is no sheltering structure, but the homeless find a spot to sleep, whether under the concrete furniture or next to the gym equipment.

There is no historical documentation of its importance or use other than it being noted on a map from 1895, but the people and councillors from this area use it consistently.

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Figure 25: Pretoria Art Museum and established tree

Figure 26: Pretoria Art Museum retaining wall with grafitti.

Named after the suburb it sits in and noted on a map published in 1895 (figure 2). This park encompasses a full city block.

1963. Multiple architects designed the museum and based it on the Barcelona pavilion. Its style is significant enough to consider it a landmark as the best example of modernist architecture in Pretoria.

Arcadia park has the following characteristics: -The park sits between Park, Wessels, Johann, and Francis Baard streets -It covers a total area of 42 588 m².

-PAM opened in 1964 -Fenced off in November 2019 -Surrounding residential rental market pays R2,000-R30,000 per month for a two -bedroomed flat (with parking).

-Developed during stage 3. (Independence)

Face The main structure (or object) in the park is the Pretoria Art Museum, which was opened in 44

Space Before the fence went up, this park had great significance for the people living in the area. It brought together many nationalities and ages and was busy throughout the week. Soccer players, athletes, and picnickers used the park.

This park was truly diverse and inclusive to all, including the homeless.

On several occasions, the homeless erected shelters under the eaves of the Pretoria Art Museum, and the park’s green spaces became

Figure 27: Pretoria Art Museum plinth retaining wall with corner stone for Dr HF Verwoerd

PRETORIA ART MUSEUM: PAM

their subsequent settlement. For this reason, the Art Museum petitioned for the building of the fence. This has ostracised the community around the park and the park is now completely utilised.

It stands both unassuming and unwelcoming on the full extent of the northern boundary. Since the fence went up, there has been no involvement from the neighbourhood.

Place

The park is visible but not accessible. It highlights segregation with a quiet: “you have no business here!”

The entrance to the Art Museum is the cornerstone of the building.

It proudly notes the “honourable Dr HF Verwoerd” who laid it in 1962. With the museum sharing the same design style as the oppressive government buildings and it displaying the father of segregation’s name on this structure, there can be no doubt that this building is portrayed as part of the oppression.

Even when this park was full of diversity, the people using the park did not visit the museum.

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Figure 28: Burger’s park figure ground, depicting density of building, with open spaces

Figure 29: Church Square figure ground, depicting density of building, with open spaces

One way to change within the legacy of Apartheid planning in Pretoria is to welcome the urban dweller in its urban spaces. This requires a careful balance between providing functional accommodation while allowing the users to establish a relationship with each place by assigning specific functions according to their individual and collective needs. As with the Union Buildings, it does not need a new face.

before unheard of. Now all South Africans have a place to go when empowered to challenge laws or demand politicians hear their concerns.

This place has ushered in democracy, but it was also the stage for South Africa to say goodbye to its first democratic president. It achieves this because it has become a physical embodiment of our democracy as few pedestrians cross the square and there is little access given to cars.

Although the face of Jubilee Park is nondescript, it is functional with the surrounding community taking ownership of the space.

Church Square is not the face of government.

It is now the heritage of Pretoria. This humanscaled space alludes to age and time that seems older than the 166 years it is. It might be the face of history, with the workings of the legal system, but it is also the threshold in a commuter’s journey between employment and private life. Although it is within the city centre, it has lost significance with the urban framework.

Apart from restricted access, the face of the megalith Union Buildings remains impassive.

The manicured lawns and terraced gardens remained the same. Democracy and the political view changed the phenomenology of the viewer, empowering them to do things 46

Figure 30: Union Buildings figure ground, depicting density of building, with open spaces

Figure 31: Jubilee Square figure ground, depicting density of building, with open spaces

Burgers Park benefits from its beauty as a lush city escape outside the bustling urban business district. Its downfall is that it is not busy. It has not adjusted to accommodate the new user, nor has it taken advantage of its heritage. This park epitomises history during Proclamation and colonisation but as a public space, it is stagnant and needs change before it becomes Pretoria’s secret garden.

not tell you what it is, nor tell you what to do; the user must define it” (Heatherwick, 2018).

The question now is, how do we give back to the park what was taken away? How do we construct unscripted space?

Arcadia Park (or The Pretoria Art Museum) lies uncomfortably stuck in pre-democratic South Africa and has lost relevance while it ostracises its users. The fence that went up to protect the building from vagrants removed any relevance with its neighbourhood. This park, unlike Jubilee Park, serves little political purpose. It was a truly vibrant and diverse, ordinary park. It allowed the user to define its unscripted space, in true Heatherwick fashion: “Public space must

Figure 32: Arcadia park figure ground, depicting density of building, with open spaces

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BACKGROUND

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The infinite possibility When a building has lost its identity within the urban fabric and community it serves, there are an infinite set of possibilities that define its future.

Figure 33: Arcadia park and Pretoria Art Museum with trees and neighbouring buildings

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We choose Arcadia Park for further investigation, since it offers an interesting study. This park has little intervention for the public, except for the modernist museum on its plinth, along the northern boundary. The park itself has many established trees and a large grass plain but no built form or hard-scape.

Diverse activities occurred on the grass plain such as informal soccer matches and practise, CrossFit classes, and general gatherings.

This park was the back yard, front yard, and lounges for many people who stay in its immediate vicinity. With a university, schools, businesses, embassies, and retail within walking distance, this park became a melting pot and was a great 52

example of a diverse garden oasis in Pretoria.

Unfortunately, the fence’s erection removed the public’s access practically overnight.

Arcadia Park is not an isolated example of parks being fenced off. [It also occurs within Church Square, local government buildings, City Hall’s forecourt and most greenbelts in the greater Tshwane area].

This practice affects the community’s alternative interpretations for their public spaces. Fences prohibit substitute and informal activities by formalising who can access it and when they may do so. Newly installed gates reduce the shared spaces in South African cities by using Apartheid planning principles in the guise of security and protection.

Figure 34: Mosiacs on existing pathway to PAM entrance

The future of the African city will depend on the care with which we accept our heritage and the creative efforts we make in claiming and transforming it. Rethinking and redesigning the city and its spaces is a fundamental task in adjusting them to our purposes and expressing who we are as a society (Wolff, 2009).

The City Council of Pretoria established PAM to host its art collection in the 1930s. At the time, other South African museums had established collections of international works. Therefore, PAM would primarily focus on South African artists.

The old masters in its collection include Hendrik Pierneef, Frans Oerder, Irma Stern, Maggie Laubser, and Walter Battiss. Contemporary

artists include Lucas Sithole, Gerard Sekoto and, Sam Nhlengethwa (Steyn, 2019). The current vision of PAM is to be “an art museum of world renown, specialising in South African art”.

It has the following mission (Pretoria Art Museum, 2015): Collecting, documenting, and conserving outstanding examples of mainly South African art; researching and compiling exhibitions from the permanent collection; hosting major national and international travelling exhibitions, supplemented by educational activities.

The vision and mission of PAM sets its impressive and expanding art collection apart from other museums, the museum’s manager mentions that the recent exhibitions have gone relatively unnoticed.

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Figure 35-42: Art housed in PAM. Some displayed, some in storage

In November 2019, the City of Tshwane fenced off Arcadia Park. The city block on which PAM is situated was now safe from the increased crime in the area. Overnight, the park became desolate. It stopped housing all the activities of the surrounding community. Immediate neighbours and the community only have a singular access point to the Park.

The fence has very little visual presence, as it is easy to see through the fence it has become a huge barrier, not just because it stops access to the park, but because it removes the social integration necessary to create a community.

Although some might see PAM as an icon of the mid-20th-century modernist movement in Pretoria, after multiple additions its current 54

state does not fulfil what the designer’s intensions were.

Although it had a different function, PAM’s public face (aesthetic in its most superficial capacity) reflected the German national pavilion for the 1929 Barcelona International Exhibition.

The outdoor space functioned as the public sitting room for the surrounding community who mostly occupy high-rise residential units without outdoor space.

It served as the community hall providing opportunities for social cohesion. Arcadia Park functioned as an extension, and ultimately a substitute, for the individual (formal) sitting room.

Physical and invisible boundaries strengthened during the Covid-19 pandemic. Global trends showed an increase in outdoor activity meaning there are spatial benefits to Covid-19 as it is reinventing outdoor spaces to allow businesses to maximise their naturally ventilation as seen in the positioning of restaurants moving to outdoor dining (Bela, 2021).

In conclusion, Arcadia Park and PAM lost their relevance since 2019 through their attempt to protect themselves from their users. The fence left the museum and Arcadia Park desolate and irreverent.

South Africa lacks a similar approach to public outdoor spaces. The Covid-19 lockdown measures restricted access to public spaces.

Although the “Big Brother” or police state arguments hold value, Covid-19 and the mass hysteria highlighted the misunderstanding with the use of boundaries and barriers in the public domain.

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Figure 43-45: (Bongerize, 2019) showing activity in the park before the fence.

There is no documentation found regarding the state of the park’s condition before the construction of the museum. However, its proximity to the Union Buildings and multiple official residences in the area as well as the size of the current well-established trees, we can assume that it was landscaped and maintained.

No evidence of previous water features is visible.

The mayor at the time, Dr PJ van der Walt officially opened the museum in 1964. Since then, the park had multiple art installations and statues.

Rubi Bongerize notes in Achieving social cohesion: a proposed recreational facility in the Arcadia district of Pretoria, South Africa 56

(2019) how diverse the users of the park were.

The suburb of Arcadia has multiple multi-storey apartment blocks, embassies and is adjacent to a university that ensures a mixed population, in the true sense of the word.

Her dissertation clearly states the importance connected to the public space within the greater area, while little importance was given to the art gallery. This gallery was seen not seen as part of everyday life and the park’s development (for relevance and social cohesion) was the primary discussion.

Figure 46: (Bongerize, 2019) showing site usage in the park before the fence.

Figure 47: (Artefacts, 1985) Photo of Pretoria Art Museum.

Figure 48: (Artefacts, 1985) Photo of Arcadia park.

The finite object

The modernist movement defined space by curating both positive and negative volumes. PAM has lost this nuance and become an object in space, with one clearly defined threshold.

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The Building: PAST The architecture firm Lodge, Burg & Lodge, in association with Gordon McIntosh designed the PAM, with its construction completed in 1963.

PAM sits in Arcadia Park, occupying an entire city block. Arcadia Park is bounded by Park, Wessels, Francis Baard (previously Schoeman), and Johann Streets To understand the principles that underpin this building, we can look at the Barcelona pavilion.

This building, the epitome of modernism in Pretoria, was able to distil the values and principles of a movement that started between the two world wars. The Barcelona pavilion was demolished after the Expo of 1929 and rebuilt in 1986 (Kroll, 2011). Its composition is essential to its style. It has a pediment demarcating the site, a horizontal floating roof, and fragmented, vertical walls. There are few places where the vertical and the horizontal elements meet. Its parts that make up the whole have their own identity. There is no direct line as a movement route or sight line through the building as each line and plane draws the eye to another part of the building. It is easy to wander through the structure as it holds its power and presence with pure simplicity. The architects of the Pretoria Art Museum based their design on the same principles and ideologies. The PAM floor plan is practically a mirrored image of the pavilion.

Although not evident in the current structure, the floor plan of the Barcelona and the 58

Figure 49: Graphic plan of PAM showing internal/ external and water features as constructed

original PAM are mirror images. Barcelona’s reflection pool enclosed in a courtyard is now the information centre at the PAM. The PAMs sculpture garden, same position as Barcelona’s large pond become another gallery after it was enclosed and roofed. The materials of the PAM match the guiding principles of this movement: concrete, steel, and polished stone, all of which is honed to precise measurements.

Currently, the only entrance to the museum and break in the facade, when open, is a perpendicular door-wall halfway through the southern face. The black tinted glass used for the building’s façade reflects the park while making it difficult to see the interior during the day.

Modernist principles play between plains, fragmented masses, and re-defining the notion of the threshold.

A truly modernist structure encompasses its surrounding context. It hones and refines nature, where it submits to the architect’s pen.

The architect considers and curates the human interaction with the environment long before the user arrives.

Figure 50: (Artefacts, 1970) Photo of entrance lobby showing view through sculpture courtyard

Figure 51: (Artefacts, 1985) Photo of exhibition showing light flooding through sky lights

The original concept might be similar to the guiding principles of modernism, but with the adjustments to PAMs structure, where articulate movement and blurred thresholds have become a singular object, is now further enforced by a barriers that has forced the public further away.

The figure shows the sculpture courtyard and the visual connection between inside and out.

Figure 52: Photo of current exhibition showing use of lighting with minimal natural light

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Thresholds

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The definition of thresholds outside the built environment refers to a magnitude or intensity we must exceed for a particular reaction, result, or condition to occur. Therefore, a threshold is a point in transformation where an idea or process changes.

For example, the procession of marriage is a celebration of many events preceding and succeeding the actual threshold event of the union. This elongated threshold means that we can debate the moment of the fundamental change.

Currently, the threshold around PAM is a boundary.

This fence offers defence, division, and exclusion.

