PEINKE, K - 215639983

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The design of a music museum using South African music as a basis for architectural identity in Newtown, Johannesburg, South Africa

Kyle Peinke 215639983

Declaration I h e re by d e c l a re t h a t t hi s disser tation (The design of a music museum u si ng So ut h A f r ic a n music a s a ba sis for arc hitec tu ral iden tity in N ewtow n , J o h a n n e s b u rg , So u t h Afric a) s ubmitted for the M. Arc h Arc hitec ture Pro fe s sio n a l , a t t h e Ts h w a n e University of Tec hnology, is my own original wo r k a n d h a s n o t b e e n s u b mitted to any other institution. All quoted text s a re i ndic a te d a nd a c k now l e dged by a com preh en sive l is t of referen ces .

Kyle Pein ke

Acknowledgements x

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EC HO Th e d e sig n o f a m u sic m u s eum using South Afric an music a s a ba sis for a rc hi te c t ura l ide nt i t y I n N ew tow n , J oh an n es bu rg, Sou th Afr ic a

By Kyl e Pein ke 21 5639983

Submitte d in pa r tia l fulfi l m en t o f t h e req u i rem en t s fo r t h e d egree M a s ter of Arc hitec ture

D epa r t me nt o f A rc hitec tu re an d I n du s tr ial Design FAC U LT Y O F E N G I N E ERIN G AN D THE BUILT EN VIRON MEN T TS H WA N E UN I VE R SI T Y O F T EC H N O LO GY

Su p e r visor: Prof AO S Osman D e sign Su per vis or : M s M Bol t

PRETORIA 0 0-0 0-2021

Abstrac t L ife wi t ho ut music wo ul d be a qu iet pl ace. I t is a cr ucial el em en t of ever yd a y l i fe. ( U n k n ow n . 2 0 2 1 . 3 ) There is a piece of music for ever y emotion, eve r y m o o d a n d eve r y o c c a sion. Studies have shown music evokes thir teen ( 1 3) d i ffe re n t e m o t io n s . (G reater Good. 2021) These emotions range from c a l m a nd re l a x i ng, to joy ful a n d c h e e r f u l , r ig h t d ow n to a nx ie t y a n d te n sio n . M u sic i s n o t o n l y l i n ke d to emotion, but also to memor y. (ABC.net.au.

2 0 2 1 ) A p a r t ic u l a r s o n g m a y bring bac k memories of an earlier time in life.

A l te r n a t i ve l y, t h e c re a t io n o f a song is a way of remembering a moment in t i m e, s uc h a s a d i a r y e n t r y. These memories are known to shape a person.

O r i s o n Swe tt M a rd e n s a id , “ Ever y experience in life, ever y thing with whic h we h a ve c o m e i n c o n t a c t i n l ife, is a c hisel whic h ha s been cutting away at o u r l i fe s t a t ue, m o u l d i n g , m odif ying, shaping it. We are par t of all we have m e t . Eve r y t hi n g we h a ve s e en, heard, felt or thought ha s had it s hand in m o u l d i n g u s , s h a pi n g u s .” ( M arden. 19 18 . Page 129) No s t a l gi a i s e njoy a bl e to peopl e bec au s e it is ba s ed on m em or ies . (Ps yc h o l o g y To d a y. 2 0 2 1 ) I t h e l p s us c l ing on to an identity. Arc hitec ture is often linke d to a que stion of ide n t i t y. Geni u s Lo c i , a Ro m a n ter m fo r “s pi r i t o f p l a c e” ( P l a c e n e s s . 2 0 2 1 ) i s a fundamental concept In arc hitec ture alluding to b ei n g t r ue to t h e l o c a t io n, people and culture. In essence, the identity o f t h a t p l a c e.

