MISTRY, KK - 211219

Tshwane University of Technolog y Depar tment of Architecture & Industrial Design

RECLAIMING INDI-AFRIKANS’ CULTURE: THE DESIGN OF AN INTEGRATIVE SPIRITUAL PRECINCT IN MARABASTAD, TSHWANE

Kir ti Kanak Mistr y

2021

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RECLAIMING INDI-AFRIKANS’ CULTURE: THE DESIGN OF AN INTEGRATIVE SPIRITUAL PRECINCT IN MARABASTAD, TSHWANE By KIRTI KANAK MISTRY 214 110 482

Submitted in partial fulfilment of the requirements for the degree Master of Architecture

at the DEPARTMENT OF ARCHITECTURE AND INDUSTRIAL DESIGN in the FACULTY OF ENGINEERING AND THE BUILT ENVIRONMENT

at the TSHWANE UNIVERSITY OF TECHNOLOGY

Supervisor: PROF A.O.S. OSMAN Co-Supervisor: MR P.A. GREYVENSTEYN

TSHWANE | PRETORIA 2021

AUTHORS NOTE This dissertation follows a unique structure tailored to suit the intended narrative. The intention is to take you, the reader, on a journey to ascertain an understanding of the undertaken process and reveal the complexity of the proposed architectural application.

There are four intrinsic chapters within which the journey is packaged. Each chapter is prefaced with definitions pertaining to its content to apply the understanding concurrently. Specific themes are unpacked and allow for more profound insight into the proposed application in architecture.

A geometric map is provided to help you position yourself in the journey of the book. I welcome you to step into the realm of an Indi-Afrikan.

UNIVERSAL DEFINITIONS Author’s terminolog y For the purpose of this research, the following terms are re-defined by the author:

Afrika (n) /ˈæfrɪkə/ Predating colonisation, the Afrikan languages used only the consonant ‘k’ in their dialects and vocabulary. ‘Afrika’ changed to ‘Africa’ when the European colonisers imposed their language construct upon the natives (Madhubuti, 1992, p. 13). This proposal refers to ‘Afrika’ in its original form to recognise this loss and commemorate its reclamation.

Indi-Afrikan (n) /ˈɪndɪ- ˈæfrɪkən/ This term identifies the local South Afrikan Indians. In the current form of classification, there is still a disconnect in belonging.

This term attempts to reconcile the disconnect between being South Afrikan and Indian. ‘Indi’ refers to those whose ancestry traces to India and the Indus region, and ‘Afrikan’ refers to the people of Afrika.

Vernacular definition The following definitions are understood from the online Encyclopaedia Britannica (Encyclopædia Britannica, Inc., 2021:online):

Gopura (n) / ˈɡəʊpʊrə / A gateway that borders the threshold of a microcosm.

In India, these structures are prominent entrances to the sanctuary of a temple ground and are generally situated in alignment with the cardinal directions (north, south, east, and west). The tiers are decorated with statues and carvings that visually relate epics of the deity housed in the temple.

Dictionary definition The following terms are taken from the online Oxford Dictionary (Oxford University Press, 2021:online):

Identity (n) /aɪˈdentəti/ The basis of which constitutes our existence, whom we align with and by whom we are aligned. Accumulated memory inherently defines our beliefs, our belonging, and from where we originated. p. 5

▶ TABLE OF CONTENTS The four chapters are sensitively approached and are named in accordance with the intention.

The first chapter covers the formation of the dissertation. The second chapter delves into the macroscale of Indians from India and their journey to South Afrika. The third chapter covers the adaptations that occurred from this migration. The final chapter translates the collective knowledge in the form of architecture to address the identified issue.

PURUSHA - Cosmic Consciousness - pg. 10

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PRAKRUTI - Forming Substance - pg. 28

Universal definitions.......................................................................pg. 5 A Tribute.....................................................................................................pg. 1 1 Declaration.............................................................................................. pg. 15 Acknowledgements.......................................................................pg. 16 Letter: Dear Afrika.......................................................................... pg. 17 Abstract......................................................................................................pg. 18 Aim................................................................................................................... pg. 21 Delimitations...........................................................................................pg. 24

1. Journeying in Ancient India.................................................pg. 30 Art and detail in temple architecture................ pg. 30 2. Aligning to temples................................................................... pg. 34 Temples as sanctuaries and hubs.......................pg. 36 Architecture in a spiritual realm.............................. pg. 38 3. A passage to Afrika................................................................pg. 40 Acclimatisation of cultural identity....................... pg. 42 Site selection critera........................................................... pg. 46 Timelapse of triggers..........................................................pg. 48 4. The Pretorian outpost.......................................................... pg. 54 5. The proposed site.................................................................... pg. 62

SATTVA - Harmonious Stability - pg. 66

JNANA - Crater of Knowledge - pg. 98

6. Cultural cohesion in geometry.................................... pg. 68 Geometry for Ndebele.......................................................pg. 70 Geometry for Muslims........................................................pg. 72 Geometry for Hindus...........................................................pg. 74 7. Reconstructing Indi-Afrikans culture..................... pg. 78 8.The Revered Mariamman Temple............................ pg. 88 9. Spiritual embodiments of architectural memory................................................................................................... pg. 93

10. Reclaiming architectural ideas..................................pg. 102 1 1. Heralding space through form..................................pg.104 12. Geometry as architectural synerg y..................... pg.106 The master scheme.............................................................pg. 108 13. Formalising the detail...........................................................pg. 1 14 Specifications............................................................................. pg. 124 Studying the skin..................................................................... pg. 127 14. Sansaar, Sanskar, Sanskriti.........................................pg. 132 The 1st Tier: A composition..........................................pg. 151 The 2nd Tier: A visualisation......................................pg. 159 The 3rd Tier: An artistic rendition........................pg. 167 List of Figures............................................................................. pg. 175 References..................................................................................... pg. 181

Samsara - The cycle

sp ac e

d ve ei rc pe

Aligning to Temples

Reconstructing IndiAfrikan Culture

A passage to Afrika

The Marieamman Temple

Geometry as Arch. Synerg y

JNANA Reclaiming Arch.

Ideas

SATTVA Cultural cohesion in Geometry

PRAKRUTI Journeying in Ancient India

AFFIRMING INDI-AFRIKAN IDENTITY Sansaar, Sanskaar, Sanskriti Formalising the Detail

ve

Spiritual embodiments of Architectural Memory

The Pretorian Outcamp | Proposed site

e tim

ob se r

PURUSHA

Heralding Space through Form

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You are here.

PURUSHA | Cosmic Consciousness |

Chapter 1 Within this chapter, we address the foundation formulating the nature and undertaking of this dissertation.

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Author’s terminolog y For the purpose of this research, the following terms are re-defined by the Author:

Spiritual Space(n) /ˈspɪrɪtʃʊəl-speɪs/ This term refers to a healing and contemplation space accessible to all (a platform) that accommodates expression of all variations. Traditional Indian cultures have these as dance, ritual, and prayers.

Dictionary definition The following terms are taken from the online Oxford dictionary (Oxford University Press, 2021:online)

Belong (v) /bɪˈlɔːŋ/ A feeling of being in the right or suitable place and allowing one to express themselves freely. Where people live or use space, it is where one is welcomed to be.

Tools (n) /tuːl/ A feeling of being in the right or suitable place and allowing one to express themselves freely. Where people live or use space, it is where one is welcomed to be.

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For my Survivors 01. 09. 1969 | 01 . 10. 1992 | 13. 02. 1949 | 17. 07. 1972 |

A TRIBUTE

To my Ancestors 17. 01. 1945 |

Gangaram Vallabh Koovarjee

| 17. 01. 2019

20.12.1964 |

Kanak Chhaganlal Mistry

| 25.04.2020

20. 03. 1933 | 12. 05. 1929 |

Dahibhen Bhagabhai Chhaganlal Haribhai Mistry

| 20.03.1983 | 06. 07. 2011

Anita Gangaram Vallabh Mistry Nikita Kanak Mistry Hinsaben Koovarjee Kamal Koovarjee

“The sacred is never intentionally chosen, but in some way or the other reveals itself” (Eliade, 1958, p. 388).

Lead us from untruth to truth

Lead us from darkness to light

Lead us from death to immortality

Aum peace, peace, peace...

▼ Declaration

I, Kirti Kanak Mistry (student number 214110482), hereby declare that this representation of my work for the Master of Architecture degree at the Tshwane University of Technology has not been submitted to any institution before. All content and sources consulted, studied, and referred to are duly acknowledged in the texts and list of references.

12 Oct. 2021

▼ Acknowledgements This research is a tribute to my father (the late Kanak Chhaganlal Mistry) and grandfather (the late Gangaram Vallabh Koovarjee), as well as a dedication to my mother (Anita Gangaram Vallabh Mistry), sister (Nikita Kanak Mistry) and grandmother (Hinsaben Koovarjee).

It goes without doubt that every life intersected with mine deserves gratitude for having encouraged the multitudes of lessons I needed. To my nearest and dearest friends, those who shared with me this year, in the studio and virtually, and had my back in the most challenging times – words cannot express the gratitude and love for you all.

Professor Amira Osman, thank you for your support and guidance throughout this challenging year. Pieter Greyvensteyn, I appreciate your enthusiasm for everything I bring to the table, from the great conversations to the general sessions together. Thank you for going the extra mile and for always lending your thoughts. I am privileged to have been in your care.

To dear friends and extended friends who are now family (my inner circle), especially Wihan Hendrikz, I appreciate you being my soundboard and for the endless moral support and encouragement. Mohit Morar and Pieter Smith, thank you for all the help and support this year. Finally, to my mum and sister, despite these past three years being absurd, thank you for being my strength when I struggled.

Lastly, I would like to thank the Tshwane University of Technology and the Department of Architecture and Industrial Design for the financial aid in completing this year.

May the divine be with you

Dear Afrika Namaskaram, I am an Indian, born in Mpumalanga and raised in Tshwane, South Afrika.

Due to my predecessors’ constant sacrifice, despite their destitution, I am privileged to complete this degree today. Without their persistence, I would not exist.

To my beloved father (the late Kanak Changanlal Mistry - હ ુ ં તમન ે યાદ કર ુ ં છુ),ં ), thank you for your eternal embrace and support in my every decision in life. To my grandparents (the late Gangaram Vallabh Koovarjee and Hinsa Koovarjee), I have experienced the essence of ‘ family’ through your continuous and unconditional presence, being there for us in any and every circumstance.

Lastly, to my mom (Anita Gangaram Vallabh Mistry), sister (Nikita Kanak Mistry) and my cousins, thank you for the endless conversations, love, support, and prayers.

My sense of alienation within the context of South Afrika led me to pursue a topic closely related to addressing this dissonance. Through this topic, I was able to engage with others who shared in this sentiment, and in so doing, establish that I belong.

I observe that Indians have subtly influenced current South Afrika extensively through food, music, art, and even spirituality. For us to contribute better to South Afrika, it is essential to establish that we also belong here and are part of this nation. Through this dissertation, I wish to share insight into the complexity of and the lens through which we experience and view this realm.

Inspiration in my works is drawn from the Dharma (universal truth), Sankirtan (universal sound) and Yoga (absolute harmony within oneself). Being an avid follower of Sanathan Dharma (commonly referred to as Hinduism) has afforded me the wisdom and foundation for building a better version of myself and for myself.

To my fellow, brown-skinned people, I see you, I hear you.

I am an Indi-Afrikan, and I have a message to share.

Kirti Kanak Mistry | ્ત કનક મિસ્ત્રી June 2021

▶ Abstract South Afrika, post-colonisation, has been made home for several diasporas. Prior to this, people chose to migrate to this land and others were compelled by circumstances, the minority of the collective being of Indian origin. Despite living here for over 160 years, Indian communities still struggle to establish their presence and sense of belonging in the larger framework of Tshwane. Indians in South Afrika played a crucial part in the struggle against apartheid.

Unfortunately, much of their history goes unspoken, is forgotten, or is misconstrued. They were stripped of their practices and voices during this act of colonisation and its impositions. However, their resilience is evident through various celebrated festivities, such as Diwali, which continues to this day. Revealing the intricacies of culture through architecture can have an immense impact on communities.