It is a static boundary defining here from there. It might provide visual permeability, but its aim is to restrict. The legacies of Apartheid are evident in the urban fabric, where boundaries were defined, and the physical and mental barriers exist today. A simple fence implies much more than its physical restriction.

We erect walls, and their visually permeable cousins – the fence, in urban and suburban environments to define our personal space. Here these devices (or defences) help physiologically and psychologically to define the individual realm, a necessary definition for personal growth.

Barriers have no place in the public realm, while thresholds define accessible spaces.

The object of the proposed extension is to create a threshold for change in the greater suburb of Arcadia.

Where the building introduces its user to new ideas and allows them to follow their own path, be it back to their lives as they know them or on to a different life.

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Figure 53: Barcelona pavilion graphical plan showing water feature placement

Figure 54: (Archdaily, 2011) Barcelona pavilion photo over water feature

The movement and their design principles To understand modernism and the International Style, we have to understand what came before it.

Before modernism, we could draw a relatively consistent line through the history of how we designed and built architecture. Architecture revolved around the object that was the building. Structures were monuments or classically inspired with order and structure. These positive elements did not fully encompass the environment it sat in.

The negative space around it, became the threshold when landscaped gardens completed the precinct.

We can view modernism as a design revolution that brought with it the change in construction methods and how the designer viewed both positive and negative spaces. As in the Barcelona pavilion, there is a flow between indoor and out without a defined threshold. The building as a whole is in fact the threshold.

The designer curates the path that the user will walk, there are very few direct lines of sight. The building (which we can view as an accumulation of negative spaces) leads you from one space through to the next.

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Figure 55: Rietveld pavilion sketch

Figure 56: Rietveld pavilion sketch

Figure 58: (Archdaily, 2021) Rietveld pavilion plans

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Figure 57: Rietveld pavilion sketch

RIETVELD PAVILION KRÖLLER-MÜLLER MUSEUM THE NETHERLANDS 1955, 1965 and 2010 This pavilion was initially designed as a temporary structure to display small sculptures at the third international sculpture exhibition in Arnhem’s Sonsbeek Park, 1955. It was dismantled shortly after (ARCHDAILY, 2010).

The structure remained a source of design inspiration as it became known for its simplicity and clarity of design. Ten years later, construction started from the original material in the Kröller-Müller Museum’s sculpture garden and was named Rietveld Pavilion.

This installation, intended to be temporary, meant materials for this structure comprising concrete, brick, steel, glass, wood, and paint were challenging to maintain. In 2010 the museum was constructed from a new version of longer-lasting materials.

This simple structure comprises a series of positive and negative spaces that blend harmoniously with the environment it sits in a while elegantly housing a series of sculptures.

I took relevance from this pavilion as the simple roof plain and columns perfectly balance modernism and art in a park setting.

The processional movement through the building does not allow for one direct route but rather a meander that leads you through.

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The Reality:

Modernism in an era of apartheid

Figure 59: (PEVSNER, 1953) Johannesburg apartment block

Figure 60: (PEVSNER, 1953) Johannesburg apartment block

Figure 61: (PEVSNER, 1953) View down road in Hillbrow

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The Group Areas Act of 1950 was the cornerstone of Apartheid policy as it eliminated mixed neighbourhoods. The Black (Natives) Laws Amendment Act of 1952 amended the 1945 Native Urban Areas Consolidation Act to state that all black people over the age of 16 were required to carry passes that restricted their stay in urban areas (O’Malley, 1998).

The notion of separate development in South Africa resulted in forced removals that irrevocably altered the built environment while affecting the identity and sense of self of the majority of South Africans.

At the heart of Apartheid planning principles were these delineations and enforced boundaries that the government implemented using value judgements.

Whether emotional or physical, these politically charged boundaries remain the legacy of Apartheid.

Globalisation, Neoliberalism, and the instatement of a democratic government helped change South African communities since 1994. However, Apartheid planning remains a common practice in the South African built environment.

Face of the apartheid government On the international stage, modernist buildings were the face of democracy and the future as they symbolised a renewed hope for a brighter future after 2 world wars. The movement changed the notion of the building as an object by changing the face of the landscape.

Modernist structures became a play between the positive and negative spaces it created. One where 67

there is no specific threshold, but rather the building became the threshold for multiple routes to a new way of life.

Unfortunately, South Africa spent this period erecting boundaries and containment. It saw the oppression of humans and the thresholds of design became barriers in the built environment.

As Pretoria developed its built environment, the government displaced and demolished the property of select nationalities in South Africa. Due to the timely nature of the modernist movement (& International Style) happening concurrently to the implementation of the Group Areas Act, we perceive these buildings as the face of Apartheid. Although our democratic constitution removed these legal barriers, these buildings stand as a reminder of the past.

Figure 62: (Royle, 1960) Children on street bench.

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Figure 63: (Artefacts, 1960) Pretoria art museum entrance

Figure 64: (AP Photo, 1976) How One Photo Woke the World to the Brutalities of Apartheid.

Figure 65: (AP Photo, 1965) Alexandra’s first houses

Figure 66: (AP Photo, 1977) Church square

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The Building: PRESENT It is now evident that the theory of legacies of Apartheid is no more apparent than within the boundaries of Arcadia Park.

With the park closed, except for one entrance on Wessels street, travelling by car or walking there is a surreal experience. Even with the bustling pedestrians, hawkers, and businesses on all streets leading up to the park, the moment we turn into the parking lot, it becomes quiet. There is seldom more than one car in the parking lot.

The security guard sits under a tree.

Proceeding from the entrance, a set of stairs confronts us. It runs onto the pediment of the building. Even though the entirety of the building is a single storey, its sheer size is unnerving. From this perspective, the building almost disappears into the horizon.

The simplistic poetry of this building becomes evident with the rhythmic columns that support the granite façade and the overhang that floats effortlessly above.

Unfortunately, this building requires maintenance.

Unlike Maputo’s modernist structures that wear their weathering with grace and pride, this structure shows its neglect.

Figure 67: PAM entrance

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The historic Baixa de Maputo district is the oldest part of Maputo where a fair amount of the buildings have not seen a coat of paint since the early 1970s (or since construction.) Where these buildings might be seen as unmaintained, as a collective the buildings add another layer to the aesthetic enhancing the landscape and built environment.

Figure 68: Saint Anthony Catholic Church

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Figure 69: Apartment block

Figure 70: Pancho Guedes apartment block

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The signage, visible from Park, Wessels, and Johann streets, keeps the viewer preoccupied.

It is easy to think the name is misspelt. With the cornerstone laid by Dr HF Verwoerd and the signage, it would be easy to confuse this museum as an Afrikaans art collection.

The tinted glass and polished granite reflect the greenspace around it. It is nearly impossible to see what goes on behind the façade. The naturally honed materials continue through to the inside. With terrazzo on most floors and polished stone cladding on accented walls. The ceiling skylights, now degraded and covered in dust show their age , as they dim the sun. Even for the fact that this structure is fifty-eight years old, it keeps its age well.

Internally, the air-conditioning does not work effectively so the ambient temperature is a little warmer than it should be. This building faintly smells stale and feels dirty and mouldy.

However, the new water-proofed roof should resolve these issues. Before the museum installed new waterproofing on the roof, there were calcium-stained buckets placed throughout the building.

Figure 71: PAM Signage

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Figure 72: PAM concept sketch

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The Building: FUTURE What is the best direction to move in?

An art museum the focuses on South African art has an ever-growing collection. Artists continuously need a platform to highlight social dialogue. The proposed design intervention attempts to include public placemaking as part of the museum extension. This stands in contrast with the concept of the gaze that existentialist and phenomenologist philosophers like JeanPaul Sartre and Jacques Derrida explored. The gaze protects the distance between observer and art object.

the word contemporary meaning of the time, which is fleeting. This art should be created on the premises by artisans and artists from all creative fields for skills (and self) development.

The project should place emphasis on South African art to build on the existing portfolio.

The proposed design should accommodate market space for both informal and formal to interact. This should include commercially viable space to enhance and support the informal sector with support from the same industry in the formal sector.

This design project deconstructs PAM’s defence mechanism by reaching out to the surrounding users and adding meaning to public spaces in the urban fabric. The design aims to construct a space supporting social awareness by defining a new face that represents and establishes a new place.

The project brief The project should investigate the multiple iterations of threshold for the extension to PAM. These thresholds must re-introduce the importance of art in society and its benefits to social cohesion and community upliftment.

The project should also include interventions within the park to facilitate for social enhancement and opportunities for social cohesion.

The project should build an extension to house contemporary art pieces in the true sense of

The design solution must also be aware that urban regeneration often leads to higher rental rates that narrow the social spectrum this project envisions. These developments can constrain, inhibit, and withhold freedom and diversity.

When the defence mechanisms instituted by private companies coincide with the actions of public entities, they often ostracise people based on their own judgements.

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Figure 73: (Google, 2016) Jane Jacobs doodle

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In her 1961 book The Death and Life of Great American Cities, Jane Jacobs explains the importance of accessible public spaces for inner-city communities.

The most important aspect of her book, she states that she believes in development from the bottom up. If we foster growth from the people that live in the community, we can achieve sustainable development and greater acceptance from the community.

According to Jacobs, these four aspects are the most important for proper urban design: Sidewalks or pavements: These become the single most important aspect of everyday life. This is where we interact with our neighbours. This is where people start forming a community. Because of the importance of social interaction within a community, public spaces fall within this discussion.

Jane Jacobs

The death and Life of Great American Cities

Diversity: Allowing any specific area to fill with diversity, not only of people, but also of business, buildings, and transport help generate a vibrant environment. Vibrant areas are safe areas that give independence and economic growth. Mixed-use buildings help to develop this diversity. Her study shows that any district needs multiple uses to make it successful. Primary uses would be the reason people come to the area. Secondary uses will keep them there.

Concentration: Finding the right density is a very fine line. When we discuss this, we are not referring to the so-called “overpopulation”. For economic stability, we must look at sufficient people to keep an area viable. If the area is under-populated, vacuums occur that leads to it feeling unsafe. Concentrated areas keep the vibrancy and activity alive.

Timeline: This refers to the layering of a city. New and old buildings help to keep a lively diversity. Apart from the stylistic contrast, if all buildings are new, rental rates would be high and there will not be enough diversity in business or residential options

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Figure 74: (Wolff, 2005) Red Location Museum from community.

The Red Location Museum Brighton (Red location), Qheberha.

2005 Neoro Wolff Architects Similar to the aims for PAM, this project successfully integrated the surrounding inhabitants and urban framework into the master plan for the museum. It allowed the public space to become accessible to all. This museum fits within an existing urban framework and plans for a future that includes socio-economic housing to replace the existing informal settlement, but due to political turmoil this Museum was forcibly closed by the neighbouring community in October 2013.

This building won numerous awards, locally and internationally.

The municipality did not supply as promised: The adage that charity starts at home is why this project was not a success.

The poorly constructed neighbouring homes (private realm) 80

was a direct reason for the community-driven vandalism of the Museum. This led to violent protests, which resulted in R12 million in damages and the loss of life. After the Museum’s closure in 2013, the Government and the community reached an agreement to demolish and correctly rebuild 288 houses.

This museum was designed and scaled for local and national events. The internal exhibition spaces and public spaces flow seamlessly between the neighbouring community. As the building was eventually closed because of localised political reasons, the focus is on how the building adapted after the incident.

Red Location Museum

“Red Location offers the opportunity to draw together the strands of struggle that mark the attempts by different groups in South Africa to free themselves. Ironically, the activists of Red Location should occupy the same sets of spaces that their so-called enemy, the Boers, occupied as spaces of incarceration for their women and children in the concentration camps of the Boer War. South Africa is a country with a tumultuous history marked by the striving of various groups to be free.” (Wolff, 2005).

A telephonic discussion about the Red Location Museum, In Brighton (Red location), Qheberha.

I had planned many questions, but the first question sparked enough discussion that lead to the other questions being answered.

Q: What community involvement was there during the design process of the RLM? A: This question requires me to define “community”. The municipality councillors are defined as community appointed leaders, so interaction with a municipality is automatically interaction with community. Although the RLM design process spanned 10 years (with a two-year hiatus) and included discussions with municipal councillors, government officials, an ANC contingency and local community representatives.

The two-year hiatus was due to discussion on the need for

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Figure 75: (Baan, 2012) Lady hanging washing opposite RLM

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housing (RDP housing at the time) for the community. It is important to point out that funding for housing came from the local government (municipal and provincial) while the funding for the museum came from national government and the ANC. Once those discussions had been resolved and all parties agreed, the design and planning for the RLM could continue.

The museum opened to the public and received positive responses, as it was the most visited museum in South Africa.

It received numerous local and international awards and commendations, as it appreciated the community it was in as much as the history it housed.

After the novelty of the museum wore off, the building started its dialogue with its neighbours and the discussions became strained. The local government failed to deliver on the houses it promised which created great resentment. The general comment from its neighbours were: “Why accept a house for dead people when the living do not have a roof over their head?

The inevitable closure of the museum by its community and neighbours was a build-up and breakdown of the community over a period of ten years.

This situation and position that Brighton found themselves in, is a representation of what is happening in South Africa at large and the relevance of museums and galleries in its society.

Museums are no longer sustainable within the communities that must fund them. It is also an expense that could, arguably, be better spent on infrastructure and community upliftment.

Currently, museums are in a bad state of repair, where a simple maintenance issue creates a larger problem with damaged one-of-a-kind artworks, that are important specimens of historical significance.

We must take care when we design and construct buildings with cultural relevance so that they empower the communities they inhabit.

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Figure 76: PAM context sketch

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The Park: PRESENT WTF (Why the fence?) The municipality chose to fence off this park in November 2019. At that time, homeless people inhabited the park on a permanent basis. The city based the erection of this defence mechanism on it being doomed to further vandalism and destruction.

This site boundary, invisible to the naked eye, distinguishes what is inside and outside and removes this public space from the public realm.

March 2020 saw the start of the COVID-19 pandemic in South Africa that removed all public spaces from our daily lives as the restrictions kept us indoors. These two occurrences changed how Arcadians use and perceive this park as it is visible but not attainable.

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Figure 77: Pretoria Art Museum Figure 78: PAM Sculpture

Figure 79: PAM path

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Figure 80: Context model photo

Figure 81: Concept model photo

To understand the site, is not just about understanding the context. Simple considerations include knowing the contours, slopes and prevalent winds.

The genius loci is best felt and experienced when physically there. Site visits indicated the best position for future development would be on the corner closest to the shops and taxi.

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Figure 82: Concept mass model

Figure 83: Concept mass model

There is a clearing infront of the east end of the building. Although level and free from trees, this site does not lend itself to social interaction.

The linear strength of the existing structures lent itself to the introduction of a softer curvilinear element.

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Figure 84: Sketch Showing movement through park before fence

Figure 85: Sketch Showing movement around park after fence

Before the fence (Prior to 2019) The park sits on a full city block, meaning the pedestrians used to cut accross the park. These routes were cut into the grass and are a perfect example of desire lines.

After the fence (Post 2019) This park id now fenced off. The routes that were previously accessible are now visible, but routs have been formed along the fence as the shops and taxi/bus stop on the corner of Park and Wessel streets have to be reached.

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STREET VENDOR SPAR TOPS CAR WASH TAXI RANK CHURCH GYM SCHOOL Figure 86: Context sketch showing neighbouring activities

Figure 87: Context sketch noting tree

Users’ past usage showed important nodes: the bus/taxi stop, church, school, and retail on the southwest corner creates a busy node filled with daily activity and becomes the entrance point for visitors using public transport. As this picture shows, it is all crammed into one spot.

The existing trees fill the park with areas used by past inhabitants for recreational activities.

The importance of leaving these for future users implied careful placement of any future construction.

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Figure 88: Context sketch noting grass plains

Figure 89: Context sketch with axes

The grass plane is an essential aspect of the existing and how the user interacts with the park. Priority for useable grass, therefore, dictates that a fair amount of this building be subterranean.

The massing of the new extension increases the museum’s physical footprint and personal space, allowing the fence to be removed. Using the building’s mass as a barrier to improve the public space towards the southwest corner.

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Figure 90: Context sketch noting change in threshold

Figure 91: Context sketch with layered plains

The existing structure has a strong east-west axis, as the façade faces the park to its south.

The fence that defines the park became a rigid boundary while removing the user.

THRESHOLDS IN MATERIALS In searching for the lowest common denominator, a threshold is an introductory space between what is not an art museum. This space will be the area of introduction between the urban framework of Pretoria and the Pretoria art museum.

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We should be careful when removing the fence since safety and security were the reason it went up. Retreating the fence and increasing the threshold allows for larger public space and sidewalks for social interaction.

Reinstatement of importance to the path most walked. The park occupies a full city block; therefore it is a great place for inhabitants to cross diagonally from one street to the next. This has created desire lines through the park that give the pedestrian easy access to the supermarket and taxi stop on the south west corner.

These Pedestrians must walk along the fence to get to their destination now. When the park is given back to the pedestrian, these original paths should take pride of place and take preference above massing of new extension.

The object (PAM) in the park should extend to pierce the everyday routes and start a discussion with the everyday user.

Figure 92: Conceptual model for massing

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Figure 93: Conceptual sketch with desire lines

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In South Africa, the public frequently chooses desired lines after the building has been constructed, which is in stark contrast to the built structure. The public’s defiant last stand Desire lines carved in the grass by the daily traffic before the fence’s erection mean that these routes take pride of place in any future construction.

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An extension to the Pretoria Art Museum contributing to public placeand space-making 99

PUBLIC SQUARE/ COMMERCIAL SPACE

TRANSPORTATION NODE/ TRANSIENT SPACE

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PRETORIA ART MUSEUM

MUSEUM OUTDOOR SPACE

CHILDREN PLAY AREA UNSCRIPTED PUBLIC SPACE

Figure 94: Isometric site plan

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The existing structure needs to be honoured as an object in the urban landscape requiring careful consideration of the current volumes and heights.

Figure 95: 3D render of link between old and proposed

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Figure 96: Site Plan

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MUSEUM OUTDOOR SP PUBLIC SQUARE/ COMMERCIAL SPACE

TRANSPORTATION NODE/ TRANSIENT SPACE

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M PACE

CHILDREN PLAY AREA

UNSCRIPTED PUBLIC SPACE

Figure 97: Site Plan showing usage areas

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REFLECTION POND

SEATING ON STAIRS TO MUSEUM ENTRANCE

PUBLIC SPACE WITH TREES AND SEATING

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KGOTLA

SUBTERRANEAN REFLECTION POND

UNSCRIPTED GRASS PLAIN

SHALLOW FOUNTAIN

DIGITAL SCREEN TOWER PROJECTION WALL

Figure 98: Public garden plan

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Figure 99: (Parent, 1963-66) The oblique in public space

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Figure 100: (Parent, 1965) Demonstarting the qualities of the oblique angles in built form.

BOUNDARIES IN MASS

Figure 101: (Virilio, 1970) Claude Parent demonstrated the quality of the oblique for the French Pavilion at the 1970 Venice Biennale.

OBLIQUE In their magazine Architecture Principe, Claude Parent & Paul Virilio brought forward the concept of the function of the Oblique plain as experiments for the discussion about urban developments and the crises faced by cities in the 1950s. Their theory states that simply inclining the floor forms a sloped surface with a fluid movement that creates a deeper human connection. We can no longer dissociate the dwelling from the flow of movement (PARENT & VIRILIO, 1966:25).

Claude’s critical approach to the modern plan included fracturing volumes and inclining surfaces. The diagonal helps connect levels and creates different emotions based on directional movement, reducing the harsh vertical barrier.

This dialogue between vertical and horizontal would remove the visual impact of a barrier while visually including levels that would remain out of the public’s domain.

These diagonal connections will help reiterate the symbiotic and holistic approach to this project’s aims where all is visible, connected and universally accessible.

MASS THEORY: OBLIQUE 111

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Figure 102: positive/negative graphic

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MUSEUM FOYER

ROOF GARDEN

LIGHT WELL & MOVEMENT ROUTE

GALLERY SPACE

GALLERY SPACE 114

OBLIQUE IN ELEMENTS There are two instances of obliques in the extension. The first is the circulation ramp that acts as a spine to connect the different levels of the building. The second instance is the graded landscape that spills into the subterranean level.

GRASS PLAIN

REFLECTION POND/ LIGHT WELL Figure 103: Sectional perspective

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116

The existing structure has a strong east-west axis, as the façade faces the park to its south. The fence that defines the park became a rigid boundary while removing the user.

The massing of the new extension increases the museum’s physical footprint and personal space, allowing the fence to be removed. Using the building’s mass as a barrier to improving the public space towards the southwest corner Figure 104: Perspective sketch of entrance

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Figure 105: Light well study 1

Conceptual model & sketch studies 118

Figure 106: Light well study 2

The author built various models to best understand how light filters into space as a large portion of the PAM extension is underground. Imperative in today’s South Africa is sustainability. More so is the use of natural resources. Therefore this building should be able to function fully without electricity. This means the basement spaces need access to natural light. This light needs to fill a plane, whether from a wall or the ceiling: as point or focused light is not the best light to view artwork.

Figure 107: Concept sketch of sunken courtyard.

Figure 108: Light study for sunken courtyard.

The park’s proposed refurbishment is aimed at envigorating and improving the public space.

For a symbiotic relationship between internal and external users, this museum needs to retain visual permeabilty. This implies that the walls need to retain transparency, allowing freedom of users, whether closed for security or open to the public.

Subterranean spaces as workshops and studios for artists/artisans will benefit from lots of natural light and ventilation. Visabilty will mean that these spaces should remain visually accessible to the public. This means handrailings, windows and doors stay visually permeable, while adhering to necessary health and safety standards.

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Figure 109: (Danpal, 2019) La Piedad sport complex

Materials: letting light in, letting light out.

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Figure 110: (NATAAS, 2018) Back lit stone wall

Figure 113: (Local studio, 2018) Hillbrow counselling

Figure 111: (Arcit, 2018) Crystal panel

Figure 112: (Rodeca, 2018) ICE maintenance hall

Figure 114: (Holl, 2020) The Nancy and Rich Kinder Building, Houston.

Figure 115: (Rodeca, 2018) ICE maintenance hall

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Figure 116: Light study model: small light-well

Figure 117: Polycarbonate as roof model

Figure 119: Light study model: whole ceiling light-well

Figure 120: Polycarbonate as wall model

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Figure 118: Light well model study: reflective surface

Figure 121: Polycarbonate as wall model

Figure 122: light well/service duct concept model

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Most of the walls of the extension are translucent in nature.

The selected material includes polished natural stone (with a 5-15mm thickness and reinforced backing on a steel framework) with back-lighting. The new addition to PAM will be lit at night to become an art object or lightbox at night.

The proposed corner market embodies certain transient qualities as a reference to informal trading practices.

Figure 123: Entrance perspective at night

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Figure 124: Section sketch for Polycarbonate roof detail

Figure 125: Polycarbonate roof detail sketch

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CAR PARK

EXISTING PEDESTRIAN WALKWAY

ENTRANCE PODIUM BELOW

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MUSEUM FO BELOW

EXISTING MUSEUM

NEW LINK BETWEEN HISTORIC AND CONTEMPORARY

OYER W

KGOTLA

Figure 126: Entrance plan showing link

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EXISTING WALKWAY

ENTRANCE PODIUM

MAIN MUSEUM FOYER

GALLERY LOBBY

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LINK BETWEEN MUSEUM

GALLERY LOBBY

Figure 127: Entrance plan lobby and connection

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Figure 128: Entrance plan showing basement

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Figure 129: Perspective showing visual connection to park

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THE INSIDE-OUT and the OUTSIDE-IN MUSEUM One of the functions of a museum is to be a container that houses artefacts. The container is often designed as a hermetically sealed structure that preserves historically or culturally significant objects.

The container defines the interior and exterior space and its accompanying surroundings. The disjointed approach of severing the connection between inside and out removes the inner from the public realm. It simultaneously creates a barrier and threshold. An ideal design approach for museum design facilitates and supports conversation on either side of the threshold.

Transparency: A careful balance (through verbal and non-verbal dialogue) between the artist and the spectator is necessary to emancipate art.

The artist’s voice will only be heard if spectators are attending.

PAM and Arcadia Park can contribute to the urban realm through visual and physical permeability. This will be achieved by connecting the hermetically sealed volumes with the exterior, resulting in a symbiotic relationship between the inside and outside. The design solution should include the objects, the deliberate participant and the casual observer or spectator.

Materiality is an integral part of Visual appropriateness. A public building needs to introduce the community to its future. The building needs to embrace the existing urban fabric and manipulate it into a structure that feels as commonplace as its neighbour.

Immateriality, being the intangible essence of living in this space that enhances life. These qualities are inevitably a quality that exceeds the sum of its parts.

The existing structure needs to be honoured as an object in the urban landscape requiring careful consideration of the current volumes and heights.

One vertical element will help to demarcate the public space within the neighbourhood.

Users’ past usage showed important nodes: the bus/taxi stop, church, school, and retail on the southwest corner creates a busy node filled with daily activity and becomes the entrance point for visitors using public transport.

135

Figure 130: Market Ground Floor Plan

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137

Figure 131: Market Perspective

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139

Figure 132: Perspective showing connection between levels

140

The lines between inside and out are simply for purposes of hermetically sealed envelopes for artefact protection.

The inside can be experienced as small vignettes.

Transparency: A careful balance (through verbal and non-verbal dialogue) between the artist and the spectator is necessary to emancipate art. The artist’s voice will only be heard if spectators are attending. PAM and Arcadia Park can contribute to the urban realm through visual and physical permeability. This will be achieved by connecting the hermetically sealed volumes with the exterior, resulting in a symbiotic relationship between the inside and outside. The design solution should include the objects, the deliberate participant and the casual observer or spectator.

Materiality is an integral part of Visual appropriateness.

A public building needs to introduce the community to its future. The building needs to embrace the existing urban fabric and manipulate it into a structure that feels as commonplace as its neighbour.