Utilising tools such as spirituality and geometrically inclined architectural techniques encourages and provides room for learning and conversation on history and identity. Thereafter, architecture becomes the conduit for healing and ushering amalgamated cultural immersions. This project intends to investigate how geometry, applied in space and architecture, can facilitate cultural identity reclamation and enrich the lives of many that engage with it. It also seeks to provide a medium through which Indi-Afrikans can re-affirm their presence and belonging in a new and profound manner.

Keywords: Affirming belonging, collective-culture, healing, identity, Indi-Afrikan, reclamation, spirituality, South Afrikan

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Figure 1: Migration routes between India and South Afrika, the destination being Port Natal in South Afrika, graphic by author.

“Unconscious speaks of the form of otherness, the tethered shadow of deferral and displacement. It is not the colonialist Self or the colonised Other, but the disturbing distance in-between that constitutes the figure of colonial otherness” (Bhabha, 1994, p. 45).

▼ Aim Despite all the atrocities faced and unimaginable suffering inflicted, the pain and injustice from having lived these circumstances have not dissipated. Twenty-seven years into democracy and our people are still bitter whilst attempting to reconcile and amend the wrongdoing.

The intention of this study is to engage in the topic of the Indi-Afrikans belonging. To truly belong as people within South Afrika, we need to enlighten the ‘ills’ stemming from forceful relocation and segregation and genuinely engage as a nation. This study attempts to bridge the social classifications that divide the nation to be a catalyst for remedying the nation in the spirit of Ubuntu (Reporter, 2017).

I firmly believe that this topic is relevant to current South Afrika as we struggle to harmonise cultural dispositions through remedial architecture.

Despite playing a role in conquering apartheid, many Indians still feel they do not belong (Buccus, 2020). How can we collectively heal and unite as a country?

Through this research, I aim to acknowledge the struggle of the IndiAfrikans and affirm their belonging in South Afrika by using architecture as a medium to facilitate reclamation.

This intervention intends to develop a common ground to encourage an Indi-Afrikan hybrid identity unique to South Afrika. Through the analysis of space in architecture, the intervention aims to enlighten how livelihoods and collective cultural identity are maintained and shared in the expression of these cultures.

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Figure 2: Circling the sacred, geometric visualisations of the Gopura by author.

bloed street - grand street - bloed street

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“The sacred reveals absolute reality and at the same time makes orientation possible” (Eliade and Trask, 1987, p. 30)

▼ Delimitations

Several themes can surface through research and extensively increase the research scope. However, the intention is to holistically explore cultural reclamation and re-affirming identity as this study’s primary focus. Undertaking a topic of this nature can potentially tap into politics and religion. However, any such stances are not addressed. This dissertation does not deliberately exclude various cultures. Instead, this dissertation emphasises the Indi-Afrikan, their culture, and more particularly, the study of applications of geometry.

This intervention must be cognisant of Tshwane’s colonial past and conditions upheld during the colonisers’ reign. We need to recognise past cultural creations and work with the existing fabric of history to reclaim our history. This dissertation, in no way, aims to solve any socio-political issues on which this study sheds light. Instead, the study solely focuses on architecture and space as a medium for spiritual indulgence, expression, and impact on people.

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Figure 3: Exponential space as a sketch by author.

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PRAKRUTI | Forming Substance |

Chapter 2: Within this chapter, we establish this dissertation’s theoretical and historical base work. The journey begins with exploring spiritual Indian architecture and follows through with the displacement of Indians to South Afrika

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Vernacular definitions The following definitions are understood from the online Britannica encyclopaedia (Encyclopædia Britannica, Inc., 2021 :online)

Gopura (n) / ˈɡəʊpʊrə / A gateway that borders the threshold to a microcosm. In India, these structures are prominent entrances to the sanctuary of a temple ground and are generally situated in alignment with the cardinal directions (north, south, east, and west). The tiers are decorated with statues and carvings that visually relate epics of the deity housed in the temple.

Murti (n) A physical embodiment of the divine. On several occasions, people misunderstand the uses of these visual idols as the “God” itself. However, in Hinduism, it is a medium symbolic of the characteristic a devotee pursues.

For example, Ganpati (the deity commonly depicted with an elephant head) is symbolic of triumphing over difficulties through sharpening one’s acumen through knowledge and understanding.

Shikara (n) / ʃɪˈkɑːrə / A Sanskrit term that defines an element that resembles the mountain peak, curvilinear and conical in shape. This term describes the temple presence, which is most prominent in ancient Indian temple architecture.

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▶ 1 - Journeying within Ancient India ◊ Art and detail in temple architecture Architecture has evolved since the inception of humankind, from basic shelters to elaborate structures. Traditional Indian architecture appears to tap into the mysticism of universal laws that govern the cosmos and its complexities. Panday (2013, p. 20) notes that good spatial design employs several subtle cues that influence the total perceived experience of space.

Temples employ elements of dynamism and layering and use visual perception cleverly. They are successful in impacting people positively by allowing users to contemplate epics through sculptural elements. The manipulation of light amplifies the ‘dynamic state’ of sculptures throughout the day and the shadows cast evoke various visuals and animate spaces differently (Panday, 2013, pp. 26–28).

Architecture mediates people’s senses and physiology, including the emotional and associational elements stemming from familiarity and preconditioned exposures. These aspects speak to the spiritual awakening one can witness through the journey within temples, from ascending into space and viewing the increase in the volume of space to the constant visual connection to nature despite walking through a built form.

Transitioning through space fortifies the journey from the corporeal through to the spiritual dimension(Panday, 2013, pp.

22–24).

Spatial definition and transitions become integral to the user’s experience and psyche. This understanding that we live in that we create and how it can affect us in every possible way can lead us to live more consciously.

Various temple entrances inner and outer domes have significant visuals of fractal geometry. Fractal geometry can be considered the equivalent of poetry as it is essentially self-similar as it replicates itself at various scales (Joye, 2007, p. 5). p. 30

Figure 4: Nataraja Temple in Chidambaram (Dandapani, 2011) expressing layering, fractality and dynamism of space within architecture.

Nikos Salingaros (2012, p. 13) conducted experiments that strengthened his statement, “[V]iewing spaces or objects containing fractal geometry properties positively affects people’s psyche”. Traditionally, geometrical art was applied through mediums such as art, clothing patterns, and architecture, and Salingaros (2012, p. 13) found that when gazed upon, these inclusions significantly reduced stress experienced. Thus, exposure to fractal geometry aids the process of rejuvenating and relaxing the viewer.

The modernist movement had environments sterilised and disregarded the attention to fractal detailing and art. Any form of enclosure or shelter evokes a subconscious response within the user. Salingaros (2012, pp. 20,21) explains that elevated stress levels result from enclosures stripped of fractal and geometric details.

Traditional mediums within the Hindu culture seemed to have ingrained such wisdom in their attire, arts, artisanship, and places of congregation. These subtle inclusions have always benefitted people subconsciously. p. 31

Placing people at the core of architecture alters the definition of spirituality and its engagement with surroundings. People are inherently inclined to understand the phenomena of transcendence better when creating enclosures that allow space to be meaningfully imbued. The truth remains that a human’s time is limited, and architecture outlasts us by far.

Still, the energy that exists in a space after its being lived in is imperishable and lasts longer than the remnants of buildings.

Throughout time, people have used remnants of architecture to weave timelines of history and mythology, and were the foundations for reclaiming memories of the forgotten spirit and epochs. In Hinduism, the spirit is described as effervescent and indestructible energy (Swami Shivapadananda, 1988, C2: p23).

This energy is sacred and pure, and one needs to be receptive to experience it.

Figure 5: The heavens above meet the earth below, and people are the passengers in the horizontal plane capable of experiencing both expressions. Sketch by author.

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Figure 6: Authors expression of cosmic thinking relating to space making.

Sketch by author.

In many ways, the hand that crafts the building leaves a bit of the creator’ spirit within its form. Similarly, crafting architecture reflects an impression on its surroundings and viewers who may look to it. Thus, architecture becomes the conduit for exploring the metaphysical and re-invoking the spiritual and sacred in all its applications. In addition one should treat architecture as sacrosanct so that it may be more meaningful in its craft.

If architecture is resilient, then civilisation is persistent.

However, today’s focus shifts away from the sacred and spiritual in the drive for invention and materialism. To redefine what spirituality can introduce in architecture outside of religion, we must understand such historical spaces’ attempts and significance. p. 33

▶ 2 - Aligning to

Temples

Figure 7: Capturing the metaphysical experience and geometric expression of the Gopura in Marabastad, composed by author.

◊ Temples as sanctuaries and hubs Temples are markers of great spiritual significance and function as reminders of the need for humility. Temples are a conduit for reaching the divine, that exists beyond us and our current frame of intelligence. Temples are the place where people are temporarily stripped of their accumulations (ego, persona, and thoughts) and become one unified collective.

“A religious symbol conveys its message even if it is no longer consciously understood in every part. For a symbol speaks to the whole human being and not only to the intelligence”

Figure 8: Dravida Style architecture (Temple Architecture, 2021)

(Eliade and Trask (translater), 1987, p. 64).

Ancient India displayed dichotomies in temple variations in the northern and southern regions. These polarities are distinct due to the various influences of conquer-ship and translation of hierarchies and expressions of art.

Figure 9: Nagara Style architecture (Temple Architecture, 2021)

The northern regions of India practised the Nagara style of architecture that places higher significance and emphasis on the abode of the divinity, where the murti (the embodiment of the divinity) resides (Temple Architecture, 2021).

The planning and detailing of the temple draw reflections in sacred geometry and symmetry. The shikaras (‘rising tower’ in temples) increase incrementally in size and exponentially in height. These shikaras are reminiscent of one’s journey through spirituality and serve as a reminder to the devotees of their path to attain moksha (liberation) by transcending their own imposed limitations, which is also achieved by ascending into the sacred space.

Southern India had explored an architectural style known as Dravidian architecture. Various iterations exist, the most famous being the Nataraja Temple in Chidambaram and the Rājarājeśvara Temple in Tanjavur (Branfoot, 2015).

The gopuras (the entrance gates) can be understood as architecture’s expression of form relating to expanding energy and unfolding nature within the space of the

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Figure 10: Shikara’s are the expression of fractal art in temples. (Nangia, 2021)

divine, at the epicentre of the temple. Through the evolution of architecture, predating the| eleventh century, the gopuras became iconic to southern Indian temple construction (Branfoot, 2015). Their placement (based on the cardinal directions) is symbolic of the divine’s gradual revelation of the devotees’ journey. Its tiers are embellished with colour, sculptures, and artistic expressions respectful and cognisant of its deity’s mythos. The gopuras themselves range from eight to sixty metres in height (Branfoot, 2015).

The commonality in all temples lies in the function, planning, and placement of the divinity on a central axis at its epicentre. Historically, temples were earmarked as a place for celebration, education, and divination.

Figure 11: A temple in relation to a person’s subtle body, chakras and passage of life (Sreenivasarao, 2012)

Moreover, the temples were the location for unification – between devotee and deity, and spirituality and intellectualism. Temples are symbolic of the marriage of the imagined heavens and rooted earth. The temples extend to the unification of people in matrimony and also functions as a place of solace.

Temples were encapsulated with activities that supported functions and celebrations within their spaces. Temples were central to the idea of spirituality and featured as markers for its neighbourhood. The gopuras stand visually tall, overlooking the city, making them difficult to miss and allowing people to orient themselves geographically with their surroundings.

Figure 12: Plan of Tirumala Tripupati Temple and the deity is located at the epicentre.

(Sreenivasarao, 2012)

Fractal geometry self-replicates a geometrical shape at various scales (Joye, 2007, p. 5). The use of this fractality is visible on a plan view. The borders of these temples replicate and create spaces within spaces and courtyards within courtyards. This concept extends vertically as well. The gopuras themselves have dimensions of fractality where each tier gradually decreases in size as it ascends and carries the vertical and horizontal elements of the tiers below.

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◊ Architecture within a spiritual realm It is a fundamental desire for any person to be more than what they are, for each person possesses an insatiable longing within their soul to learn and be eternal in whichever way they may be. Such seeking can be classified as a search for spirituality. If this term is stripped bare, it would be equated with awareness through possessing an understanding of oneself and one’s surroundings (Gunjal, 2018, pp. 8–10).

Movement within and throughout people (through activities such as yoga) is often enacted through the individual’s will. In the same way, movement may have a similar outcome when this logic is embodied in an intervention.

Several factors influence a user’s awareness, including light, temperature, material, space, and even colour, otherwise associated with the ambience (Gunjal, 2018, pp. 23–25).