Immateriality, being the intangible essence of living in this space that enhances life. These qualities are inevitably a quality that exceeds the sum of its parts.

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142

Figure 133: Workshop Basement Plan

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144

Figure 134: Museum Ground Floor Plan

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Figure 135: Museum Basement Floor Plan

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148

Figure 136: Digital Tower Perspective

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150

The seemingly heavy horizontal roof structure floats above the entrance foyer. It follows PAM’s original structural approach by having the steel columns almost disappear.

Here the floor plane is graded steps that park users can appropriate for seating for lunch or other recreational activities.

This open air space connects the formal Museum entrance to the market space. This will encorporate the informal and formal uses within the precinct.

Figure 137: Entrance perspective with seating/stairs

151

Figure 138: Entrance perspective showing walls as light source at night

152

THRESHOLDS IN MATERIALS In searching for the lowest common denominator, a threshold is an introductory space between what is not an art museum. This space will be the area of introduction between the urban framework of Pretoria and the Pretoria art museum.

It is within the threshold that interaction between inside and out start their symbiosis. For that reason, materiality becomes the threshold.

The overhead and underfoot surfaces play between solid, translucent and dynamic, with specific areas falling away to reveal what is below.

Here perceived solid elements like polish rock become sources of light at night. Visual permeability dictates transparency and translucency.

Within the park, the threshold is extended to become a larger area.

In the built environment, it is not simply “a line” below the door. It is an area before (and after) the entrance, which includes planes above and below.

153

Figure 139: Perspective showing informal and formal structures working as a whole

154

It is within the threshold that interaction between inside and out start their symbiosis. For that reason, materiality becomes the threshold.

The overhead and underfoot surfaces play between solid, translucent and dynamic, with specific areas falling away to reveal what is below.

Creating structure and opportunity to generate not only income, but self-worth within the informal sector will enhance initial development and future growth.

Reference the informality that is enhanced by the new infrastructure

155

Figure 140: Perspective showing site

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157

Figure 141: Ground floor

158

159

Figure 142: Lower Ground floor

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Figure 143: Basement Ground floor

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Figure 144: Site plan

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167

Figure 125: Perspective showing workshop Figure 145: Concept render sunken workshop

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169

Figure 146: Parti diagram

170

In Conclusion This research originated from the removal of public space in the public realm, with the preeminent example being PAM. Here this public space exemplifies the legacies of apartheid in the built environment through face, space (and lack of) place, while highlighting the lack of relevance museums endow in present day society.

Reflecting on the research it is evident that the face of public space does not need to change for it to be relevant or accepted. Instead public space needs to accommodate and enhance the user, while ensuring flexibility and incremental growth.

This project proposes a formal infrastructure; that from its inception; welcomes and houses the informal. This informal place holder does not manifest any specific industry or demographic, but rather simply accommodates creativity and allows for the user to define it.

Once this space is accepted by the inhabitants, the benefactors will ensure its relevance and safety merely through self-preservation.

171

EDMOND STREET

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Department of Architecture

M. Arch

5

CONTRACT DOCUMENTATION Name

Kinnear PRL student number

96035233 Project description

PRETORIA ART MUSEUM EXTENSION ERF 750 Arcadia Pretoria Drawing description

Locality plan & 3D Overview Date OUT

03/08/2021 Scale:

1:2000

Date IN

Sheet No./No.

29/09/2021

1 / 11

Figure 148: Contract documentation 1

173

15 000

m 44 13

m 43 13

FRANCIS BAARD STREET

9m 133

Mountable curb

6 400

Mountable curb Existing security sliding gate

Municipal Storm water drainpipe

Existing clearvu fence Existing clearvu fence

Boundary Line 224.1m Building line

4 160

Mountable curb

m 38 13

ERF 1/417

m 42 13

m 40 13

13 41 m Mountable curb

Existing tree

Existing power sub-station

Paving

Existing tree

Carport

Grass

Existing staff parking Existing external studio Grass

7 000

7 500

6 460

4 750

49 800

19 950 Existing Courtyard

Existing Parking

Existing Storm water gulley Line of existing roof above

Existing security sliding gate

ERF 416

Existing Museum

m 37 13

Mountable curb

ge era sew ting Exis

Pro thre inter

Paving

Landscaping Existing Paving

Line of existing roof above

Proposed Entrance

WESSELS STREET

143 300

Manhole

Grass CE

7 500

4 750

38 500

11 000

ERF 750 ARCADIA

Proposed Extension

Existing tree

Ex isti ng foo tp ath

Existing tree g tin is Ex

m 36 13

Existing clearvu fence

7 000

Boundary Line 177.3m

ERF 415

REFLECTION POND IE

th pa ot fo

Existing tree

Building line

Line of building below

Grass SETTING OUT POINT

57 500

Existing tree

m 35 13

Prop thre interv

CE IE

Grass

REET

Existing tree

38 300

Bound ary Line 1337m

15 410

ERF 1/864

ERF 937

Sports Field

SITE PLAN SCALE 1:500

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Existing clearvu fence

PARK STRE ET

ERF 947-963

N

228.8m

4 400

Manhole

28 100

Buildin g line

10 00 0

46 400

13 00 0

58 90 0

Existing clearvu fence Existing bus sto p

25 000

7 800

IE

path

CE

3 200

PARK ST

ot ing fo Exist Line of building below

Municipal Sewerage

4 680

15 000

6 900

DATUM 100 000

Existing tree

45 750

34 000

Proposed Extension Exisitng 4 500 ablutions

Municipal Stor m water drainpipe

ath tp foo ng isti Ex

CEIE

6 600

ERF 1131

Line of building below

Mountable curb

Remove existing clearvu fence

ERF 1106

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m 1345

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Existing clearvu fence

ERF 1274

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9 078

8 000

Mountable curb

JOHANN STREET

Boundary Line 223.3m

377

ERF 1275

ARCADIA STREET

posed eshold vention

ARCADIA STREET

Mountable curb

Existing clearvu fence

ERF 1246

Existing groundskeeper cottage

ERF 1117

Department of Architecture

M. Arch

5

CONTRACT DOCUMENTATION Name

Kinnear PRL student number

96035233 Project description

PRETORIA ART MUSEUM EXTENSION ERF 750 Arcadia Pretoria Drawing description

Site Plan Date OUT

03/08/2021 Scale:

1:500

Date IN

Sheet No./No.

29/09/2021

2 / 11

Figure 149: Contract documentation 2

175

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1 13 440 12 910 9 600

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FOYER

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MAIN GALLERY Travertine 97 010

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10 773

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MULTI MEDIA GALLERY

J

Polished Concrete 101 600

7 500

206 7 500

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7 500

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Department of Architecture

M. Arch

3

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5

CONTRACT DOCUMENTATION Name

Kinnear PRL student number

96035233 Project description

PRETORIA ART MUSEUM EXTENSION ERF 750 Arcadia Pretoria Drawing description

General Floor Plans Date OUT

03/08/2021 Scale:

1:250

Date IN

Sheet No./No.

29/09/2021

3 / 11

Figure 150: Contract documentation 3

177

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10 200

5/11

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96 330

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ree

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path

Department of Architecture

M. Arch

5

CONTRACT DOCUMENTATION Name

Kinnear PRL student number

96035233 Project description

PRETORIA ART MUSEUM EXTENSION ERF 750 Arcadia Pretoria Drawing description

General Floor Plans Date OUT

03/08/2021 Scale:

1:250

Date IN

Sheet No./No.

29/09/2021

4 / 11

Figure 151: Contract documentation 4

179

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10/ 11

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110 780

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108 690 Frameless glass connection

106 190

103 300

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FOYER

RAMP

MARBLE

HARDWOOD

NGL

W-10 T-05

W-11 T-05

W-12 T-05

W-13 T-05

Plaster and paint

Windows fitted with mechanical openers for heat management

Off shutter reinforced concrete

Veritcal gree masonry sub

Reinforced concrete ring beam as 1m high balustrade

Plaster and paint Void

101 600

Services and extraction above ceiling

100 000

Services duct and mechanical store

D-22 T-04

97 010

D-29 T-04

GALLERY

POND

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106 190

Off shutter concrete parapet: see detail 3 page 9

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103 300

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NGL

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Department of Architecture

M. Arch

5

CONTRACT DOCUMENTATION

101 600 100 000

Name

Kinnear PRL student number

96035233 Project description

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PRETORIA ART MUSEUM EXTENSION ERF 750 Arcadia Pretoria Drawing description

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03/08/2021 Scale:

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5 / 11

Figure 152: Contract documentation 5

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MALE BATHROOM

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Derbigum CG4

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11/11

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PARAPLEGIC BATHROOM

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TILES 97 010 WHB WHB

110

IE 10

FEMALE BATHROOM

WHB

CE

WC

Derbigum CG3

110mm Masonry wall for waterproof protection

7 500

Building above

150mm Layered no fines backfill RAMP

See Sections and details for placement of Geopipe

1:12 Ramp to SANS 10400 part S regulations.

3 400

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11/11

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220

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510

400

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400

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floor mou nted LED strip

MAIN GALLERY

REFLECTION POND

Polished Concrete 97 010

MARBELITE 96 330

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E

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400

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LED strip

200mm In-situ cast reinforced concrete retaining wall

7 100

200mm Dry stacked rock wall on angled in-situ cast reinforced concrete retaining wall

Window cill same finish as internal floor

7 500

400

Line of floo r mounted

7 100

29 350

400x400mm Insitu cast reinforced concrete column

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70x70x1400mm stainless steel stantion with 90x50mm Stainless steel handrail fixed to stantion at 3m spacings with polycarbonate infill panels. ALL to adhere to SANS 10400 part S 7 500

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400

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7 500

B

B

72 781

W-29 T-01

G

G W-30 T-01

13 12 11 10 9

7 100

400x400mm Insitu cast reinforced concrete column

H 400

Down stand beam above

MAIN GALLERY

182 GSEducationalVersion

REFLECTION POND MARBELITE 96 330 7 100

7 190

7 500

SCALE 1:100

7 280

BASEMENT PLAN 98 172

N

W-31 T-01

Concrete pavers 97 010

A 5/11

200mm Reinforced concrete retaining wall

620

9 200

220

10 000

400

220

6 100

6 100

220

890

220

220

890

220

7 500

D-29 T-04

H

7 500

Direction of water flow for storm water drainage

70x70x1400mm stainless steel stantion with 90x50mm Stainless steel handrail at 1000mm above finished floor level polycarbonate infill panels. ALL to adhere to SANS 10400 part S

7 6 5 4 3 2 1

1 880

5 214

14 15 16 17 18 19 20 21 22 23 24 25 26 27 28

400

400

Down stand beam above

400

3 800 220

1 9750

7 500

2 500

400x400mm Insitu cast reinforced concrete column

Department of Architecture

M. Arch

5

CONTRACT DOCUMENTATION Name

Kinnear PRL student number

96035233 Project description

PRETORIA ART MUSEUM EXTENSION ERF 750 Arcadia Pretoria Drawing description

Basement Plan Date OUT

03/08/2021 Scale:

1:100

Date IN

Sheet No./No.

29/09/2021

6 / 11

Figure 153: Contract documentation 6

183

H

620

9 200

220

10 000

400 400

6 100

6 100

220

220

890

220

220

890

220

Derbigum CG4 Derbigum CG3

7 500

J

Down stand beam above

400

J

220

110mm Masonry wall for waterproof protection

W-32 T-01

150mm Layered no fines backfill 7 100

3 180 220

220 3 180 220

MARBELITE 96 330 7 100

7 190

7 500

200mm Reinforced concrete retaining wall

7 500

REFLECTION POND

A 5/11

J

W-31 T-01

Concrete pavers 97 010 7 280

98 172

MAIN GALLERY

7 500

1

1

Down stand beam above

400

220

400x400mm Insitu cast reinforced concrete column

T-04

H

ROTUNDA GALLERY

Detail 6 11/11

Polished Concrete 97 010 W-33 T-01

K

100mm In-situ cast reinforced concrete substructure

5 268

D-32 T-01

7 400

7 400

5 010

7 400

220

D-34/39 T-03

W-39 T-01

WC

UNISEX BATHROOM

5 233

5 233

WC

WC

WC

CE

IE

IE

IE

IE

150mm Layered no fines backfill

4

7 500

N

IE D-65 T-04

Direction of drainage, fall 1:50 to storm water channel

IE

IE

WO

WORKSHOP COURTYARD

D-61/64 T-03

Concrete pavers 97 710

DELIVERY LOBBY D-46 T-06

1 2 3 4 5 6

Derbigum CG3

Tiles 97 010

D-53 T-01

TROLLEY STORE

WORKSHOP WORKSHOP WORKSHOP 2 3 4 Concrete 97 880

STORE

Concrete 97 880

OPEN AIR WORKSHOP

Concrete 97 880

Concrete 97 880

Tiles 97 010 Extractor fan fitted in clerestory window: see window schedule for specifications

P

W-44 T-03

ventilation stack

7 500

Aluminium ventilation ducting above

W-42 T-03

D-50 T-01

D-51 T-01

W-41 T-03

Change in floor finish from Concrete to Concrete pavers Direction of drainage, fall 1:50 to storm water channel

WO

70x70x1400mm stainless steel stantion with 90x50mm Stainless steel handrail at 1000mm above finished floor level with space for artist inserted commissions. ALL to adhere to SANS 10400 part S

Concrete pavers 97 710

D-49 T-04

26 25 24 23 22 21 20 19

D-52 T-01

W-43 T-03

WORKSHOP COURTYARD

WORKSHOP 1 Concrete 97 880

220mm Masonry wall with brickforce every 2 courses 220mm reinforced concrete retaining wall with internal steel studs for shelving mounts

UP

Q BASEMENT PLAN

184

IE CE

LIFT

D-45 T-07

150mm Layered no fines backfill

SCALE 1:100

IE

D-41 T-02

Strengthed hinge and door reveal: see door schedule

Strengthed hinge and door reveal: see door schedule

Derbigum CG4

GSEducationalVersion

CE

CE IE IE

D-42 T-07

200mm Reinforced concrete retaining wall

N

5

1 2 3 4 5 6

FIRE ESCAPE

D-40 T-02

2 167

D-44 T-04

7 500

WC

110mm Masonry wall for waterproof protection

CE

D-41 T-06

110mm Masonry wall for waterproof protection

Stormwater channel with mentis grate to drain to sump pump

W-40 T-01

D-43 T-07

N

Derbigum CG3

1 099

TILES 97 010

WC

W-38 T-01

2 167

220

Fire Escape to comply with SANS 10400 part T.