Architecture functions as the conduit to replenish, shelter, and realise the physical capacity of creating identity and establishing belonging.

The built form facilitates a user’s needs that extend beyond secularism and religion. Our current era has dissolved and limited architecture to footprints, budgets and capital gain.

However, profound needs within the soul cannot be addressed through such limitations (Bermudez and Ott, 2015, pp. xii–xv).

Spiritual transcendence cannot be defined in architecture because the concept of ‘transcending’ pushes the known

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boundaries to that of the unknown.

Furthermore, the experience of transcendence is not limited to a single aspect as it covers ground in multiple facets of life.

Spiritual awakenings can be experienced through journeys undertaken, activities immersed in or carried out, and perhaps visual engagement in built environments (Bermudez et al., 2015, p. 8,9). The journey through architecture that has applied understandings in light, texture, and shade can dramatically enhance people’s well-being.

Ott (2015, p. xiv) states that “pleasing our eyes is not the same as pleasing the soul”. He elaborates by saying, “architecture that has removed the ‘opacity’ hiding life’s meanings so that we can catch a momentous and revelatory glimpse” implies transcendence.

Transcendence allows people to experience elevated levels of joy (2015, p. 22).

This definition of spiritual transcendence seeks to move beyond modernisation and is utilised as a process to facilitate ‘healing’ from the disruption that is a consequence of human conditions.

Spiritual transcendence explores topics of displacement and genuinely dives into space as a spiritual space regardless of ethnicity, tradition, and religion.Spiritual transcendence itself may not need to be inclined towards a religious approach but rather towards servicing humanity and elevating them beyond their individual selves.

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▶ 3 - A passage to

Afrika

Figure 13: Nolly map of Pretoria with Marabastad highlighted in relation to the known landmarks, overlayed with the composed geometric tapestry by author. p. 41

◊ Acclimatisation of cultural identity Migrating to South Afrika was a struggle for many of the indentured labourers and traders originating from India.

Life was harsh, and conditions were decrepit. Yet, in many ways, being displaced from home transformed the South Afrikan “Indianism” classification and many of the practices (Vahed, 2010, p. 619).

Figure 14: Indentured labourers arriving in Port Natal (SAHO, 2019 b)

Caste classifications are succinct in India as they had played a considerable part in how societies function. The caste system within Indian communities in South Afrika partially fell away as they had to adapt to colonialists’ distinctions. In order to defy the repressive power of apartheid, these distinctions had to be buried to stand firm in unity (Vahed, 2010, pp. 616–618).

Indian South African Communist Party members aligned themselves with the ANC (SAHO, 2021) and many other unions formed for the people of “blackness” in the uprising for liberation. This liberation movement’s aim was realised in 1994 with the first democratic election.

Identity and practices in religion are malleable and can acclimatise themselves in various environments. Indians in India are different from those in Afrika; the origin and the evolved practices are rooted in India but have adapted and acclimatised differently in new territory.

Figure 15: Art titled Indian Trader (Art: Nanackchand, 2021)

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Lifestyles (in the form of foods, dances, and various traditions) and spiritual and religious practices altered dramatically under the oppressive and dogmatic system.

This system inherently eradicated a significant factor

that constituted most practices, and the remainder had become the maintained essence.

Nations that have triumphed over oppression still carry traumas and a sense of alienation. There is a chase to provide for people’s shortcomings, but that does not address the conflict that resulted from oppression (TEDx: Degan, O., 2019, p. 00:07:35). Life moves forward, but it still bleeds. Healing can only occur once these matters are addressed and openly shared.

There is a disconnect between the past and the present that hinders growth and change. Tapping into this disconnect to form connections creates conscious architecture and brings about a sense of ownership.

Figure 16: CODESA, a patriotic front formed by 92 organisations, in 1991, to oppose apartheid Constitution Hill Trust, 2017).

Establishing identity and reconnecting communities to their roots develops a sense of belonging in space(TEDx: Degan, O., 2019, p. 00:13:00).

Degan (2019, 00:13:00) states that cultural identity is essential to establishing forms of belonging. However, South Afrika has a disconnect between the Indians and their belonging; often, the associations are kept with India despite Indians being born and living in South Afrika (Buccus, 2020).

Cohesion within communities and societies is mediated by architecture providing ground for all discussions. In sharing experiences and livelihoods, a cultural hybrid of Indi-Afrikans can be moulded into the fabric of “IndiAfrikanism”. It is through bridging alienation and identity that the collective can genuinely be unified.

Figure 17: First democratic elections in 1994 (Telkom SA, 2003)

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This study is predicated on historical unfolding and current constructs that prevail in South Afrika. The most appropriate approach for this study is through the lens of the constructivist worldview. Constructivism leads to the composition and generation of complexities within the understanding and theorising of existing structures (Creswell, 2008, p. 5).

Constructivism is suitable for this topic as it is flexible and comprehensive of the ‘changing ways of life’. For the best possible outcome, this research needs to be subdivided into four categories. These categories are the historical and urban context study (covered in Chapter 2 of the book), the cultural study (covered in Chapter 3 of the book), and the programmatic study and architectural study (covered in Chapter 4 of the book).

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City

y ud st

H is to r

y

xt te on C Proposed Precinct

Site

am gr ro P

A rc hi te ct ur e

Site

Precedents

◊ Site selection criteria ◊ Near a marker of Indian inclined significance.

This pointer is integral to position the discussion around the reaffirmation of Indi-Afrikans. It alludes to the vicinity of residing, whether it be prior or current. Therefore, this marker strengthens the belonging of Indi-Afrikans in terms of space-making.

◊ A level of spiritual significance.

Spirituality is a significant factor in this dissertation’s undertaking, especially since spirituality alludes to conscious living in many ways.

The chosen marker should encourage Indi-Afrikans to voice and reclaim their history.

◊ Must have a historical background that can be reclaimed.

In many ways, the history of Indians in South Afrika is stripped and side-lined due to being part of a minority race. Memories are shared within families and that is where the memories stay, resulting in the larger South Afrikan population knowing very little about the memories. This intervention should become the place to enlighten others of the gruelling past faced by the Indi-Afrikans.

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THE SPECTRE Entering the remnants of Marabastad The air itself crisp with a bite Curious onlookers stare unapologetically For what I might transgress Upon their sacred grail strained with strife The taxi’s screaming in their idioms Beep be-beep beeps’ Often in frustration of the lull Barring roads in proclaimed ownership How else might they survive in the system That downplays their servitude Begone ! You do not belong !

Hurtling forward, to tuck away from the rush My eyes are drawn to the Gopuram It’s poignant Magnificence The struggle now a minor scratch For the destination of pilgrimage revealed KIRTI KANAK MISTRY | 21-06-04

◊ Timelapse of triggers

Marked in red is all the events that influenced Marabastad as well as the Indians residing there-in.

Figure 18: Photograph of Marabastad taken in 1905 (Tayob et al., 2002, p. 33).

Figure 19: A British camp outpost bordering Marabastad (Naidoo, 2007, p. 84).

Figure 20: Natives areas are demarcated (Naidoo, 2007, p. 14)

Figure 21: Spatial and racial planning within Marabastad (Tayob et al., 2002, p. 42).

Figure 22: Spatial and racial planning within Marabastad (Tayob et al., 2002, p. 42). p. 49

Figure 23: Passive resisters from the Asiatic Bazaar (Naidoo, 2007, p. 84).

1934

1965

Figure 26: Density degradation after enactments of policies (Tayob et al., 2002, p. 50) Figure 24: Empire Bioscopes advertisement (Naidoo, 2007, p. 159).

1998

2021

Figure 27: Spatial degradation after enactments of policies (Tayob et al., 2002, p. 50) Figure 25: Freeway proposal over Marabastad (Tayob et al., 2002, p. 52) p. 51

▶ 4 - The Pretorian outpost Following mineral discovery and the termination of contracts for indentured labourers, various marginalised groups (Indians, Muslims, Coloureds, and Asians) began migrating inland for better opportunities. Some settled in Mpumalanga, and others moved to locations within Johannesburg and Pretoria.

In Pretoria (now reclaimed as Tshwane), Marabastad was the first multi-racial township to have existed and flourished within the fabric. Marabastad was the root of the evolution of jazz culture and illegal beer breweries and was home to renowned writer Es’ kia (Ezekiel) Mphahlele.

The town was awash with the influence of Indians in their making and selling of achaar and spices, to the screening of spectrums of movies in the Orient, Royal and Empire theatres. Marabastad houses the Mariamman Temple and the Aga Khan Mosque in Mogul Street, which is still used today.

Figure 28: Boom Street in 1973 (Clarke et al., 2008, p. 53).

Due to limited resources, poor physical living conditions, a lack of adequate infrastructure, neglect, and imposed restrictions, Marabastad was consequently painted as a slum of Pretoria (Tayob et al., 2002, p. 16).

Rapid informal urbanisation triggered the expansion of boundaries to house natives and people of “otherness”.

However, their presence sparked further impositions of regulations and policies restricting Afrikans and Indians, with little to no care for living conditions and infrastructural development(Tayob and Pienaar, 2002, pp. 32–36).

The autocrats allocated additional land to the south of Marabastad for trading and skills provision, and the location was subsequently labelled the Asiatic Bazaar

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Figure 29: Looking West on Grand Street (Clarke et al., 2008, p. 24).

in 1890 (Tayob and Pienaar, 2002, pp. 43–44). The settlers, including the natives, were denied citizenship and ownership.

The fall of this multi-racial hub was the consequence of the enactment of the Group Areas Act of 1950. Forced removals and reallocations ruptured the built fabric and life within Marabastad. As a result, very few physical remnants serve as a reminder of the historical presence infrastructure along Boom Street being the most preserved, although in a dilapidated state.

Figure 30: Grand Street in 1973 (Clarke et al., 2008, p. 53).

Figure 31: East on Grand Street (Clarke et al., 2008, p. 30).

Currently, Marabastad is a commuters thoroughfare to the CBD, and thousands of feet traverse it to get to and from their work. The shops and informal traders along those streets rely on that volume to earn their daily bread.

Figure 32: Remaining fabric in Marabastad by author.

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Marabastad had an array of ethnicities, Afrikans, Indians, Muslims, Chinese, and Cape Coloureds.

They were segregated in various locations within Marabastad, yet there was a cross-pollination to acquire necessities.

“There always lingered in the shop a delightful spicy smell” (Mphahlele, 1959, p. 33).

Marabastad relied heavily on the sales of those of Asian descent as their prices were more affordable than those within the city centre. The sales of spices and Indian savouries - achaar included - sparked creations and adaptations of foods such as curries, bunny chow, kota and sphatlo (Mmakgomo, 2017).

In many ways, colours and vibrancy flooded the streets and fabric of Marabastad.

Due to rapid urbanisation, more amenities were allowed to be constructed; this included the

bioscopes (the Royal, Orient, and Empire bioscopes), the Columbia Hall, and a sports field. In addition, the exposure to silent cinematography gave rise to audio expressions, predominantly the use of pianos.

Thus, the jazz era began. Several evenings a week would be an endless amount of immersion in freestyle jazz culture. It inspired the rise of nowfamous artists such as Mariam Makeba, Hugh Masekela, Abdulla Ibrahim and many other noteworthy composers.

To preserve the remnants of history, the South Afrikan government chose townships housing people of colour to be ‘frozen’ (Patrick, 2016, p. 18) under the Community Developments Act 30 of 1967.

In reconciliation, erfs were re-allocated and reinstated to families who had entered the tenure contract and had occupied land previously.

Figure 33: Desecrated homesteads in relation to landmarks adapted from google earth by author.

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Figure 34: a. Stands owned by the SPHSS group (SPHSS, 2021)

a

b

Figure 35: b. Low income housing development progress.

Image taken by author.

Figure 36: Current and future development locations indication by author, 2021.

“There was an ironic stability in the temporariness of the workers as they went out the same way as they would come back.” (Mphahlele, 1959, p. 70).

Considering the 1934 Slums Act of the apartheid regime and sequentially the Group Areas Act of 1950 (Naidoo, 2008a), the survival of the temple in Marabastad is symbolic of the triumph following the abolishment of apartheid.

This temple is a voice for the Indi-Afrikans. In many ways, its presence reinforces the Indi-Afrikans belonging and presence in adventitious surroundings. It is symbolic of strength displayed by the many in the struggle against enactors of oppressive circumstances.