MARBELITE 96 330

2 167

4 360 6 250

REFLECTION POND

W-37 T-01

WHB WHB WHB WHB WHB

600

5 230

5 768

W-36 T-01

5 233

7 500

13 420

Derbigum CG4

10 9 8 7 6 5 4 3 2 1

5 800

200mm Reinforced concrete retaining wall

IE

220

D-33 T-03

L

IE

CE

Down stand beam above

5 390

1 730

Attenuation dam and sump pump below

3 000

CATERING KITCHEN

420

5 269

5 233

Concrete pavers 97 010 W-35 T-01

45°

M

5 257 220

TERRACE

D-30 T-04

D-31 T-02

D-47 T-01

18 17 16 15 14 13 12 11

2 167 13 218

13 218

7 500

Frameless glass

L

220

PUMP ROOM

200mm Dry stacked rock wall on angled in-situ cast reinforced concrete retaining wall to continue line from outside

Down stand ring beam above

7 500

D-48 T-01

W-34 T-01

311

Down stand beam above

K

To municipal connection

CE

IE

A 5/11

1

2

3

4

5

6

7 E 5/11

M

ORKSHOP WORKSHOP WORKSHOP WORKSHOP 13 12 11 10 Concrete 97 880

Concrete 97 880

Concrete 97 880

Concrete 97 880

Extractor fan fitted in clerestory window: see window schedule for specifications

Extractor fan fitted in clerestory window: see window schedule for specifications

N W-45 T-03

D-55 T-01

D-54 T-01

W-47 T-03

W-46 T-03

D-56 T-01

D-57 T-01

W-48 T-03

Stormwater channel with mentis grate to drain to sump pump

WORKSHOP COURTYARD Concrete pavers 97 710 Direction of drainage, fall 1:50 to storm water channel

W-52 T-03

D-60 T-01

D-61 T-01

W-51 T-03

W-50 T-03

D-59 T-01

87 T-01

W-49 T-03

P Department of Architecture

M. Arch

Concrete 97 880

Concrete 97 880

Concrete 97 880

5

CONTRACT DOCUMENTATION

ORKSHOP WORKSHOP WORKSHOP WORKSHOP 6 7 8 9

Name

Kinnear PRL

Concrete 97 880

student number

96035233 Project description

Q

PRETORIA ART MUSEUM EXTENSION ERF 750 Arcadia Pretoria Drawing description

Basement Plan Date OUT

6

7

03/08/2021 Scale:

1:100

Date IN

Sheet No./No.

29/09/2021

7 / 11

Figure 154: Contract documentation 7

185

56 129

A

9 600

5/11

3 000

220

2 960

220

6 420

400

3

2

1 LINE OF ROOF ABOVE

A 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

100x100x5mm steel square tube

Soft board or masonite board to protect waterproofing blanket and membrane HDPE drainage core and Geomat drainage mat 200mm In-situ reinforced concrete wall

660x1000x60mm Precast concrete coping

LINE OF ROOF ABOVE

D-01 T-01

No fines back fill

20

27 26

25

RAMP

1 500 220

140x73x5mm I beam fixed to reinforced concrete retaining wall

D Structural safety glass floor in Powder coated Steel frame

1 380

100

1 280

220 1 615

5 765

220

220

2 570

1 260

Aluminium edge detail

Palran aluminium end-cap joiner 'C' with allowance for expansion above

W-05 T-01

5 500

E

3 540

200mm In-situ cast reinforced concrete retaining wall

INTRODUCTION GALLERY

9 020 400

3960 220

400

Plaster and painted 220mm masonry wall

2 600

Store

7 100

REFLECTION POND BELOW

800

100

B

10/11

GALLERY POLISHED CONCRETE 101 600

Down stand beam above

1m high balustrade 12 11 10 9 8 7 6 5 4 3 2 1

13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

400x400mm Insitu cast reinforced concrete column

Palran aluminium end-cap joiner 'C' with allowance for expansion above

G

40mm Palran Multiwall polycarbonate sheeting

220mm masonry wall with plaster and paint

LANDING

SCALE 1:100

W-06 T-01

H

Down stand beam above

H

7 500

99 220

100x50x5mm Steel lip channel fixed to I beam

7 500

LANDING

7 500

10/11

140x73x5mm I beam fixed to reinforced concrete retaining wall

1m high balustrade 2 450 1 885 1 938

GSEducationalVersion

1 900

186

F

RIVER PEBBLE 96 330

B

LOWER GROUND FLOOR PLAN

th pa ot fo

4 300

Down stand beam above

Aluminium edge detail

N

g tin is Ex

W-03 T-01

F

G

E

200mm Dry stacked rock wall on angled in-situ cast reinforced concrete retaining wall

5 500 5 300

Pavers

300x1000mm precast concrete coping

MARBLE 101 600

1000mm high Steel handrail fixed to balustrade to SANS 10400 part S regulations Powder coated aluminium window frame. See window schedule

LEKGOTLA

40mm Palran Multiwall polycarbonate sheeting

Change in floor finish expansion joint

1:12 Ramp to SANS 10400 part S regulations.

4/

B 5

Aluminium powder coated window frame

220

40mm Palran Multiwall polycarbonate sheeting

830

1 350

220

Palran aluminium end-cap joiner 'C' with allowance for expansion above

Slip resistant floor to SANS 10400 part S and SANS 784

140mm Reinforced concrete counter slab supported by steel subframe

WOOD 101 600

7 500

DARK GALLERY

7 500

Down stand beam above

D

100x50x5mm Steel lip channel fixed to I beam

RIVER PEBBLE 101 100

220

Down stand beam above

5 800

1:12 Ramp to SANS 10400 part S regulations.

REFLECTION POND

1 200

1m high balustrade

W-02 T-01

7 500

W-04 T-01

RAMP

100 590

11/11

TILES 101 600

C

Balustrade

RRAZO 2 890

C

PUMP ROOM

400x400mm In-situ cast reinforced concrete column

W-01 T-01

Purpose made display cabinet with glass backing

24

7 500

Ceramic pieces display wall

POLISHED CONCRETE 101 600

74 200

acked rock wall to in-situ cast rced concrete wall

21 22 23

LOBBY

D-03 T-02

7 500

Reception desk

LPTURE LINTH

Pump room accessed from above

18 19

RAMP

Difference in height between plinth and landscaping less than 400mm

Position of existing plinth wall

17

5 990

16

9 8 7 6 5 4 3 2 1

D-02 T-01

15 556

MARBLE 102 300

7 500

Access controll

No frame glass balustrade

FOYER

RRAZO 102 250

400x400mm In-situ cast reinforced concrete column

7 500

RANDA

960

B

400x400mm In-situ cast reinforced concrete column

220

LINE OF ROOF ABOVE

Slip resistant floor to SANS 10400 part S and SANS 784

7 500

RRAZO 102 250

1000mm High steel handrail fixed to balustrade to SANS 10400 part S regulations

5 700

D WALKWAY

1:12 Ramp to SANS 10400 part S regulations.

4 950

750

1 370

4 850

8 700

6 820

220

880

9 000

3 400

7 500

5 400

2 740

3 750

4 950

9 590

7 480

6 400

Ex isti ng foo tp ath

Department of Architecture

M. Arch

5

CONTRACT DOCUMENTATION Name

Kinnear PRL student number

96035233 Project description

PRETORIA ART MUSEUM EXTENSION ERF 750 Arcadia Pretoria Drawing description

Lower Ground Floor Plan Date OUT

03/08/2021 Scale:

1:100

Date IN

Sheet No./No.

29/09/2021

8 / 11

Figure 155: Contract documentation 8

187

7 500

W-07 T-01

REFLECTION POND BELOW

I

DIGITAL MEDIA GALLERY

Wall finish to specification detail 5 on page 5

Palran aluminium end-cap joiner 'C' with allowance for expansion above Detail 3 11/14

40mm Palran Multiwall polycarbonate sheeting

Polished Concrete 101 600

Masonary brick infill panel

74 200

28 250 7 500

100x50x5mm Steel lip channel fixed to I beam W-08 T-01

7 500

140x73x5mm I beam fixed to reinforced concrete retaining wall

110mm masonary wall

40mm Palran Multiwall polycarbonate sheeting

7 500

I

RIVER PEBBLE 96 330

Palran aluminium end-cap joiner 'C' with allowance for expansion above

23 000

14 986

100x50x5mm Steel lip channel fixed to I beam

I

7 500

220 Plaster and painted

7 500

140x73x5mm I beam fixed to reinforced concrete retaining wall

400x400mm Concrete column Multi-layered waterproofing above floorslab. See detail 3 page 4

J

W-09 T-01

1 030

11 440 480

ng isti Ex

7 691

9 020

420

2 190

33 480

6 501

16 380

5 750

3 879

7 500

220

ath tp foo

2 220

D

5

6

5/5

Staircase subject to SANS 10400 part M

220

1m as

4 900

m ea gb rin de te a cre lustr n o a b dc rce info Re 1000mm Balustrade. NGL ath not higher than 1000mm tp foo from balustrade top as per ng ti is SANS 10400 part M Ex Circulation stairs to comply with SANS 10400 part T & part M

Lin e

of bu ild ing

3 360

400x400mm Insitu cast reinforced concrete column

5 900

1 2 3 4 5 6 7 8 9 10 11 12 13 14

TILES 101 600

DELIVERY

1000mm Balustrade. NGL not higher than 1000mm from balustrade top as per SANS 10400 part M

9 27

TILES 101 600

0 22

220

D-13 T-07 W-11 T-01

D-14 T-06

Line of lintol above

N

Ventilation stack

Line of building below

Line of roof above

W-12 T-01

DELIVERY COURTYARD

WORKSHOP COURTYARD BELOW

2 000

26 25 24 23 22 21 20 19

Staircase subject to SANS 10400 part M

WORK 7 BE

10 9 8 7 6 5 4 3 2 1

7 610

1000mm Balustrade. NGL not higher than 1000mm from balustrade top as per SANS 10400 part M

220

1 140 220

Line of roof above

7

PAVERS 101 000

7 720

WORKSHOP COURTYARD BELOW W-13 T-01

STAFF ROOM MARKET

7 500

LIFT 7 800

D-12 T-06

M

PAVERS 100 500

7 500

R

CONCRE 10

D-11 T-06

Trolley Store

Slip resistant floor to SANS 10400 part S and SANS 784

MARKET

ath tp foo

SERVER ROOM

D-14 T-06

TILES

18 17 16 15 14 13 12 11

220

M

be low

SECURITY CONTROL ROOM

7 500

220

5/11 6 155

7 500

A

FIRE ESCAPE BELOW

W-14 T-01

h hig

Line of roof above

1 950

L

O

N

LOWER GROUND FLOOR PLAN SCALE 1:100

W-15 T-03

Line of building below

Line of roof a

1

2

188

3 220

9 600 GSEducationalVersion

22

1 2 3 4 5 6 7 8 9

10 11 12 13 14 15 16 17 18 19 20 21

965

102 895

300

LANDSCAPING

K

1 000

W-10 T-01

RIVER PEBBLE 96 330

7 500

1000mm masonary wall to same height as bulstrade Line of building below

1000x200mm In-situ cast reinforced concrete cantilever beam

REFLECTION POND BELOW

K

Powder coated aluminium window frame. See window schedule

7 500

1000x500mm Precast concrete lintol slabs fixed on Masonary brick infill

8 200

7 500

1500x200mm Curved in-situ cast reinforced concrete ring beam as balustrade. NGL not higher than 1000mm from balustrade top as per SANS 10400 part M

220mm masonary wall

220

J

9 000

D

4

7 700

5/5

10 500

7 440

5 6 109

7 440

1 722 220

7 440

3 50

5 400

14 880

15 000

220

220

2 000 0

0

7 280

L

Fullbore

ROOF

Roof finished landscaping to Landscape Architects specification

ROOF

ETE PAVERS 02 000

LANDSCAPING 103 300 Ridge

Screed to fall under soil at 1:50 towards rain water outlet

y lle Va

RWDP

10° Monopitched roof

N

220

220

1 140

Gutter

7 500

6 140

WORKSHOP COURTYARD BELOW

M

220

220

Fullbore

7 280

Fullbore

Department of Architecture

WORKSHOP 10 BELOW

5

CONTRACT DOCUMENTATION

7 500

WORKSHOP 9 BELOW

7 280

WORKSHOP 8 BELOW

5 060

M. Arch

KSHOP ELOW

Name

Kinnear PRL 220

student number

W-18

220

Clerestory windows

6

Project description

2 000

W-17 T-03

96035233

7

220

W-16 T-03

above

00

7 280

Fullbore

2 000

8

23 24 25 26 27 28 29 30 31 32 33 34 35

7

5 400

K

O

PRETORIA ART MUSEUM EXTENSION ERF 750 Arcadia Pretoria Drawing description

Lower Ground Floor Plan 220

3 500

220

3 500

220

3 500

220

Date OUT

03/08/2021 Scale:

7 431

1:100

Date IN

Sheet No./No.