Figure 37: The Gopura of the Mariamman Temple (Clarke et al., 2008, p. 24)

Stands have also been reinstated to the local Indian community board known as the Shree Pretoria Hindu Seva Samaj (SPHSS, 2021, 47:00-52:30). They intend to develop a business model to promote locals operating in the area and generate some income that will aid in hosting celebrations and festivities for the Indian locals residing in Tshwane. p. 57

I AM NOT I

Glacial gridirons charted on a virginal geographic space Hostile lines mutilating guiltless suburbs on venal grids Perverse and phony simulations splitting a city with heartless quantities of condescension Colour codes like punishing fractions, dividing spaces to preserve matrixes of unfair priviledge Cities like a pie charts cut on hegemonic vertices and tabled on oppressive ‘other’-hood Horizontal breaks Concentric hierachies White, Black, Coloured, and IndianSegregated quarters like licentious ciphers for ethnic aversion A spatial despoliation lining pockets of land-like pillories To renounce the fake foulness Of Our Foreign cultures And The Fictitious Fear Of Our Infectious Blackness

ZAYNAB JAYNIE DAWOOD (Dawood et al., 2017, p. 100)

AS IT WAS BEFORE

Marabastad People once lived there Now memories like ghosts wander through the ruins of a derelict bazaar Crushing,senseless echoes of a ceaseless pining for a homecoming Of a tumbled-down, dusted checkbox boondocks Long -turned; a shell stamped on with sappy sentimentalities Shredded and swung by a bleached, scorn-to-style, snow-white town A ghetto filled side by side with Africans, Indians, Coloureds and Chinese Stiffened and sequined by squeezes of solidarity Swarming with rainbow faces and swarmed with loathing flies Scintillated with flavours and scintillating with shrilled sounds Splattered with hues and splattering with stirred snifters Smouldered with fumes and smouldering with smut Scarred with snubs and scarring with sneers Swelled with spite and swelling with joy Seethed with castaways but seething with slaked splendour Marabastad A squalid, spangled, sacred place A sanctuary for a downtrodden and discarded people A Haven No More a sanctuary for the divine Heaven ZAYNAB JAYNIE DAWOOD (Dawood et al., 2017, p. 101)

Figure 38: The energy of the “collective” in Marabastad, collage by author.

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▶ 5 - Proposed site

Figure 39: Proposed sites for the intervention marked in red. White square indicative of the temple. Image adapted from google earth by author.

The most suitable site for this intervention is situated in Marabastad, sandwiched between two well-known arteries – Bloed and Boom Streets. The site itself lies to the exterior of the Mariamman temple, making it ideal as a conduit for channelling the intention of establishing a precinct.

Officially launched in 2010 to the south of the proposed site is Jazz Park, a project undertaken by the Tshwane Metro Council to revive Marabastad’s lost culture and vibrancy. For many city-goers, Jazz Park facilitated the formation of a community and provided commuters with a place for resting and connecting.

Grand Street is alive with activity and passengers; traders set up temporary tents and lunch spaces along these busy edges to accommodate the customers. Behind the temple, the ground lies awash with rubble and ash. It is an area wholly disregarded that reflects the erasure Marabastad faced. This portion of the site is used to traverse from Grand Street to Bloed Street and is mainly occupied by taxis that await their travel times. p. 62

Figure 40: Sketch of the proposed site behind the temple by author.

Figure 41: Formal and informal trade occurring around the site by author.

A DAY IN THE MARKET PLACE

On the busiest corner, the cream Orient Reflects the streets engulfed with worn faces A few watchful eyes hang about Taking cover at the entrance of a newly painted spice shop ‘Hallo! How much is this?’

A customer enquires boisterously before shortly returning to the steady hum of shoppers Filling the isles in push and banter Steam fills the pavement and feet pulse The steady ‘thumm’ of the engines Reverberate in caution to the winds that sail With the occasional ‘ding’ of the cash register Ah! Perhaps this… This is the spirit Echoing in the observers unaware

KIRTI KANAK MISTRY | 21-06-04

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SATTVA | Harmonius Stability |

Chapter 3: This chapter delves into the complexities surrounding culture and identity and the applications of geometry therein. Furthermore, this chapter expands on the symbolism and interpretations specific to the diasporas within Marabastad. It further concludes by divulging an understanding of how space is memory and how the intersections of lived spaces influence the dynamics of Marabastad.

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Vernacular definitions The following definitions are understood from the online Britannica encyclopaedia (Encyclopædia Britannica, Inc., 2021 :online)

Circumambulation (v) /ˌsəːkəmˈambjʊleɪt/ The act of circulating around an object or space in a clockwise direction. This movement is said to invoke the divine to bestow the devotee with good fortune and prosperity. Spirituals embark on this journey to elevate their spiritual inclinations, honouring the divine residing at the epicenter and by doing so attaining moksha. These paths are typically trace around temples, neighbourhoods, and also cities.

Consecration (n) /kɒnsɪˈkreɪʃ(ə)n/ The process of creating or declaring a space to be spiritual. In Hinduism, it involves the preparation of space to manifest and channel the divine energy that exists within us into higher vibration levels (Isha Foundation, 2012).

Gopura (n) / ˈɡəʊpʊrə / A gateway that borders the threshold to a microcosm. In India, these structures are prominent entrances to the sanctuary of a temple ground and are generally situated in alignment with the cardinal directions (north, south, east, and west). The tiers are decorated with statues and carvings that visually relate epics of the deity housed in the temple.

Shilpa Śāstras An ancient Indian manuscript that details principles and fundamentals for arts, crafts, and detailing, that are relevant to architecture. It has topics rooted in iconography, proportions, and compositions of sculpting.

Vāstu Śāstras An ancient Indian manuscript that details design principles for various building systems and occupations.

It has a cosmic alignment to where functions are most suited and appropriate to enhance the users’ experience when living in that space through a designed mandala that understudies underlying geometry and its applications. p. 67

▶ 6 - Cultural cohesion in geometry Geometry exists around all of us, within us and through us. It is the most consciously used tool in cultures, and each has its ideals behind its applications. Looking back to Marabastad, the several diasporas in the area lived alongside the natives and used geometry that stemmed from their ancestral roots.

This section covers the Ndebele (natives of Tshwane), the Muslim, and the Indian study of geometry applications as a basis for extending the Indi-Afrikan identity.

Due to colonial distinctions, the Muslims and Indians were grouped as a single race. The two ethnicities have a considerable variation in celebrations and conducting of religious ceremonies, and spoken languages.

Note: Various rituals and traditions have deep symbolism, meaning, and mythology rooted in austerities. This section shares a brief insight to provide the fundamental understanding for the application into this thesis.

Further research can be done of one’s own volition.

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AFRIKAN

MUSLIM

GEOMETRY

HINDU

Figure 42: Concord of ethnicities, diagram composed by author.

◊ Geometry for Ndebele Cultures do not reside in stagnation, in fact they are kinetic. The natives of South Afrika existed in regions from now known as KwaZulu-Natal, Mpumalanga, and Gauteng, and across the border into Zimbabwe (Gray, 2020). Through disruptions and forceful displacements caused by the Boers (Gray, 2020), the Ndebele tribes migrated inland, and translations of the geometry expression occurred.

Art manifested and became their symbol of reclamation and rebellion. Art was a means to express the pain and display resistance to imposed power.

After that, art became a medium to communicate with other subgroups of the same ethnicity (Hoard,

2000). The art is translated to describe everything about the wearer and user. Translations range from their marital status, age, social class, homesteads and extends to their spiritual state and daily life.

Such complexities are aligned with the use of colour and are essential in identifying emotions and social stances. For example, white is associated with ancestors and purity, red can symbolise woman and fertility, and blue can relate to notions of love (Fox, 2017). Initially, earthy hues and tones (such as white, brown, and black) were used before introducing various colours.

Figure 43: A Ndebele homestead. (Reinventing Resistance: The Ndebele Tribe’s Geometric Wall Art, 2020) p. 70

Figure 44: Dr Esther Mahlangu’s Art Collection (The Melrose Gallery, 2020, pp. 5–30)

Pattern compositions are a language and are instilled with deeper meaning over time. The Ndebele’s art was initially used in their attire and beadwork before extending to their dwellings as time progressed.

The most symbolic shapes used are triangles, squares and rectangles. The triangle symbolises the family, a mother, a father and a child (Bhuda, 2019, p. 47).

Various configurations of the triangle, such as an hourglass or diamond shape, have various meanings.

The use of geometry for natives defined how homesteads were created. Geometry studied geological features to allocate functions spatially and assisted with the formation of villages.

The homesteads are cylindrical with conical-shaped roofs made from grass, and the walls are plastered with adobe or dung before being adorned with art.

This cultural creation became locally and internationally synonymous with the Afrikan identity. Geometric art is a powerful visual relating the Afrikan story and the triumph of survival through oppression.

Geometric art and design are at the core of the Ndebele identity, and they are skills preserved and shared with its youth for generations to come. Life is art. Art speaks to life and art shares life.

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◊ Geometry for Muslims Decorative geometry is deeply rooted in Islamic culture. Ancient manuscripts describe mathematics and its rules to create meaningful geometric visuals that are progressively used in places of worship (Ali, 2020).

The shapes commonly used are lines, circles, squares, and triangles. By applying and superimposing these shapes upon each other, a complex template is formed. These shapes are designed in a tile before being replicated and rotated to create a tapestry of tessellations and fractality. Figure 45 is one such example of the application.

Figure 45: Layering of shapes and extensions to form a tapestry (Ali, 2020)

The template began as a circle subdivided into equal parts. With a further extension of division lines, various circles are imposed at intersection points and from this, a template is extrapolated.

For Muslims, the applications of complex geometries are preferred over a physical objectification of the idea of God. There is a strong belief that one must experience the phenomena of the almighty through the intricacies visible in screens and rooms, further explored in the form and spatial design.

These tapestries became the visual expression and statements of religious and philosophical ideas (Norman, 1998).

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Figure 46: Vitruvian man based on the golden mean proportion system (Dabbour, 2012)

Geometry is quantitative when regulating order and constructing forms and qualitative when addressing proportion and expressing the form.

The shape echoes unity and reflection and is considered the blueprint of the creators’ source.

The most commonly used system is the golden mean proportion system, which reflects the nature of multiplicity within geometry (Dabbour, 2012).

Figure 47: Multiplicity in unity, referring to wholeness(Dabbour, 2012)

The use of architecture dramatically changes the way one lives and experiences space. Selective spaces are allocated for specific purposes, resulting in the evolution of applications of geometry within those spaces.

It is noted that geometry has the power to influence the physical space for manifestation, and thus more attention to detail is given to such spiritual realms (Irfan, 2019). The domes overhead, within spiritual areas, carried the most significance.

The domes intend to make physical the non-physical and point to the concept of transcendence and harmony of space(Irfan, 2019).

Figure 48: Detail and influence of geometry(Owen, 2012)

In Islamic architecture, geometry is used as a selfguiding tool and a window to the inner laws of space and place. It is the basis for understanding the construct of nature and life. Thus, architecture is strongly related to cosmology, philosophy, and symbolism.

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◊ Geometry for Hindus The employment of geometry is fundamental to the life of Hindus. Its use is evident in talismans used for visual and physical rituals, art forms and several other aspects of life. These practices are rooted in the Vedas, an ancient collection of scriptures that details guidance and discourse on living. The Vedas include topics ranging from livelihoods and lessons to spiritual and metaphysical expansions.

The Vedas contain scriptures known as the Shilpa and Vastu Śāstras( pronounced as Shastra). These shastras cover arts, sculptures, and composition principles for temple architecture and decoration. The Vastu Shastra (vastu means ‘dwelling place’ and shastra means ‘science’) covers geometry, geography, geology, cosmology, and even mathematics in the applied design of spaces ranging from spatial planning of dwellings to design principles for cities.

The Vastu Shastra notes the importance of fractality

Figure 49: A temple as the subtle body(Sreenivasarao, no date)

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Figure 51: Vastu Mandala imposed on Chandigarh, indicating master plan rationale and key landmarks within the neighbourhood (Chakrabarti, 1998, p. 197)

and geometry as one of its primary underlying principles. It mentions a vastu purusha mandala (vastu denotes the site, purusha represents the form, and the mandala the application). The mandala can be visualised in the form of four squares, nine squares, or expanded accordingly based on the applications as needed.