29/09/2021

9 / 11

Figure 156: Contract documentation 9

189

A 9/10

2

1 9 600

9 000

1 930

114 190

ROOF 112 460

TOP OF EXISTING SLAB Detail 6 11/11

3 770

110 780

TOP OF SLAB

100x50x5mm Steel lip channel fixed to I section steel column

Frameless glass connection W-03 T-01

Palran aluminium end-cap joiner 'C' with allowance for expansion above

SCULPTURE PLINTH W-01 T-01

Bulkhead

FOYER

Plaster & Paint

LOBBY

MARBLE Plaster & Paint

Off shut retai

WOOD

101 600 Detail 7 11/11

100 000

400 1 340

DATUM

Bulkhead

Detail 2 9/11

2 100

NGL

LOWER GROUND

GALLERY

3 850

9 180

NGL

Detail 1 9/11

4 335

TERRAZO

RAMP C EXIST

W-02 T-01

2 235

106 190

ROOF GARDEN Concrete pavers

140x73x5mm I section steel column fixed to reinforced concrete retaining wall

UPPER GROUND

5 350

2 500

40mm Palran Multiwall polycarbonate sheeting

255

108 690

Line of step betw reflection pool

Down stand beam

200mm In-situ cast reinforced concrete retaining wall

Plaster & Paint

200mm Dry stacked rock wall on angled in-situ cast reinforced concrete retaining wall

200mm Reinforced concrete retaining wall

SECTION B SCALE 1:100

MAIN GALLERY

W-07 T-01

staircase

Polished Concrete

REFLECTION POND DPM

255

-9 860 96 330

Void below ramp

255

150mm Layered no fines backfill

2 210

HDPE drainage core and Geomat drainage mat

97 010

2 595

4 335

RAMP

110mm Masonry wall built to above NGL after waterproofing membrane has been tested and signed off by engineer and architect

1000mm high Steel handrail fixed to balustrade to SANS 10400 part S regulations

150mmØ Geopipe and drainage system

Slip resistant floor to SANS 10400 part S and SANS 784

DPM

MARBELITE

Reinforced concrete footing to engineers specification

20mm fillet detail

50Ømm PVC cowl vent with no

fines mesh filter 85mm Pre-cast concrete coping

170mm insitu cast reinforced parapet wall angled off roof

85mm Pre-cast concrete coping

50mm uPVC pipe from fullflow 45° fullbore to copper spout

Palran aluminium end-cap joiner 'C' with allowance for expansion above 100mm Aluminium clip in flashing

Top Soil

100mm thick sand layer 100mm thick gravel layer Geofabric between each layer 30Ømm Stone laid in herring bone pattern

3mm Thick Bitumen torch Derbigum on primed scre Finish "ABE" Aluminium silver paint. To fall to Full 100mm chamfer detail

150mm uPVC full-flow 45 degrees side roof outlet t feed into 50mm copper s

30mm Copper spout

60mm Aluminium tape (solid) Aluminium angle fixed to concrete upstand beam.

40mm Palran Multiwall polycarbonate sheeting Reinforced upstand concrete beam

140x140x6mm steel I beam

Derbigum CG3

100mm Aluminium clip in flashing

Derbigum CG4

3mm Thic Derbigum

30mm Sc fullbore m

Palran aluminium end-cap joiner 'C' with allowance for expansion above

250 micron thick taped polythene sheeting 30mm Cement screed with fall towards fullbore and 45˚fillet on edge

50mm Iso

60mm Aluminium tape (solid) Aluminium angle fixed to concrete upstand beam.

100mm Diameter UPVC Fullbore with no-fines grate

DETAIL 1

DETAIL 3

SCALE 1:20

SCALE 1:20

40mm Palran Multiwall polycarbonate sheeting

W-02 T-01

300x50mm reces wall 19W LED light st

40x20mm Rodes cover strip

250x10mm Fibre board

50mm Diameter UPVC Drainage to NGL

155x50mm Rhod handrail

Aluminium angle fixed to concrete upstand beam

100x50mm Stain purpose made br recess and handr copper selftaping

60mm Aluminium tape (ventilated) 40mm Aluminium base flashing with 10mm drainage holes every 150mm

Note: Handrail housing man off site and installed in final

25mm drip detail 40mm Aluminium lip-channel 40mm Aluminium lip-channel

DETAIL 2 SCALE 1:20

190 GSEducationalVersion

12mm Fibre-cement ceiling board

DETAIL 4 SCALE 1:20

3

ROOF

2 090

110 780

3 590

TOP OF SLAB

2 500

108 690

4 590 4 590

NGL

4 590

tter concrete ining wall

4 190

106 190

4 590

1 400

UPPER GROUND

1 301

TOP OF EXISTING SLAB

3 289

1 680

3 410

112 460

CONNECTION TO TING MUSEUM

LOWER GROUND 101 600

655

DATUM

3 935

100 000

BASEMENT 97 010

-9 860 680

96 330

680

ween ls

1 730

114 190

h-on eed.

lbore

5 to spout

ck Bitumen torch-on m on primed screed.

creed to fall to minimum 1:50

oboard insulation

Insitu cast reinforced concrete off shutter soffit 20mm Drip detail 400x400mm insitu cast reinforced concrete beam Mechanically operated window openers

W-03 T-01

ss in insitu cast

trip

sian teak

e cement

desian teak

nless steel racket fixed to rail by 20mm g screws

nufactured l fix

19W LED light strip 90x50mm Stainless steel handrail fixed to stantion at 3m spacings 40x5x3000mm rubber strip 3000x1200x25mm SUNLITE multiwall polycarbonate sheet 70x70x1400mm stainless steel stantion with internal LED light strip to light up polycarbonate sheeting

Department of Architecture

M. Arch

5

CONTRACT DOCUMENTATION Name

Kinnear PRL student number

Non-slip natural stone floor finish

96035233

30mm spacing between finished floor and sheeting

PRETORIA ART MUSEUM EXTENSION ERF 750 Arcadia Pretoria

40x40mm stainless steel base support Stainless steel stantion fixed to insitu cast ramp by expansion anchor and hidden by cover plate.

Project description

Drawing description

Sections & Details Date OUT

Date IN

03/08/2021 Scale:

1:100 & 1:20

Sheet No./No.

29/09/2021

10 / 11

Figure 157: Contract documentation 10

191

A

1

2

5/11

3

114 190

ROOF 112 460

TOP OF EXISTING SLAB 110 780 Polycarbonate brise soleil

W-03 T-01

Detail 5 13/14

TOP OF SLAB 108 690

UPPER GROUND

Air bricks

106 190

VERANDA

FOYER

GARDEN ENTRANCE

TERRAZO

MARBLE

TERRAZO

D-01 T-01

Walkway to existing museum

UPPER GROUND 106 190

Framele glass connecti

No frame glass balustrade

RAMP

LOBBY POLISHED CONCRETE

NGL

400x400mm Precast breeze block

101 600

220mm Masonry balustrade

100x100x5mm Steel square tube 660x1000x60mm Precast concrete coping

DATUM 100 000

Recessed handrail: See detail 4 page 10

900x600mm Strip foundation to Engineer specification Dry stacked rock wall fixed to insitu cast reinforced concrete wall 300mm Masonary support wall

BASEMENT

Strip foundation to Engineer specification

97 010 96 330

Suspended ceiling

150mm Layered no fines backfill

MALE BATHROOM

200mm Reinforced concrete retaining wall

WHB

110mm Masonry wall built to above NGL after waterproofing membrane has been tested and signed off by engineer and architect

FEMALE BATHROOM

Reinforced c spiral stair

TILES WC

DPM

150mmØ Geopipe and drainage system Reinforced concrete footing to engineers specification

SECTION C SCALE 1:100

1400x1000x50mm Purpose made pre-cast concrete coping fixed to reinforced substructure with mastic

20mm fillet detail 3mm Thick Bitumen torch-on Derbigum on primed screed. Finish "ABE" Aluminium silver paint. To fall to Fullbore 500mm insitu cast reinforced parapet wall angled into roof for drainage

Dry stacked rock wall fixed to insitu cast reinforced concrete wall

3mm Thick Bitumen torch-on Derbigum on primed screed. Finish "ABE" Aluminium silver paint. To fall to Fullbore

150mm uPVC full-flow 45 degrees side roof outlet to feed into 50mm copper spout

30mm Thick cement screed with fall towards outlets

100mm chamfer detail

100mm Isoboard insulation below screed

Stainless steel rock anchors fixed into reinforced concrete diagonal slab Dry stacked river rock fixed to reinforced concrete support

Insitu cast off shutter concrete slab soffit finish

100mm Aluminium clip in flashing 60mm Aluminium tape (solid) Palran aluminium end-cap joiner 'C' with allowance for expansion above Aluminium angle fixed to concrete upstand beam.

140x73x5mm I section steel column fixed to reinforced concrete cantilevered roof slab with chemset and expansion anchors 40mm Palran Multiwall polycarbonate sheeting

Insitu cast reinforced concrete beam

50mm shadow line below soffit Dry stacked rock wall fixed to insitu cast reinforced concrete wall 40mm Galvanised wall anchor strap at 500mm spacing 200mm Insitu cast reinforced concrete wall

50mm uPVC pipe to waterfall Waterline Black marbelite finish 20mm overflow weephole every 1000mm to regulate waterline Position of water pump for waterfall 220mm Masonary wall for reflection pond side wall and stormwater overflow 375mic Hyperlastic Orange Screed to fall at 1:50 to Sump pump 50mm chamfer in corners to aid waterproofing

DETAIL 3 SCALE 1:20 100x50x5mm Steel lip channel fixed to I section steel beam 60mm Aluminium tape (ventilated) 40mm Aluminium base flashing with 10mm drainage holes every 150mm fixed to steel lip channel with 6mm aluminium pop rivets

DETAIL 5 192 SCALE 1:20 GSEducationalVersion

180

25mm drip detail

500

R 20mm

200mm Reinfirced concrete retaining wall

ess s ion

114 190

ROOF 112 460

TOP OF EXISTING SLAB 110 780

TOP OF SLAB 108 690

RAMP CONNECTION TO EXISTING MUSEUM

UPPER GROUND 106 190

Line of ramp behind

UPPER GROUND 103 300

PUMP ROOM TILES

101 600

DATUM 100 000

concrete rcase

BASEMENT 97 010 96 330

200mm Reinforced concrete retaining wall 150mm Layered no fines backfill 200mm sand layer Geotextile membrane between each layer 500mm thick gravel layer Derbigum CG4 Derbigum CG3 Geotextile membrane Crushed stone and gravel gradually filtering ground water into Geopipe 300mm thick stone layed in herringbone pattern

375mic Hyperlastic Orange with overlap between Derbigum waterproofing system Reinforced concrete footing to engineers specification 110mm dia Geopipe wrapped in Geotextile material at 1:250 fall

375mic Hyperlastic Orange under full extent of basement with 500mm overlap at each membrane change Screed to fall at 1:50 to Sump pump 50mm chamfer in corners to aid waterproofing Construction joint

Department of Architecture

M. Arch

5

CONTRACT DOCUMENTATION Name

Kinnear PRL student number

96035233 Project description

PRETORIA ART MUSEUM EXTENSION ERF 750 Arcadia Pretoria Drawing description

Sections & Details Date OUT

Date IN

03/08/2021 Scale:

1:100 & 1:20

Sheet No./No.

29/09/2021

11 / 11

Figure 158: Contract documentation 11

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LIST OF REFERENCES ALEXANDER, M.C. 2018. Infographic: South Africa’s population and age structure from 1960 to 2016 [Online]. https://southafrica-info.com. Available from: https://southafrica-info.com/infographics/ infographic-south-africas-population-age-structure-1960-2016/ [Accessed on: 20/09/2021].