The mandala was a key generator for city and dwelling planning in India. It was also vital in scaling to micro levels, such as the placement of windows and doors within the human scale (Chakrabarti, 1998, p. 64).

Figure 50: A decorative iteration of the Sri Yantra, a common talisman used in Hinduism (Creativemotions, 2018)

Each square within the mandala is used to locate and coordinate rooms for specific activities, and it identified which direction was best suited with which activity(Ravi, 2008). The mandala was generated to form a template for spatial planning in response to India’s climatic conditions. In South Afrika, the use is extended to assist in placing worship spaces in their ideal position, as well as developing dwellings to suit South Afrika’s climate. p. 75

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Figure 52: The original Vastu Purusha mandala (Ravi and Minu, 2008).

Figure 53: An interpretation of the mandala for a dwelling (Ravi and Minu, 2008).

Figure 54: The Purusha interpretated in relation to the elements (Ravi and Minu, 2008).

Figure 55: The mandala reflected in temple planning and the positioning of the deities accordingly (Sreenivasarao, 2012).

Figure 56: Proportions guiding the design of temple art (La boite verte, 2015).

Figure 58: Proportions of the scultpures as per the Shilpa Shastras (Sreenivasarao, 2012).

Figure 57: The temples proportions in relation to the divine (Sreenivasarao, 2012).

Figure 59: A dance form as per Shilpa Shastras (Sreenivasarao, 2012). p. 77

▶ 6 - Reconstructing Indi-Afrikan’s culture Indians are exceedingly known for their vibrancy in arts, attire, Bollywood, foods, festivities, and rituals. Every creation and expression possesses its technique for execution. Rituals have a geometric language that is subtle but influential and is deeply integrated into the lifestyles and livelihoods of the Indi-Afrikans. This is elaborated on within this sub-chapter.

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In rituals, based on observations, the use of geometry is far more extensive and metaphysically intended. Any form of spiritual offering begins by ringing a bell, and the intention is to sharpen the focus of one’s mind. After that, lighting a lamp and sharing the incense smoke in the clockwise cardinal directions are undertaken to prepare the space for manifestation.

This action intrinsically acknowledges the energy flow within us. As in chakras, so as in the cosmos. These actions are carried through for all the festivals and austerities undertaken by the Hindus.

Many festivals form part of the Indi-Afrikan culture. The most prominently celebrated festivities celebrated in South Afrika covered in this section are Holi, Navratri, and Diwali, followed by New year (Navuṁ varṣa). The observed lesserknown but significant festivals include Maha-Shivratri, Holi, Ganesh Chaturthi, Hanuman Jayanti, and Krishna Jayanti.

These festivals are deeply rooted in mythos and carry symbolism and wisdom which one can pursue at one’s own will.

Figure 60: Hindus notes the existence of chakras within the human body. Chakras are energy in oscillation. As energy circulates the human body in clockwise direction, so does the moon in relation to the planet earth. This oscillation is evident cosmically. Sketch by author.

Holi is widely recognised as festival of colours. The celebration of this festivity carries the significance of cleansing a person’s misdeeds and starting afresh in life through p enance and prayer. The ritual includes offerings into a giant pyre and circumambulation before the play with powdered colour occurs. Legend states that Holi is the triumph of good over evil alongside the ushering in spring.

Legend says that Holika, the kings’ sister, lost her life trying to trick the demon into taking a place next to her on the pyre, with her son, who was tortured. Her life was foregone, but her cloak fell from her around her son, saving him (India Today, 2018). On this day, the tradition is for mothers to hold the fast to pray for their children’s long life.

Navratri is the annual celebration of nine nights and is the most significant event for the Hindus. It involves nine days of intense prayers and soul-cleansing before the evenings commence with dance celebrations. Traditionally, people form small to large-scale circles and dance in p. 80

Figure 61: The oscillation is evident in the cycle of time, life, and prayer. Life is cyclical, there is a start and an end. Hindus are firm believers in reincarnation, there understanding is that one needs to do penance which can help attain moksha and in doing so, break the cycle of reincarnation. Sketch by author.

clockwise direction. The purpose of the dance is to take the devotee on a spiritual journey through physical exertion and penance. Mythos states that a demon, Mahishasura, was granted a boon of immortality under the condition that a woman could defeat him. When his arrogance inflated and he attacked the realms, the goddess took on nine forms to defeat him (TOI-Online, 2021). On each day of Navratri, these nine forms are worshipped.

Figure 62: Energy in oscillation as it ascends in progression. When this rationale is applied in temples, devotees are in prostration to recognise the divine as that form of energy and ultimately align themselves to that energy. Through offerings into fire, one is able to focus and channel such energies to carry with them in their journey or undertaking in life. Sketch by author.

The 10th day after Navratri (known as Dussehra) is noted to be the day where Rama defeated Ravana in a war. This epic is titled Ramayana and forms part of the teachings which constitute Hinduism. This festival commences before Diwali as it marks the conclusion of an old era, and the conclusion of the wars.

Diwali/Deepawali is known as the celebration of lights. There are approximately 12 legends behind the festival of this day.

The widely known reason for celebration is the epic where Rama returned to his kingdom after spending 14 years in exile following the defeat of Ravana in battle.

The Hindus lit lamps outside their home to provide Lord Rama with a path to return to his kingdom, which became a tradition. This day is filled with events of dance and the bursting of fireworks. However, the minor details that are not fully shared publicly are prayer, food and delight making, and the tradition of making rangoli (geometric patterns made with rice or powder) at homesteads.

Figure 63: The geometric tiers of the temple and yantras reflecting geometry,(Brill, 2014) the progression of circles towards the centre is reflected in the gopuras tiers, as it increases in height it too narrows width. Sketch by author.

Rangoli uses many colours in a sequence of geometric mandalas, sometimes expanding to represent lotus flowers or even a deity. These mandalas often carry the symbolism of timelessness (IndiaParenting, 2013). Rangolis are decorative and serve to invite new and vibrant energies into the day.

These decorations are kept as the day transitions into the new year.

The use of geometry extends into decorations for entrances into homes and temples. Furthermore, geometry is applied in the textiles of fabrics and items of clothing. These patterns and designs distinguish various ethnicities within Indianism, and multiple patterns are used repeatedly to create a tapestry of visual appeal. p. 81

Figure 64: Collage composed by author.

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In traditional dancing, such as Bharatanatyam, the dancer gracefully moves while maintaining specific postures and poses. Movements are required to keep to the rhythm while carrying out various fast and slow-paced choreographed iterations.

The dance incorporates storytelling about various epics from ancient scriptures such as the Ramayana and the Bhagavad Gita, among others. The attire comprises the layering of fabrics and jewellery and extends to adorning the face, hands, and feet with jewellery and red dye (Cultural India, 2021).

It is noted that postures and poses align to geometric proportions and expressions such as the golden ratio.

Each gesture and posture maintains a conscious display of geometry, and this, in many ways, allows the dancer and audience to experience an elevated spiritual indulgence.

Figure 65: Entrance to the hall from 6th Street. Images from the Pretoria Tamil League. (PTL, 2019)

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Figure 66: Looking to the Gopura, Image taken by Alain Proust (Swart, Proust and Culture, 2020)

Figure 67: Dancers from Nritya Rupam Academy of Dance perform on the platform in the Mariamman Temple. Image provided by Seema Lala.

Figure 68: Mahalaya Patchma prayers performed in the Mariamman Temple, in Marabastad. This prayer is conducted annually for the ascension of our ancestors.

Images from the Pretoria Tamil League. (PTL, 2019)

Figure 70: The festival of Khumba Abhishegam, The devotee creates a sri yantra on the floor with powder.

Images from the Pretoria Tamil League. (PTL, 2019)

On the other hand, attire such as saris and dhotis uses a process of layering fabrics in various ways. Initially, the layering forms a skin that assists in regulating the wearer’s temperature given the arid conditions (GetEthnic, 2020). The ethnic attire gained traction within the fashion industry and ethnic groups. The fabrics have geometric art prints throughout or on the borders of the material, allowing some psychological engagement. These tapestries and attire have internationally aligned with Indianism.

In a holistic sense, geometry is a tool used by the Indians and Indi-Afrikans to stimulate the well-being of people within its spaces. Applied geometry exceeds the painted two-dimensional idea of decorative arts and architecture and steps into an intended philosophically and cosmically positioned experience of space.

Figure 69: A ceremonial procession (circumambulation) in the Mariamman Temple, in Marabastad (CivilizationalRoots, 2020)

This study involves the experiment of geometry and fractality coalescing to influence the built environment and mediate the design process as a medium to re-affirm the belonging for Indi-Afrikans. p. 85

Above: Figure 71: Top left, is the image showing the worshiping of Mariamman Devi being conducted and to the right, devotees pay respect through offering and prayer. Images from the Pretoria Tamil League. (PTL, 2019).

Below: Figure 72: The podium being set up to conduct offerings for the various festivities.

Images from the Pretoria Tamil League (PTL, 2019).

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Above: Figure 73: Top Left: Banquet within the hall accomodating all the devotees. Top Right: A Bharatanatyam dancer performing a choreographed piece in respect for the deity’. Images from the Pretoria Tamil League (PTL, 2019).

Below: Figure 74: Bottom left: A newspaper article showing the ceremonies which happens on the dome above the deitys’ abode. Bottom Right: The music group that performs the hymns with traditional instruments, seated on the podium. Images from the Pretoria Tamil League (PTL, 2019).

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▶ 8 - The revered Mariamman Temple It is imperative to uncover the presence of the gopura in Marabastad after having understood the origin of temples and the history as well as the cultural inclinations of those within Marabastad.

Following events that led to indenturing labourers from India, some aspects of culture were lost in the migration to South Afrika. Nevertheless, the Indians held onto their surviving knowledge of rituals and beliefs, and the knowledge was the source of their identity and belonging amongst the “others” on stolen land.

Figure 75: Existing temple layout, envisioned and illustrated by author.

The Mariamman Temple was constructed in 1928 and completed in 1933 (Mikula, et al., 1982). Its gopura is iconic and sacred, humble with its five-tier construction and detail. The gopura utilises geometry consisting of horizontal and vertical planes, arches, and circular decorative elements. The base is constructed from brick and concrete, and the spire is composed of iron and timber and some precast concrete elements.

When the construction of a temple is undertaken, various rituals are followed to consecrate the land. As a result, space is imbued with energy through chanting mantras, offerings to fire, and collective praying. All these procedures ensure the beneficial well-being of the area servicing the people for years to come.

“If you have the necessary technology, you can make the simple space around you into a divine exuberance; you can just take a piece of rock and make it into a god or a goddess.

This is the phenomenon of consecration” (Sadhguru, 2016).

Figure 76: Depiction of the Temple during celebrations and major festivities, envisioned by author. p. 88

In traditional temple architecture, the epicentre is where the divine resides. The path encompassing the temple relates to the manifesto of the divine being central to the devotees’ journey. The path resembles the spiritual undertaking and understanding the scale of the devotee in respect of the divine. Through the act of

of circumambulation, the divinity is invoked within the devotee. The procession leads the devotee on a journey, with the destination being the epicentre where the abode is situated, concluding the journey. This translation is evident in the Mariamman temple.

Circumambulation is reminiscent of oscillation, extending from the cosmic scale to the human and atomic scale – as depicted in science by the drawings of atoms.

We exist not in isolation from our surroundings but rather as a part of it, as a whole.

This macrocosmic level of thinking can be related to the microcosmic levels of interaction within cities and more so in communities. This constant interaction and engagement are at the source of existence, for we cannot function in isolation. We function better as clusters – communities, neighbourhoods, and cities.

Thus, it can be understood that architecture binds communities together and is the conduit for inducing peoples’ involvement in space and their surroundings.

These exchanges are fundamental to our existence and shape the way we have become over time and generations. This notion of thinking is equated to spirituality.

Figure 77: Usage of the Temple during smaller functions or ceremonies, envisioned and illustrated by author.

Spirituality develops and understands the concept of awareness within oneself. Spiritual exchange subconsciously occurs within space daily, but there is a higher level of conscious interaction within a designed area.

For the people of Marabastad, the temple is at the core of this level of awareness. The temple is a reminder for many to be humble during testing times and courageous in the face of adversity. The use of geometry on the gopura elicits awe and wonder as the viewer gazes upon it. Such profoundness is present in the formulation of the patterns followed by traditional scriptures known as the Shilpa Sastras.

Figure 78: Depiction of devotees circumambulating the Divine, envisioned and illustrated by author. p. 89

Above: Figure 79: The Marieamman temple and its interior podium space, Images taken by author.

Below: Figure 80: Images photographed by Alain Proust.

p. 90

Above: Figure 81: Looking towards the hall and the roof decor, images taken by author.

Below: Figure 82: A small garden with the plants used in prayer and looking towards the deities adobe, images taken by author.

p. 91

Figure 83: Parti diagram, sketched by author.

Figure 84: Parti diagram iteration, sketched by author.

▶ 9 - Spiritual embodiments of architectural memory Geometry, spirituality, energy, and memory intersect and run parallel to the experience and creation of architecture. This experiential memory is a spirit, a phenomenon that science or analysis cannot adequately describe, prove, or discredit.

Space can be imbued with a particular embodiment of energy through action and the consequence of human activity, which further defines the spaces’ functionality. Locations that had signs of prior life, such as the lands in Marabastad that once held families and homes – albeit of poor condition, still carry the remnants of energy that reflect what it once was and still influence the experience when traversing through it.

Our senses of awareness can physically ‘feel’ and harness the embodied energy, environment, and atmosphere. We possess the capability to perceive ambience and atmosphere, consciously or unconsciously.

“Long ago, we figured the real power of designed environments to quicken the metaphysical dimension of our humanity” (Bermudez and Ott, 2015, p. 23).

One can become receptive to these shifts in the energy and experience of spaces. It is the same way one experiences the change in dynamics when leaving sacred spaces, such as temples, mosques, or churches and entering onto a public street edge abundant with activity. Architecture possesses the power of transference of human energy to land itself, encapsulating an imagined lifestyle and livelihood that may have once flourished or is yet to be manifested.

While each stream has its individuality, these principles are vital in establishing identity and a sense of place in individuality and collectively.

Architecture itself became a language of traversing thresholds and creating boundaries for privacy and safety for families.

These boundaries and thresholds were significant and logically structured to organise social sectors. Topographical and environmental characteristics influenced settlements and divisions of lands that determined how settlements could be best created and managed. p. 93

Such remnants are visible in Marabastad. They hold the key and markers to imagined life and serve as evidence of cross-pollination and multi-racial occupation. Various details in the existing architecture have remnants of the once-vibrant urban spirit. Despite the fall of the spirit at the hands of oppression, some pockets of frozen memory still exist, with the majority situated along Boom Street. Boom street’s vibrancy is abundant due to it being the gateway to and from the city centre. In some ways, albeit altered, the memory of the old Asiatic Bazaar still survives through the microeconomies situated along its streets.

In areas where the most lives had been dispossessed, rubble and discarded material serve as grains of truth for the pre-existing habitat. Through captured images and stories written by its inhabitants, one can only imagine

Figure 85: Site panorama of the 1st Tier from Grand Street, image by author.

the kind of ether the township possessed. Once a picture is painted, it is forever burned into the memory of our perceptions and experiences.

Through architecture, we can connect and reclaim spaces from which the collective of Marabastad was viciously torn. Through geometrical expressions and impressions within space, we can heal. We are entities of accumulation who have experienced multitudes from all cultures and we are granted the ability to reclaim our space, place, and being. Through architecture, there is a possibility to commemoratively heal as a collective and engage as spirituals beyond the dimensions of defined spiritual space. p. 95

p. 96

JNANA | Crater of Knowledge |

Chapter 4: This chapter concludes with the combined theory and its exploration of geometry within the built environment, specifically Marabastad. It expresses the embarked journey as well as its architectural implementation.

Through immersing in this chapter, one could experience an alternate realm of architectural language and attain a sense of spiritual indulgence.

p. 98

Vernacular definitions

The following definitions are understood from the online Britannica encyclopaedia (Encyclopædia Britannica, Inc., 2021 :online)

Moksha (n) /ˈmoʊkʃə / A Sanskrit term that defines emancipation, liberation, and/or enlightenment. In broader spectrums, it refers to attaining knowledge that allows one to break free of the cycle of reincarnation.

Murti (n) A physical embodiment of the divine. On several occasions, people misunderstand the uses of these visual idols as the “God” itself. However, in Hinduism, it is a medium symbolic of the characteristic a devotee pursues.

For example, Ganpati (the deity commonly depicted with an elephant head) is symbolic of triumphing over difficulties through sharpening one’s acumen through knowledge and understanding.

Shikara (n) / ʃɪˈkɑːrə / A Sanskrit term that defines an element that resembles the mountain peak, curvilinear and conical in shape. This term describes the temple presence, which is most prominent in ancient Indian temple architecture.

Shilpa Śāstras An ancient Indian manuscript that details principles and fundamentals for arts, crafts, and detailing, that are relevant to architecture. It has topics rooted in iconography, proportions, and compositions of sculpting.

Vāstu Śāstras An ancient Indian manuscript that details design principles for various building systems and occupations.

It has a cosmic alignment to where functions are most suited and appropriate to enhance the users’ experience when living in that space through a designed mandala that understudies underlying geometry and its applications.

Tools (n) /tuːl/ A method or medium used, allowing a person to achieve a particular state of well-being in physicality, mentality, and spirituality. p. 99

Figure 86: A person central to ideas of architecture, the building as a body, the person as a soul. Image composed by author.

▶ 10 - Reclaiming architectural ideas Dutta and Adane (2012, p. 2) mention that Hindu temple artists give societal values a form that is treated as ‘collective memory’. This process of documentation and making is the essence that keeps the knowledge alive for the ages.

The visuals perceived along this journey express collective memory through motifs, inscriptions, and arts. Numerology and geometry are vital in defining the interrelation between the cosmos and life (Dutta and Adane, 2012, p. 4). This undertaking is visible

in the applications of the Vastu Shastras within the devised template by the author.

“There is enough evidence to prove that nature, cosmos, human body, and human mind all follow the same algorithm in geometrical progression” (Dutta and Adane, 2012, p. 2).

Numerology is a key component influencing the thought process behind various undertakings such as rituals, life cycles, chanting, and many other

applications. The number four use is observed through the primary Vedas ( popular epics are derived from four primary Vedas, such as the Bhagavad Gita), ancient scriptures, and the deities iconography (the arms or heads depicted in the visualisations of the deities).

The mandala is also abstracted from four corners regardless of its expansion. There are several other cosmic alignments to using the number four, such as the cardinal directions. p. 102

Figure 87: Parti diagram, sketched by author.

“Geometry is knowledge that appears to be produced by human beings, yet whose meaning is totally independent of them.” Rudolf Steiner (Global Freedom Movement, 2014)

Figure 88: Parti diagram iteration, sketched by author.

“Fractal geometry plays a major part in the transmission of the intended symbolic meanings to the intellect of human beings, for perception in the correct sense” (Dutta and Adane, 2012, p. 1).

The mandala results from fractal iterations and applies importance to the central space within the application. An increase in squares provides an increased footprint within which designed space can harness cosmic energy. As the form evolves and develops, the mandala generates a complex matrix that carries elements of fractality at various scales (Dutta and Adane, 2012, p. 6).

Below: Figure 89: Translation of the geometry as depicted by the Partii diagram displaying the evolution from a twodimensional form to a three-dimensional mass. A complex matrix is generated through the repetition of the mass at a larger scale. This involves the principles of geometry, fractality and applications covered earlier of the ancient Hindu transcripts. Diagram created by author.

Using this mandala overlayed with the enclosing of spiritual space (identified by the imposed circle) becomes a fundamental essence to this planning principle of this spiritual precinct. Primary shapes are compelling, guiding, and symbolic tools for the Hindus.

In this case, the square symbolises the earth and the form, whereas the circle represents the endless cycle of time. When superimposed over one another, they represent movement and order in their minimalist form (Dutta and Adane, 2012, p. 4). p. 103

▶ 11 - Heralding space through form Traditional temple architecture had the shikaras located directly above the sanctuary or the abode of the divine as bordering the quadrants of a temple space, which are intentionally defined as mountain peaks (Britannica, 2021). The gopura is symbolic of a mountain peak, and the symbolism of this element is journeying towards the peak to attain moksha.

The quadrants within temple spaces are occupied with smaller shrines and murtis that are significant to the main deity as a part of the journey. The shikaras serve to orientate the devotee to pay homage to the various ideas of the divine and visualise the highest point of metaphysical progression, ascending to the light.

Within this proposed design iteration, the contemporary adaptation of the shikaras draws importance to the podium as a space for advocation by surrounding the central stage at the four corners.

Their placement is cognisant of the first identified mandala before it expands. The decision to use this element serves to function as a totem that solidifies the Indi-Afrikans identity and reclaim the idea of this architectural device. Identifying this focal position upon site lead to the expansion of the physical mass encompassing it.

p. 104

Figure 90: Various model iterations of contemporary shikara’s, by author.

▶ 12 - Geometry as architectural synergy Indian cities expanded around temples as they house core functions such as education, festivities, and economies. These properties are the functions of a micro-city.

The Mariamman Temple is at the core of this dissertation as it strengthens the affirmation of the Indi-Afrikan’s belonging and serves as a remnant for reclamation. After uncovering the temple’s presence, it is observed that this precinct can act as a stimulant to extend the microcity of Marabastad.

Figure 92: The three identified sites in relation to the temple, diagram by author.

In alignment with the temple, three vacant sites were identified.

These proposed sites will be privy to exploring geometry and its influence in planning the programme. The design itself works to continue the temple’s axis as a means of heralding and acknowledging the divine.

Extending this geometry beyond the borders of Marabastad can be interpreted to assimilate positions of intersections where space can be intervened

p. 106

Figure 91: Initial interpretation of expanding spiritual space beyond the temple, diagram by author.

Figure 93: Imposing the mandala upon the identified spaces, diagram by author.

within and possibly framed.

The Vastu mandala was brought forth upon the surface in alignment with the cardinal directions, providing the opportunity to test how geometry can influence spatial planning. Central spaces along the axis were identified as potential zones for the spiritual realm of the space. Due to the site’s breadth being longer than the width, the opportunity arose to test how fractality can contribute to the tapestry.

The process of extracting the tapestry:

Figure 94: Witnessing and documenting possible incrementality from the temple, diagram by Author.

Figure 95: Shapes positioned upon intersections, diagram

by Author.

• Identify the 4 points of interest by placing the square corners in conjunction with the midpoint of the proposed site borders.

• Position the circle centrally to the intersection of the top-bottom and left-right axis drawn.

• Extended the square lines beyond and duplicate them with an offset in proportion to the inner divisions of the square.

• Replicate the process above for the circle.

• Introduce various sized circles at the existing geometry intersections.

• Overlay triangles to central intersection points.

Figure 96: Template revealed, diagram by Author.

Once this process has been completed, the pattern is then interpreted to frame and allocate functions to spaces. The internal area is studied, and by adjusting the line weights, other possibilities surface.

“I cant keep from fooling around with our irrefutable certainties. It is, for example, a pleasure knowingly to mix up two- and three-dimensionalities, flat and spatial, and to make fun of gravity” M.C. Escher (Renfrew, et al., 2018, p. 49).

Figure 97: The extrapolated template used in the planning and design of the precinct

p. 107

◊ The master scheme

Figure 98

Figure 99: The temple as the origin point, drawing composed by author.

Figure 100: The first tier of the precint, drawing composed by author

The temples’ epicentre is the basis from which the template is derived. This geometric template is a means for exploration and a catalyst to have pockets inserted into the fabric of the neighbourhood environments.

1st tier: This tier seeks to rekindle the severed cultural inclinations that once thrived in Marabastad. This portion of the precinct is investigated in great depth and detail and is situated directly west of the temple.

It is vital to understand that this exploration would not be possible without the temple. The temple is a fundamental generator of how the geometric overlay can be created and how it can be interpreted to identify pockets and intersections.

The programme includes retail amenities on the ground floor, based on the observation of current and pre-existing social fabrics woven through the streets in the neighbourhood. The upper levels consist of administration offices and multi-purpose studio rooms, a decision based on providing space that can be freely channelled to suit the needs of artists and creators.

Suppose this template was further explored to extend within the city’s fabric. In that case, various fractal contortions will occur as the origin point relies on the sacred space of the Indian temple.

p. 110

The central pocket includes landscaping elements, and the main stage offers pauses to the public and extends the platform, facilitating activity and festivity.