ALLEN, L. & KELLY, B. 2015. Transforming the Workforce for Children Birth Through Age 8. Washington, DC: The National Academies Press:84.

ARCHDAILY, 2010. Rietveld Pavilion at the Kröller-Müller Sculpture Garden. [Online] 14 Oct. Available online: https://www.archdaily.com/81555/rietveld-pavilion-at-the-kroller-muller-sculpture-garden Accessed 13 Dec 2021.

BELA, J. 2021. Pandemic-era Street Spaces: Parklets, Patios, and the Future of the Public Realm [online]. Archdaily.com. Available from: https://www.archdaily.com/968977/pandemic-era-street-spaces-parklets-patios-and-the-future-of-the-public-realm [Accessed on: 03/10/2021].

BERKOWITZ, P. 2012. On the street where you lived: What next for Schubart Park?. Daily Maverick [online], Oct. 12. Available from: https://www.dailymaverick.co.za/article/2012-10-12-on-thestreet-where-you-lived-what-next-for-schubart-park/ [Accessed on: 04/09/2021].

BONGERIZE, R. 2019. Achieving social cohesion: a proposed recreational facility in the Arcadia district of Pretoria, South Africa. MArch. Mini-dissertation, Tshwane University of Technology.

HARDIJZER, C. 2018. Burgers Park Victorian Heritage [online]. theheritageportal.co.za. Available from: http://www.theheritageportal.co.za/article/burgers-park-victorian-heritage-portrayed-picturepostcards-more-century-ago [Accessed on: 28/05/2021].

HEATHERWICK, T. 2019. We’re not telling people what to do [Video]. S.l.: Dezeen. Available from: https://www. dezeen.com/2019/09/20/were-not-telling-people-what-to-do-says-thomas-heatherwick/ [Accessed on: 16/07/2021].

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KROLL, A. 2011. AD Classics: Barcelona Pavilion / Mies van der Rohe [Online]. archdaily.com. Available from: https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe [Accessed on: 11/12/21].

MBEMBE, A. 2017. Critique of Black Reason. Johannesburg: WITS press:84.

MARTINSON, W. 2010. CHURCH Square. 2021. [online]. artefacts.co.za. Available from: https://www. artefacts.co.za/main/Buildings/bldgframes.php?bldgid=6242 [Accessed on 14/06/2021].

MARTINSON, W. 2010. REES-POOLE, Vivian Sydney. 2021. [online]. artefacts.co.za. Available from: https://www.artefacts.co.za/main/Buildings/archframes.php?archid=1346 [Accessed on 12/06/2021].

O’MALLEY, P. 1998. Chapter 13: Chronology of Apartheid Legislation [Online]. nelsonmandela.org.

Available from: https://omalley.nelsonmandela.org/omalley/index.php/ site/q/03lv02167/04lv02264/05lv02335/06lv02357/07lv02359/08lv02371.htm [Accessed on: 28/10/2021].

PARENT, C. & Virilio P1966. The Function of the Oblique. Great Britain: AA Publications:25.

PRETORIA Art Museum, S.a. [Online]. tshwane.gov.za. Available from: https://www.tshwane.gov. za/sites/tourism/Arts-Culture-and-Heritage/Pages/The-Pretoria-Art-Museum.aspx [Accessed on: 06/07/2021].

SOLTANI, S. & KIRCI, N. 2019. Phenomenology and Space in Architecture: Experience, Sensation and Meaning. Int. ernational Journal of Architectural Engineering Technology [Online], 6(2019), Oct.:1-6.

Available from: https://www.avantipublishers.com/jms/index.php/ijaet/article/view/799 [Accessed on: 25/11/2021].

STEYN, C. 2019. Pretoria Entertainment. [Online] July 23, Available from: https://www.pretoria.co.za/the-pretoria-art-museum/ 195

WOLFF, H. 2005. RED location museum. S.a. [Online]. wolffarchitects.co.za. Available from: http:// www.wolffarchitects.co.za/projects/all/inkwenkwenzi/ [Accessed on: 15/11/2021].

WOLFF, H. 2009. The dialectic of representation: the tension between the new and the familiar in post-liberation architecture. The South African Journal of Art History [Online], 24(1):6. Available from: https://repository.up.ac.za/handle/2263/14006?show=full [Accessed on: 10/07/2021].

WOLFF, H. 2009. Imagining urban futures [Online], 24(1). Available from: http://www.wolffarchitects.co.za/2009/02/imagining-urban-futures/ [Accessed on: 05/08/2021].

WOLFF, H. & WOLFF, I. 2021. Homage and Refusal [Video]. S.l.: Harvard. Graduate School of Design.

Available from: https://www.gsd.harvard.edu/ event/wolff-architects/ [Accessed on: 04/10/2021].

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List of Figures Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

1: View of Pretoria Art Museum and extension 2: Fenced off Pretoria Art Museum in Arcadia park 3: Constitution hill with fence superimposed.

4: (Baan, 2012) Lady hanging washing opposite RLM 5: Concept incorporating design guidelines for modernism 6: Graphic representing multiple thresholds 7: Parti diagram, broken object/removal of boundaries 8: (Donald Currie & Co, 1895) The Castle Line Atlas of South Africa: Pretoria 9: Pretoria map showing green spaces 10: Graphic representing positive/negative space 11: (Google, 2021) Street image of Reuben’s place, Pretorius street, Pretoria DBC 12: (Alexander, 2016) Graphic showing urban densification between 1960 and 2016 13: (Braune & Levy, 1907) Burger’s park postcard.

14: (Budricks’ Art galleries, 1902.) Burger’s park 15: (Google earth, 2021) Burger’s park.

16: (Pretoria News, 1910) Competition sumission by Reese-Poole 17: Church square photo representing the disjointed history 18: Church square photo showing the fence erected around Paul Kruger statue 19: (eNCA, 2016) Union buildings during #feesmustfall.

20: (Eybers/EWN, 2016). Union buildings during #feesmustfall, photo Pretoria news.

21: (Mabaleng Sports Center Facebook, 2020) Union buildings park is utilised by many.

22: Jubilee square. Photo showing public using gym equipment while homeless sleep 23: Jubilee square. Photo showing signage at pedestrian entrance.

24: Jubilee square. Children’s play area showing no grass.

25: Pretoria Art Museum and established tree 26: Pretoria Art Museum plinth retaining wall with grafitti.

27: Pretoria Art Museum plinth retaining wall with corner stone for Dr HF Verwoerd 28: Burger’s park figure ground, depicting density of building, with open spaces 29: Church Square figure ground, depicting density of building, with open spaces 30: Union Buildings figure ground, depicting density of building, with open spaces 31: Jubilee Square figure ground, depicting density of building, with open spaces 32: Arcadia park figure ground, depicting density of building, with open spaces 33: Arcadia park and Pretoria Art Museum with trees and neighbouring buildings 34: Mosiacs on existing pathway to PAM entrance 35: M Laubscher, 1925 36: E Stern, 1964 37: M Laubscher, date unkown 38: E Stern, 1939 39: M Laubscher, 1939

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Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

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40: M LAubscher, date unkown 41: E Stern, 1939 42: M Laubscher, 1922 43: (Bongerize, 2019) People sitting next to sculpture.

44: (Bongerize, 2019) People enjoying a crossfit class.

45: (Bongerize, 2019) showing people in the park before the fence.

46: (Bongerize, 2019) showing site usage in the park before the fence.

48: (Artefacts, 1985) Photo of Arcadia park.

49: Graphic plan of PAM showing internal/external and water features as constructed 50: (Artefacts, 1970) Photo of entrance lobby showing view through sculpture courtyard 51: (Artefacts, 1985) Photo of exhibition showing light flooding through sky lights 52: Photo of current exhibition showing use of lighting with minimal natural light 53: Barcelona pavilion graphical plan showing water feature placement 54: (Archdaily, 2011) Barcelona pavilion photo over water feature 55: Rietveld pavilion sketch 56: Rietveld pavilion sketch 57: Rietveld pavilion sketch 58: (Archdaily, 2021) Rietveld pavilion plans 59: (PEVSNER, 1953) Johannesburg apartment block 60: (PEVSNER, 1953) Johannesburg apartment block 61: (PEVSNER, 1953) View down road in Hillbrow 62: (Royle, 1960) Children on street bench.

63: (Artefacts, 1960) Pretoria art museum entrance 64: (AP Photo, 1976) How One Photo Woke the World to the Brutalities of Apartheid.

65: Alexandra’s first houses 66: (AP Photo, 1965) Church square 67: PAM entrance 68: Saint Anthony Catholic Church 69: Apartment block 70: Pancho Guedes apartment block 71: PAM Signage 72: PAM concept sketch 73: (Google, 2016) Jane Jacobs doodle 74: (Wolff, 2005) Red Location Museum from community.

75: (Baan, 2012) Lady hanging washing opposite RLM 76: PAM context sketch 77: Pretoria Art Museum 78: PAM Sculpture 79: PAM path 80: Context model photo 81: Concept model photo

Figure 82: Concept mass model Figure 83: Concept mass model Figure 84: Sketch Showing movement through park before fence Figure 85: Sketch Showing movement around park after fence Figure 86: Context sketch showing neighbouring activities Figure 87: Context sketch noting tree Figure 88: Context sketch noting grass plains Figure 89: Context sketch with axes Figure 90: Context sketch noting change in thresholdFigure 76: PAM concept sketch Figure 91: Context sketch with layered plains Figure 92: Conceptual model for massing Figure 94: Isometric site plan Figure 95: 3D render of link between old and proposed Figure 96: Site Plan Figure 97: Site Plan showing usage areas Figure 98: Public garden plan Figure 99: (Parent, 1963-66) The oblique in public space Figure 100: (Parent, 1965) Demonstarting the qualities of the oblique angles in built form.

Figure 101: (Virilio, 1970) Claude Parent demonstrated the quality of the oblique for the French Pavilion at the 1970 Venice Biennale.

Figure 102: positive/negative graphic Figure 103: Sectional perspective Figure 104: Perspective sketch of entrance Figure 105: Light well study 1 Figure 106: Light well study 2 Figure 107: Concept sketch of sunken courtyard.

Figure 108: Light study for sunken courtyard.

Figure 109: (Danpal, 2019) La Piedad sport complex Figure 110: (NATAAS, 2018) Back lit stone wall Figure 111: (Arcit, 2018) Crystal panel Figure 112: (Rodeca, 2018) ICE maintenance hall Figure 113: (Local studio, 2018) Hillbrow counselling Figure 114: (Holl, 2020) The Nancy and Rich Kinder Building, Houston.

Figure 115: (Rodeca, 2018) ICE maintenance hall Figure 116: Light study model: small light-well Figure 117: Polycarbonate as roof model Figure 118: Light well model study: reflective surface Figure 119: Light study model: whole ceiling light-well Figure 120: Polycarbonate as wall model Figure 121: Polycarbonate as wall model Figure 122: light well/service duct concept model

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Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

123: 124: 125: 126: 127: 128: 129: 130: 131: 132: 133: 134: 135: 136: 137: 138: 139: 140: 141: 142: 143: 144: 145: 146: 148: 149: 150: 151: 152: 153: 154: 155: 156: 157: 158:

Entrance perspective at night Section sketch for Polycarbonate roof detail Polycarbonate roof detail sketch Entrance plan showing link Entrance plan lobby and connection Entrance plan showing basement Perspective showing visual connection to park Market Ground Floor Plan Market Perspective Perspective showing connection between levels Workshop Basement Plan Museum Ground Floor Plan Museum Basement Floor Plan Digital Tower Perspective Entrance perspective with seating/stairs Entrance perspective showing walls as light source at night Perspective showing informal and formal structures working as a whole Perspective showing site Ground floor Lower Ground floor Basement Ground floor Site plan Concept render sunken workshop Parti diagram Contract documentation 1 Contract documentation 2 Contract documentation 3 Contract documentation 4 Contract documentation 5 Contract documentation 6 Contract documentation 7 Contract documentation 8 Contract documentation 9 Contract documentation 10 Contract documentation 11

Appendices Figure 159: (Botha, Figure 160: (Botha, Figure 161: (Botha, Figure 162: (Botha,

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2022) Exhibition 1 2022) Exhibition 2 2022) Exhibition 3 2022) Author demonstrating the removal of layered pages

Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

163: View of whole space 164: First pin up board 165: Second pin up board 166: Third pin up board 167: Fourth pin up board 168: Site Model 169: Fourth pin up board 170: Poster 1A 171: Poster 1B 172: Poster 1C 173: Positive & negative space on site 174: Modernism conceptual model 175: Project Parti 176: Site and Precedent 177: Aerial View of Proposal 178: Link detailing 179: Ground floor plan 180: Basement floor plan 181: Workshops 182: Market 183: Park 184: Museum Entrance 185: Street facade collage 186: Technical highschool 187: Spar 188: PAM 189: Cornerstone Church 190: Catholic Church 191: View down Francis Baard road 192: Parking lot outside Spar 193: Site pano 194: Park street 195: Site plan 196: Paver detail 197: Pavers showing grass inlay and blurred threshold detail.