2nd Tier: This tier seeks to address the metaphysical state of the precinct. It houses amenities such as exhibition halls, health consultants and pharmacies, halls for yoga, and various amenities that may aid in the programme.

The podium of this core is submerged in the ground, imitating a womb, a space of nestling and recuperating. This undertaking addresses the duality of nature, the alternate interpretation: where the heart emerges, the conscious settles, and thus balance is achieved.

3rd Tier: This portion of the study delves into the urban tapestry application, where functions are demarcated based on the current activity.

It possesses a hint of informality through the formality in which its use is applied. The segment required the site to maintain and formalise its current usage. For the taxi’s it is a space for pausing, and for the Indi-Afrikans, it is a space within which one may park to access the temple.

Secondary applied uses can include hosting informal gatherings and protestation before entering the temple.

However, this tier is less developed and aims to provide visual guidance and stimulation on how the pattern could be applied on a larger scale.

Figure 101: The second tier of the precint, drawing composed by author

Figure 102: The third tier of the precinct, drawing composed by author.

p. 111

Figure 103: Visualising the form in a three dimensional realm, surrounded by its context, image adapted from Google Earth by author.

Figure 104: Subtracting mass from the form as identified by the applied pattern, image adapted from Google Earth by author.

p. 112

p. 113

▶ 13 - Formalising the detail

In this section, one is introduced into the technical realm of architecture. The documentation reveals the process that aided in making informed design decisions that allowed the design to manifest accurately.

Within this chapter one is invited to explore the understudies of the arch as well as the pattern exploration of the building skin.

p. 114

Figure 105: A view from Grand street, image by author.

p. 121

p. 122

Figure 106: The exploration of arches and their construction as well as vernacular, by author.

◊ Specifications

Figure 107: The exploration of arches and their construction, by author.

Figure 108: The elaborated arch composition and its specifications, by author.

◊ Studying the skin

Figure 109: Internal room rendering.

Image composed by author.

p. 128

Figure 110: Exploration of brick screen wall, model built by author.

Figure 111: Second exploration of brick screen wall, model built by author.

Figure 112: Exploration of brick screen wall, model built by author.

Figure 113: Second exploration of brick screen wall and balustrade, model built by author.

Figure 114: Brick pattern in relation to the template, images by author.

p. 130

▶ 14 - Sansaar, sanskar and sanskriti

The world, the sacramants and the culture in a whole

p. 132

Spirituality exceeds the conventional categorisation of race, ethnicity and religion, and it understands that the whole is a part as is the part, a whole – the fundamental principle of fractality.

This dissertation studied the application of geometry as a spiritual device to design space and the experience therein. It uncovered the power of this as a tool to direct and guide the users of the space, providing an additional layer for encouraging cultural amalgamation.

Furthermore, the dissertation studied space to reclaim several dispossessed architectural ideas, expressions, and art pertinent to the realm of Indi-Afrikans. This tapestry can be used as a generator to enhance and enrich pockets of space whilst being cognisant of the cultural compositions.

Spaces can be defined as spiritual space when approached with the correct intent. Furthermore, the building can elaborate on that spiritual awareness to guide people within the realm of space.

This spiritual undertaking was identified by designing this precinct and sought to define space to heal and soothe its users.

p. 133

Figure 115

Figure 116

Figure 117

Figure 118

3rd Tier

6th Street

1st Tier

Master Section - Section D Figure 119

p. 142

Jerusalem Street

2nd Tier

p. 143

Grand Street

Bloed Street

1st Tier

WEST ELEVATION Figure 120

p. 144

Grand Street

Bloed Street

2nd Tier

EAST ELEVATION Figure 121

p. 145

Jerusalem Street

2nd Tier

MASTER NORTH ELEVATION Figure 122

1st Tier

6th Street

3rd Tier

p. 146

6th Street

1st Tier

2nd Tier

Jerusalem Street

r

MASTER SOUTH ELEVATION Figure 123

p. 147

t tree

mS Boo

m le sa ru Je et re St

2nd Tier

3rd Tier

1st Tier

et tre S ed Blo

PRECINCT AERIAL VIEW Figure 124

Figure 125: Looking towards the temple, image by author.

◊ The 1st Tier : A composition This portion of the precinct was investigated in great detail. The geometric template was overlayed on three scales, the site scale, the room scale and the building skin scale.

The placement of this geometry template is rooted in cultural investigations.

The formula included dividing and subdividing circles and squares. The overlap and intersections allowed for a template to be studied when overlayed on the site, and this process was repeated to formulate screens.

The template was used to interpret the form and landscaping on the site scale.

Within the identified quadrants on the site, the template was reapplied. This application resulted in the fractal iterations of the design elements, such as the alcoves and the feature stairs.

Furthermore, the template informed the decision to keep the circulation space podium-facing. The studio rooms are north and south-facing, allowing for maximum light allowance. The additional amenities are placed on the east and west-facing boundaries. The entrances into this precinct are aligned with the existing axis and the cardinal directions.

Arches were studied as the threshold bordering the precinct. It, in many ways, are cognisant of entrances to temples in ancient India and provides a transitional factor between the external fabric and internal body of the precinct.

The southern elevation carries a larger arch due to the existing planters that continue to the street’s edge. The proximity of these planters to the boundary resulted in the larger arch not condensing space but generating a comfortable volume.

Furthermore, proportions of the gopura were studied and retranslated into the windows and doors, their relevance to allow a viewer to look beyond themselves. The intended purpose is to bring elements of the ‘Indianacity’ and translate that into a more engaging manner.

Within this tier of the precinct, one is encouraged to vocalize and express their nature of artisanship. The Jazz Park serves the people in public space, and this precinct formalises the need for event space.

p. 151

Figure 126

p. 152

Figure 127

p. 153

Bloed Street

Grand Street

SECTION A Figure 128

SECTION D Figure 129 p. 154

Jerusalem Street

NORTH ELEVATION

6th Street

Jerusalem Street

Figure 130

SOUTH ELEVATION Figure 131 p. 155

Figure 132: 3D sectional view Image composed by author.

p. 156

Figure 133: Perspective looking towards the NW corner.

Image composed by author.

p. 157

Figure 134: Perspective looking towards East of the axis.

Image composed by author.

◊ The 2nd Tier : A visualisation This precinct portion was executed to a minimalist impression and translation of the geometric template. The geometric template translated the extent of the ‘pureness’ of the template itself, which is centrally aligned to the large podium.

The square is surrounded by supporting spaces for the activity, including hall spaces, pharmacies, and rooms for general practitioners. There are three levels to this tier. This decision actively reflects the idea of progression and expansion of the micro-city. The physical bulk embraces the podium and provides a greater degree of privacy in comparison to the first tier, thus reflecting the duality of these spaces.

The precinct itself is layered in correlation to the context, thus being gradually worked in the fabric of Marabastad. The exterior skins continue the language encompassing the 1st tier and apply variations in the application of the skin.

p. 159

Figure 135

p. 160

Figure 136

p. 161

Figure 137

p. 162

Bloed Street

Grand Street

SECTION B

Jerusalem Street

Figure 138

SECTION D Figure 139 p. 163

Jerusalem Street

NORTH ELEVATION

Jerusalem Street

Figure 140

SOUTH ELEVATION Figure 141 p. 164

Grand Street

Bloed Street

EAST ELEVATION Figure 142

INTERNAL PERSPECTIVE Figure 143 p. 165

Figure 144: Rendering of the 3rd Tier possibility.

Image composed by author.

◊ The 3rd Tier : An artistic rendition The interpretation of the template upon this tier was altered to accommodate the fabric and retain the current site usage. While it maintained the existing axis’s central positioning, it is reinterpreted as a fractal interpretation of the overlayed template.

The template is further duplicated within the four quadrants at a smaller scale and interpreted to reflect the floor pattern. Furniture was introduced on the site within the active social corners, and a promenade was defined to accommodate the existing trade activity on the northern boundary.

p. 167

Figure 145

p. 168

Grand Street

Bloed Street

SECTION C

7th Avenue

6th Street

Figure 146

NORTH ELEVATION Figure 147 p. 169

“ I cannot myself to come to this country my body must assemble itself Into photographs and signatures Among them they will search for me I must leave behind the uncertainties I cannot myself be a question” GABEBA BADEROON (Dawood et al., 2017, p. 24)

Figure 148: Looking to internal courtyard of the 1st Tier by author

p. 171

1st Tier

3rd Tier

h

S

Gra nd Str eet

Je ru sa le m

S

tr ee t

6t

et tre

Bo om

St

re et

PRECINCT AERIAL VIEW Figure 149

2nd Tier

Bloe d St

reet

p. 173

Figure 150: South perspective of the 2nd Tier, by author

p. 174

▶ List of figures

p. 175

P. 18 | Figure 1: Migration routes between India and South Afrika by Author, 2021.

P. 21| Figure 2: Circling the sacred, geometric visualisations of the Gopura by author, Photographs are taken by author, 2021.

P. 24 | Figure 3: Exponential Space sketch by author, 2021.

P. 29 | Figure 4: Nataraja Temple in Chidambaram (Dandapani, 2011) expressing layering, fractality and dynamism of space within architecture.

P. 30 | Figure 5: The heavens above meet the earth below, and people are the passengers in the horizontal plane capable of experiencing both expressions. Sketch by author, 2021.

P. 31 | Figure 6: Authors expression of cosmic thinking relating to space making. Sketch by author, 2021.

P. 33 | Figure 7: Capturing the metaphysical experience and geometric expression of the Gopura in Marabastad, composed by author, 2021.

P. 34 | Figure 8: Dravida Style architecture (Temple Architecture,2021).

P. 34 | Figure 9: Nagara Style architecture (Temple Architecture,2021).

P. 34 | Figure 10: Shikara’s are the expression of fractal art in temples. (Nangia, 2021).

P. 35 | Figure 11: A temple in relation to a person’s subtle body, chakras and passage of life (Sreenivasarao, 2012).

P. 35 | Figure 12: Plan of Tirumala Tripupati Temple and the deity is located at the epicentre. (Sreenivasarao, 2012).

P. 39 | Figure 13: Nolly map of Pretoria with Marabastad highlighted in relation to the known landmarks, overlayed with the composed geometric tapestry by Author, 2021.

P. 40 | Figure 14: Indentured labourers arriving in Port Natal (SAHO, 2019a).

P. 40 | Figure 15: Art titled Indian Trader (Art: Nanackchand, 2021).

P. 41 | Figure 16: CODESA, a patriotic front formed by 92 organisations in 1991 to oppose apartheid (Constitution Hill Trust, 2017).

P. 41 | Figure 17: First democratic elections in 1994 (Telkom SA, 2003).

P. 47 | Figure 18: Photograph of Marabastad taken in 1905 (Tayob et al., 2002, p. 33).

P. 47 | Figure 19: A British camp outpost bordering Marabastad (Naidoo, 2007, p. 84).

P. 47 | Figure 20: Natives areas are demarcated (Naidoo, 2007, p. 14).

P. 47 | Figure 21: Density degradation after enactments of policies (Tayob et al., 2002, p. 42).

P. 47 | Figure 22: Spatial and racial planning within Marabastad (Tayob et al., 2002, p. 42).

P. 49 | Figure 23: Passive resisters from the Asiatic Bazaar (Naidoo, 2007, p. 84).

P. 49 | Figure 24: Empire Bioscopes advertisement (Naidoo, 2007, p. 159).

P. 49 | Figure 25: Freeway proposal over Marabastad (Tayob et al., 2002, p. 52).

P. 49 | Figure 26: Density degradation after enactments of policies (Tayob et al., 2002, p. 50).

P. 49 | Figure 27: Spatial degradation after enactments of policies (Tayob et al., 2002, p. 50).

P. 52 | Figure 28: Boom Street in 1973 (Clarke et al., 2008, p. 53).

P. 52 | Figure 29: Looking west on Grand Street (Clarke et al., 2008, p. 24).

P. 53 | Figure 30: Grand Street in 1973 (Clarke et al., 2008, p. 53).

P. 53 | Figure 31: Looking east on Grand Street (Clarke et al., 2008, p. 30).

P. 53 | Figure 32: Remaining fabric in Marabastad, image adapted from Google Earth by author, 2021.

P. 54 | Figure 33: Desecrated homesteads in relation to Pretoria CBD, image adapted from Google Earth by author, 2021.

P. 55 | Figure 34: I. Stands owned by the SPHSS group (SPHSS, 2021, 47:00-52:30).

P. 55 | Figure 35: J. Low-income housing development progress. Image taken by author, 2021.

P. 55 | Figure 36: Current and future development locations indicated, adapted from Google Earth by Author, 2021.

P. 55 | Figure 37: The Gopura of the Mariamman Temple (Clarke et al., 2008, p. 24).

P. 60 | Figure 38: The energy of the ‘collective’ in Marabastad, collage by author. Images taken by author, 2021.

P. 62 | Figure 39: Proposed sites for the intervention marked in red. White square indicative of the temple. Image adapted from google earth by author, 2021.