198: Pavers showing grass inlay.

199: Photo of existing pathway through fence.

200: Photo of existing pathway through fence.

201: Photo of existing pathway through fence.

202: Section 203: Axo showing position of section

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Figure 159: (Botha, 2022) Exhibition 1

202

Figure 160: (Botha, 2022) Exhibition 2

Figure 161: (Botha, 2022) Exhibition 3

Appendix 1: Exhibition Conceptual approach (ɛksɪˈbɪʃ(ə)n) Where the Oxford English dictionary describes an exhibition as: a public display of art or items of interest, held in an art gallery or museum or at a trade fair.

AND An exhibition of work in a mini-dissertation is more a display or demonstration of a skill acquired during the six years preceding it.

This presentation intended to marry the two, as the solution to the problem addressed was to make an art museum relevant in today’s society.

To do that the panel of external examiners needed to see my work as an interactive art installation molded by the artist (and audience.)

It is challenging to portray the informality of the user within a fluid and democratic space, where the architect supplies the formal framework and leaves it for the user to define.

For this purpose, an interactive presentation included drawing on the posters and removal of covering pages to reveal changes.

The exhibition included a curated route into the presentation with “glimpses” through a fence and mosiacs from the existing pathway and a live stream of visitors from PAM. 203

204 Figure 162: (Botha, 2022) Author demonstrating the removal of layered pages

Figure 163: View of whole space

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Design and layout Modernism is about reduction and removal of ornamentation.

For this reason the presentation was reduced to the essential, with process work, sketches, technical drawings and theory available on request.

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Figure 164: First pin up board

Figure 165: Second pin up board

To convey the finished building and bring it to life, the actual materials proposed for usage were included in the display and where possible, the 2D images were given depth and body.

Here the polycarbonate sheets represented the finished facade and helped portray to existing fence.

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Each poster needed to stand on its own, as individual item with sufficient space between to formalise the use of positive and negative spaces.

The use of perspex and polycarbonate sheets the extended past the pages represented the thresholds developed in the new extension.

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Figure 166: Third pin up board

Figure 167: Fourth pin up board

The inclusion of a 3D printer and live stream from PAM helped incorporate the idea of fluidity and the dynamic nature of people in a space.

In the proposed building, the production of art is just as important as the art itself.

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Figure 168: Site Model

The use of one material (with one exception) in depicting new and existing, enhances the idea of one combined space.

The exception is the link between formal and informal, here the visually permeable art gallery is constructed out of perspex and becomes invisible.

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Figure 169: Fourth pin up board

Process work, Technical drawings and theory was confined to one board, with multiple layers and translucent layers, when viewed as a whole helped to convey the authors conceptual thinking and sometimes scattered brain.

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Appendix 2: Speech

For the examination, I prepared the following speech to present the project to the panel of external examiners: It is to be read in conjunction with each poster.

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POSTER 1A Figure 170: Poster 1A

The Pretoria Art museum opened in 1963 epitomises the modernist movement within South Africa. The Arcadia park that this Museum occupies was always the social melting pot for the neighbourhood.

After democracy, this park became genuinely diverse. It could be called the neighbourhood’s private stoep, lounge or public community hall.

This area within Pretoria is home to universities, commercial nodes and embassies. The residential demographic has all properties available, from low-income government subsidised to highend. Although, the tumultuous history in this country’s urban development still holds areas of segregated land parcels that guide the direction of development.

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POSTER 1B Figure 171: Poster 1B

Removing the top poster to reveal this: In 2019, a fence was erected, removing the inhabitant’s access to the park overnight.

The increased use of fencing around parks and public spaces creates voids in the urban fabric that have negatively affected society, creating desolate and unsafe environments.

POSTER 1C

RELIEF 1&2

Figure 172: Poster 1C

Figure 173: Positive & negative space on site

Removing the top poster to reveal this: The fence: An extension to the Pretoria Art Museum contributing to public place- and space-making.

This project looks at re-introducing this public space to its user. At the same time, searching for solutions to create a building that is seen as sustainable, with environmentally sensitive construction but more importantly, through economically driven initiatives. A truly diverse and democratic public space is intangible and can not be designed; these spaces are developed by the user over time. This mini-dissertation investigates how public spaces function as a threshold between private life and the public realm. The extension to PAM simultaneously...

(Continued poster 1C...) investigates how an art gallery gains relevance in a diverse community and a poor society.

PAM was initially designed to incorporate two areas that were simultaneously inside and outside: A reflection pond and a sculpture garden.

With Alterations over the 59 years, this building has become an object with a singular threshold.

The threshold was removed when the barrier was erected in 2019.

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Figure 174: Modernism conceptual model

Figure 175: Project Parti

Prior to the modernist masters, Architecture created objects in space, or positive space that defined the urban fabric it sits in. These objects seldom have thresholds and frequently become the visual embodiment of the user it houses or the ideology it serves.

Precedent studies: Studying PAM’s original plans highlighted its similarity to the Barcelona Pavilion. And specifically, how this pavilion clearly shows how the fragmentation of plains and the lack of one specific movement route through the building helps guide the user through a curated route.

For me, Modernist architecture is best defined as the fragmentation of plains that help blur any one specific threshold or edge. Here the building is an assortment of thresholds, volumes and planes: where the building IS the threshold.

These structures are defined by the negative space it creates 216

Rietveld Pavilion, originally built as a temporary structure, was intended to house sculpture, enhancing the artwork that sits within and outside the negative spaces. However, where most museums focus on enclosing (or hermetically sealing) their contents, this precedent helped define how I would approach the Museum in the context of the park.

Figure 176: Site and Precedent

Red Location Museum, A great example of contemporary public space and community inclusivity, has had a tumultuous story to date.

I wanted to understand how this became a positive influence on the community surrounding it and why it was closed and vandalised by the same community.

Site analysis: Before the fence: As seen in Rubi Bongerize’s Dissertation of 2019, this park was used for formal and informal gatherings, for sports or just relaxation.

The diagonal “desire lines” are still evident now, clearly showing how the movement through

the park helped pedestrians move through the rigidity of the built environment around it.

The South-West corner is still a hub of activity, with traders on the pavement, a bus, and taxi stop, all highlighting the informal aspects of daily life, while the church, gym, school and grocery store complement the formal needs within the urban setting.

With the Union buildings to the north and Sunnyside to the south, this park is surrounded by multi-storey apartment blocks and sits on the edge between high-density housing and single dwelling homes.

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Figure 177: Aerial View of Proposal

The extension takes care to not compete with the existing structure. This is achieved by only exceeding the height in very few circumstances.

The extension continues the line of the plinth that PAM sits on.

SHOW MOVEMENT ROUTES ON THE DRAWING. (See photo in appendix 1) Park:

Market:

The negative space defined the massing of the extension: or by the green publicly accessible space it occupies.

To the west is the public space for daily activity from the grocery store to the market space, adjacent to the taxi and bus stop.

To the east is the unscripted open park for large-scaled events and group sports activities.

Within this space sits a digital tower, which helps define a landmark within the neighbourhood.

The market space, which links informal traders with formal commercial activities, lies on the busiest corner to capture the already active node.

Workshop: Along park street, with the service entrance and delivery bay for the new museum extension, lies the workshop spaces. These indoor studios and outdoor courtyards are visually connected to the natural ground level where the creation of art is as much of a performance, not just the completed art piece.

Museum: The newly extended Museum, which equally highlights the artist and art, extended between the node of activity and the existing Museum.

Here the north-south axis helps shield the art gallery that is open to the park.

Link: The sensitive connection between existing and new allows for a glass connection surrounded by a reflection pond.

Here the entrance to the museum complex is higher than the existing to demarcate and identify the access point.

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Figure 178: Link detailing

Figure 179: Ground floor plan

Link between new and existing.

Museum Ground floor:

The entrance lobby and access control sit on ground level, but the new extension sits below the height of the existing plinth. The foyer and atrium will be constructed away from the existing building, with a reflection pond with a glass bottom, allowing the space to be flooded with a constantly moving filtered light, enhancing the fluid motion of this movement route right down to the restrooms below.

The route into the contemporary art museum starts with a curated route, through the dark gallery or directly into the rotunda, as an introduction to the current exhibition. This takes you past one intimate smaller space, for revolving art pieces from the museums existing collection, through to the mixed media and digital gallery, where the focus will be given to the production of art, or art classes and 3D printing that constantly prints sculptures.

From here, you move up to the new entrance of the existing Museum or through to the new extension.

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Museum basement floor: The ramp takes you into the circular exhibition

Figure 180: Basement floor plan

space surrounding a reflection pond. There is an external deck that connects you back to ground level. Visual access means that you can stand on ngl above and view the artwork on the walls inside. As a museum space can benefit from as much natural light as possible, the service and drainage cavities were extended and used as an opportunity to flood the basement with light. To the west is the exhibition wall. To the east is the reflection pond between the unscripted gallery space that will be altered for each exhibition.

This leads you back to the bottom of the entrance foyer, with a staircase that includes seating, leading you up to the entrance or across the existing Museum.

Figure 181: Workshops

WORKSHOP: Connected to the museum delivery bay is the entrance to the workshop spaces. These individual spaces are supplied by the Museum for an artist residency. When the artist completes their residency, an exhibition of their work hangs in the “unscripted” gallery.

Each space is unique, where some have southfacing windows to flood the studio with natural light for painting or sketching, while others are darker for photography. The outside courtyards lead into each other and direct line of sight with the public spaces above.

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Figure 182: Market

Figure 183: Park

MARKET:

PARK:

Here the formal “test kitchens” are supplied to corporate food chains, but they are set between open-aired spaces for “Chesa Nyamas,” informal street vendors and parking spaces for food trucks.

This covered colonnade runs through the trees and allows for varied seating options on staggered stairs, concrete seating under trees, or more formal seating on the roof of the existing public ablutions.

Thomas Heatherwick stated that: Public space must not tell you what it is, nor tell you what to do; the user must define it.

For this reason, a fair amount of the park will remain open for the community that surrounds PAM, except for a new shallow-water feature that extends from the private exhibition space in the existing Museum.

This water feature enhances the part of the park that is already set aside for children.

At the end of this water feature is a digital tower and screening wall.

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In Conclusion This research originated from the removal of public space in the public realm, with the notable example being PAM. Here this public space exemplifies the legacies of apartheid in the built environment through face, space (and lack of) place while highlighting the lack of relevance museums endow in present-day society.

Figure 184: Museum Entrance

The digital tower, akin to the tower in Millennium Park, Chicago, will offer a glimpse inside the Museum and introduce national and international art installations, as this digital media screen can change constantly.

The screening wall and stage allow the community to host bands, theatrical productions, or simply a wall to project movies onto.

Reflecting on the research, it is evident that the face of public space does not need to change for it to be relevant or accepted. Instead, public space needs to accommodate and enhance the user while ensuring flexibility and incremental growth.

This project proposes a formal infrastructure; that, from its inception, welcomes and houses the informal. This informal placeholder does not manifest any specific industry or demographic but instead accommodates creativity and allows the user to define it.

Once the inhabitants accept this space, these benefactors will merely ensure its relevance and safety through self-preservation.

It remains unscripted and dependant on the users within the neighbourhood.

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Appendix 3: Surrounding context

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Site Analysis Analysing the surrounding urban framework presented the challenge connected to removal of Figure 185: Street facade collage the fence.

All properties adjacent to the South-West corner might be public spaces but are also closed off by some form of barrier.

The Spar & its bottle store are accessible by two gates manned by security guards and are locked after closing, accessed only by the inhabitants of the apartments above.

The Technical high school’s brick wall and barbed wire crown offers no permeability or softness, while the church combines fence and foliage that breaks the otherwise Figure 186-192: Site photos harsh corner.

The Park offers a large amount of shade supplied by the trees inside and along the street edge.

This pavement is the only area within this city block that offers parking and usable pavement to the public and is occupied by many informal traders.

Figure 193: Site pano

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Appendix 4: Existing footpaths

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Figure 195: Site plan

Existing Pathways Where the existing route crosses over a designated grassed area for unscripted public use, a paver with grass inlay will allow the space to be seen and used as one area.

Where the pathways do not cross these grassed areas the paver’s grass spaces will be filled with a coarse aggregate cement, defining the pathways as movement routes through the whole public park.

Where these paths lead into (or over) the new extension the material used in the specific space blurs the route but keeps the user on their chosen path. Here the “obstacles” are guiding the everyday user and introducing the art and museum.

The pathways originating on the eastern side lead the user directly down to the taxi stop through the market or past the workshops.

Figure 196: Paver detail

Figure 197: Pavers showing grass inlay and blurred threshold detail.

Figure 198: Pavers showing grass inlay.

Figure 199-201: Photos of existing pathways and fence.

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Appendix 5: Relationship between taxi stop and market

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INE

L ION

T

SEC

TRANSITION ZONE ART MUSEUM PUBLIC REALM

PARK/PIAZZA SEATING AREA

234

MARKET COLONNADE

INFORMAL MARKET

TRANSIEN

NT PUBLIC

Figure 202: Section

Figure 203: Axo showing position of section

235

236