P. 62 | Figure 40: Sketch of the proposed site behind the temple by author, 2021.

P. 62 | Figure 41: Formal and informal trade occurring around the site by author, 2021.

P. 69 | Figure 42: Concord of ethnicities, diagram composed by author, 2021.

P. 70 | Figure 43: A Ndebele homestead. (Khandwala, 2020).

P. 71 | Figure 44: Dr Esther Mahlangu’s art collection (The Melrose Gallery, 2020, pp. 5–30).

P. 72 | Figure 45: Layering of shapes and extensions to form a tapestry (Ali, 2020).

P. 72 | Figure 46: Vitruvian man as interpreted by the golden mean proportion system (Dabbour, 2012).

P. 73 | Figure 47: Multiplicity in unity, referring to wholeness (Dabbour, 2012).

P. 73 | Figure 48: Detail and influence of geometry (Owen, 2012).

P. 74 | Figure 49: A temple in relation to a person’s subtle body, chakras and passage of life (Sreenivasarao, 2012).

P. 75 | Figure 50: Decorative iteration of Sri Yantra (CreativeMotions, 2018).

P. 75 | Figure 51: Vastu mandala imposed on Chandigarh master plan rationale (Chakrabarti, 1998, p. 197) P. 76 | Figure 52: The original Vastu Purusha mandala (Ravi and Minu, 2008) P. 76 | Figure 53: An interpretation of the mandala for a dwelling (Ravi and Minu, 2008) P. 76 | Figure 54: The Purusha interpreted with the elements (Ravi and Minu, 2008) P. 76 | Figure 55: The mandala is reflected in temple planning and the positioning of the deities accordingly (Sreenivasarao, 2012).

P. 77 | Figure 56: Proportions guiding the design of temple art (La boite verte, 2015) P. 77 | Figure 57: The temple’s proportions in relation to the divine(Sreenivasarao, 2012) P. 77 | Figure 58: Proportions of the sculpture as per the Shilpa Shastras(Sreenivasarao, 2012) P. 77 | Figure 59: A dance form as per Shilpa Shastras(Sreenivasarao, 2012) P. 80 | Figure 60: Hindus notes the existence of chakras within the human body. Chakras are energy in oscillation.

As energy circulates the human body in clockwise direction, so does the moon in relation to the planet earth. This oscillation is evident cosmically. Sketch by author.

P. 80 | Figure 61: The oscillation is evident in the cycle of time, life, and prayer. Life is cyclical, there is a start and an end.

Hindus are firm believers in reincarnation, there understanding is that one needs to do penance which can help attain moksha and in doing so, break the cycle of reincarnation. Sketch by author.

P. 81 | Figure 62: Energy in oscillation as it ascends in progression. When this rationale is applied in temples, devotees are in prostration to recognise the divine as that form of energy and ultimately align themselves to that energy.

Through offerings into fire, one is able to focus and channel such energies to carry with them in their journey or undertaking in life. Sketch by author.

P. 81 | Figure 63: The tiers of the temple and yantras reflecting geometry (Brill, 2014) the progression of circles towards the centre is reflected in the gopuras tiers, as it increases in height, it too narrows width. Sketch by author.

P. 82 | Figure 64: Navratri – The nine (Nav) night(ratri) festival, collage and images by Rangoli decorations for Diwali, collage, and images by author. Diwali goodies prepared for the festivities; images taken by author. Fabric as art, images by author. Holi and other Festivities (SPHSS, 2018) Bharatanatyam provided by Seema Lala, the founder and director of Nritya Rupam Academy of Dance.

P. 84 | Figure 65: Entrance to the hall from 6th Street. Images from the Pretoria Tamil League (PTL, 2019).

P. 84 | Figure 66: Figure X: Looking to the Gopura, Image taken by Alain Proust (Swart, Proust and Culture, 2020).

P. 84 | Figure 67: Dancers from Nritya Rupam Academy of Dance perform on the platform in the Mariamman Temple. Image provided by Seema Lala, the founder and director of Nritya Rupam Academy of Dance.

P. 85 | Figure 68: Mahalaya Patchma prayers performed in the Mariamman Temple, in Marabastad. This prayer is conducted annually to pray for the ascension of our ancestors. Images from the Pretoria Tamil League. (PTL, 2019) P. 85 | Figure 69: A ceremonial procession (circumambulation) in the Mariamman Temple, in Marabastad (CivilizationalRoots, 2020) P. 85 | Figure 70: The festival of Khumba Abhishegam, The devotee creates a sri yantra on the floor with powder.

Images from the Pretoria Tamil League (PTL, 2019).

P. 86 | Figure 71: To the left, the worshiping Mariamman Devi is conducted and to the right, devotees pay respect through offering and prayer. Images from the Pretoria Tamil League. (PTL, 2019).

P. 86 | Figure 72: The podium being set up to conduct offerings for the various festivities. Images from the Pretoria Tamil League (PTL, 2019).

P. 87 | Figure 73: Banquet within the hall accomodating all the devotees. A Bharatanatyam dancer performing a choreographed piece in respect for the deity. Images from the Pretoria Tamil League (PTL, 2019).

P. 87 | Figure 74: A newspaper article showing the ceremonie which happens on the dome above the deitys abode. The music group that performs the hyms with traditional instruments, seated on the pdoium. Images from the Pretoria Tamil League (PTL, 2019).

P. 88 | Figure 75: Existing temple layout, envisioned and illustrated by author.

P. 88 | Figure 76: Depiction of the Temple during celebrations and major festivities, envisioned and illustrated by author.

P. 89 | Figure 77: Usage of the Temple during smaller functions or ceremonies, envisioned and illustrated by author.

P. 89 | Figure 78: Depiction of devotees circumambulating the divine, envisioned and illustrated by author.

P. 90 | Figure 79: The Mariamman temple and its interior podium space, images taken by author.

P. 90 | Figure 80: Below images photographed by Alain Proust P. 91 | Figure 81: Inside and around the temple spaces, images taken by author.

P. 91 | Figure 82: Inner sanctuary spaces, images taken by author.

P. 92 | Figure 83: Parti diagram, sketched by author.

P. 92 | Figure 84: Parti diagram iteration, sketched by author.

P. 94 | Figure 85: Site panorama from Grand Street, image was taken and edited by author.

P. 100 | Figure 86: A person central to ideas of architecture, the building as a body, the person as a soul. Image composed by author.

P. 102 | Figure 87: Parti diagram, sketched by author.

P. 103 | Figure 88: Parti diagram iteration, sketched by author.

P. 103 | Figure 89: Translation of the geometry as depicted by the parti diagram displaying the evolution from a twodimensional form to a three-dimensional mass. A complex matrix is generated through the repetition of the mass at a larger scale. This involves the principles of geometry, fractality and applications covered of the ancient Hindu transcripts. Diagram created by author.

P. 105 | Figure 90: Various model iterations of contemporary shikara’s, by author, P. 106 | Figure 91: Initial interpretation of expanding spiritual space beyond the temple, diagram by author.

P. 106 | Figure 92: The three identified sites in relation to the temple, diagram by author.

P. 106 | Figure 93: Imposing the mandala upon the identified spaces, diagram by author.

P. 107 | Figure 94: Witnessing and documenting possible incrementality from the temple, diagram by author.

P. 107 | Figure 95: Shapes positioned upon intersections, diagram by author.

P. 107 | Figure 96: Template revealed, diagram by author.

P. 107 | Figure 97: The extrapolated template used in the planning and design of the precinct, by author.

P. 108 | Figure 98: Master Plan with the applied template evolution. Image drawn by author.

P. 110 | Figure 99: The temple as the origin point, drawing composed by author.

P. 110 | Figure 100: The first tier of the precinct, drawing composed by author P. 111 | Figure 101: The second tier of the precinct, drawing composed by author P. 111 | Figure 102: The third tier of the precinct, drawing composed by author.

P. 112 | Figure 103: Visualising the form in a three-dimensional realm, surrounded by its context, image adapted from Google Earth by author, 2021.

P. 112 | Figure 105: Subtracting mass from the form as identified by the applied pattern, image adapted from Google Earth by author, 2021.

P. 123 | Figure 106: The exploration of arches and their construction as well as their vernacular, by author 2021.

P. 124 | Figure 107: The exploration of arches, by author 2021.

P. 125 | Figure 108: The elaborated arch composition and its specifications, by author 2021.

P. 127 | Figure 109: Internal room rendering, image composed by author 2021.

P. 128 | Figure 110: Exploration of brick screen wall, model built by author 2021.

P. 128 | Figure 111: Second exploration of brick screen wall, model built by author 2021.

P. 128 | Figure 112: Exploration of brick screen wall, model built by author 2021.

P. 128 | Figure 113: Second exploration of brick screen wall and balustrade, model built by author 2021.

P. 128 | Figure 114: Brick pattern in relation to the template, by author 2021.

P. 134 | Figure 115: Master Plan – Ground floor, by author 2021.

P. 136 | Figure 116: Master Plan – First floor, by author 2021.

P. 138 | Figure 117: Master Plan – Second floor, by author 2021.

P. 140 | Figure 118: Master Plan – Roof floor, by author 2021.

P. 142 | Figure 119: Master Section – Section D, by author 2021.

P. 144 | Figure 120: Master Elevation – West elevation, by author 2021.

P. 145 | Figure 121: Master Elevation – East elevation, by author 2021.

P. 146 | Figure 122: Master Elevation – North elevation, by author 2021.

P. 146 | Figure 123: Master Elevation – South elevation, by author 2021.

P. 148 | Figure 124: Precinct aerial view, by author 2021.

P. 152 | Figure 126: 1st tier – Ground floor, image by author 2021.

P. 153 | Figure 127: 1st tier – First floor, image by author 2021.

P. 154 | Figure 128: 1st tier – Section A, image by author 2021.

P. 154 | Figure 129: 1st tier – Section D, zoomed in image by author 2021.

P. 155 | Figure 130: 1st tier - North Elevation, image by author 2021.

P. 155 | Figure 131: 1st tier - South Elevation, image by author 2021.

P. 156 | Figure 132: 1st tier – 3D sectional view, image by author 2021.

P. 157 | Figure 133: 1st tier – Perspective looking towards the NW corner, image by author 2021.

P. 158 | Figure 134: 2nd tier – Perspective looking towards east of the axis, image composed by author 2021.

P. 160 | Figure 135: 2nd tier – Ground floor, image by author 2021.

P. 161 | Figure 136: 2nd tier –First floor, image by author 2021.

P. 162 | Figure 137: 2nd tier –Second floor, image by author 2021.

P. 163 | Figure 138: 2nd tier –Section B, image by author 2021.

P. 163 | Figure 139: 2nd tier –Section D, image by author 2021.

P. 164 | Figure 140: 2nd tier –North elevation, image by author 2021.

P. 164 | Figure 141: 2nd tier –South elevation, image by author 2021.

P. 165 | Figure 142: 2nd tier –East elevation, image by author 2021.

P. 165 | Figure 143: 2nd tier –Internal perspective, image by author 2021.

P. 166 | Figure 144: 3rd tier –Rendering of the 3rd tier possibility, image composed by author 2021.

P. 168 | Figure 145: 3rd tier – Ground floor, image by author 2021.

P. 166 | Figure 145: 3rd tier – Section C, image by author 2021.

P. 169 | Figure 146: 3rd tier – North Elevation, image by author 2021.

P. 171 | Figure 146: 1st tier – Looking to the internal courtyard, image by author 2021.

P. 172 | Figure 149: 1st tier – Precinct aerial view, image by author 2021.

P. 174 | Figure 150: 2nd tier – South Perspective, image composed by author 2021.

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