At a f u n d a m e n t a l l eve l a rc hitec ture c aters to one of humankind’s ba sic n e e d s fo r s u r vi v a l ; n a m e l y shelter. In doing so, that s ame arc hitec ture n ee de d fo r s ur vi v a l , pl a y s a rol e in m ou l din g peopl e a s in dividu al s . I t l argel y c o n t r i b u te s to t h e ve r y f a bric of being. (Design Indaba. 2021) As Winston C hurc hi l l f a mo us l y s a id, “ We s h ape ou r bu il din gs , an d after w ards ou r bu il d i n g s s h a p e u s”. ( A u to m a te d b uildings.com. 2021) Wo r k i n g h ow m u sic a n d a rc hitec ture evoke feelings of identity in their re s p e c t i ve fie l d s , t h e p roje c t aims to create an arc hitec tural identity for So u t h A f r ic a , t h ro ug h So u t h Afric an music. Taking design cues and incorp ora t i ng So ut h A f r ic a n music pr in cipl es from var iou s era s . This mini-dis s ert a t io n wi l l b e t h e a rc hi te c t u ral design propos al of a South Afric an music m u s e u m ( EC H O) .

A n e c h o i s t h e re s u l t o f a re flec ted sound reac hing a listener ’s ear after a d e l a y. Th e EC H O m u s e u m s hould evoke emotions, memories and identity t h ro ug h i t s d e sig n . Th e ex terior will reflec t the interior by exploring the n o t io n o f a d e l a y.

Th e EC H O m u s e u m wi l l ex p l ore the histor y of South Afric an music and the ro le i t p l a ye d i n p e op l e’s l i ves. Therefore, the music wa s created (Initial C re a t io n ) t i m e h a s p a s s e d thus becoming histor y (Delay). The museum sh owc a s e s t he music fro m t he pa s t, (Reac h es th e L is ten er ’s E ar )

Contents 2 4 6 6 8 8 10 10 12 12 14 14 16 16 18 18 24 30 36 50 56 62 62 66 72 74 92 96 102

C ha pt e r 1

I nt ro duc t io n Ba c kgro und Pro b l e m St a te men t Re s e a rc h O bje c tive Re s e a rc h Q ue s tions Sig ni fic a n c e o f Study A s s umpt io ns Sc op e & L i mi t a tions Re s e a rc h M e t h odology D e fi ni t io n o f Te rm s

C ha pt e r 2

I nt ro duc t io n Re s e a rc h D e sig n D a t a Co l l e c t io n & Sou rces Popul a t io n Fra me & Sampling Size

C ha pt e r 3

I nt ro duc t io n Ba sic D e sign E l em en t s of Arc hitec tu re Ba sic D e sign E l em en t s of M u sic A na l o gie s o f M u sic & Arc hitec tu re So ut h A f r ic a’s Music al Histor y Fo r m a t io n o f A rc hitec tural Identity Su m m a r y

C ha pt e r 4 I nt ro duc t io n So ng A na l y si s Co nc l usio n

C ha pt e r 5 Si te C o ntex t Pre c e d e n t s C o n c ep t D e sign

C ha pt e r 6

114 I nt ro duc t io n 114 Fa c a d e

Chapter 7

1 3 6 Co nc l usio n 1 3 8 Li s t o f Figure s 1 52 Re fe re n c e s

Chapter 1 Introduc tion

Figure 1 - Note - by A uthor

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Introduc tion Chapter 1

In 2 019, t he Rugby Wo r l d Cu p took pl ace in J apan . M os t peopl e c an rem e m b e r p re c i s e l y w h e re t h ey were when South Afric a won the final game a g a i n s t E n g l a n d . Th ey re m e mber the joy they felt and the unity and pride in t hei r c o unt r y. They e mbraced th e per s on n ext to th em , ir res pec tive of w h o t h ey we re. R a c e, ge n d e r, and religious bac kground played no role at th at mo me nt . Pe opl e we re s e en a s Sou th Afr ic an s an d cel ebrated th at vic to r y a s s uc h . Th a t wi n w a s not solely the fifteen men on the field, the eig h t s u b s t i t u te s a n d t h e m any men and women on the side-lines. It wa s t h e c o m bi n a t io n o f 5 8 .4 mi l l ion South Afric ans (Stat s S A , 2021) all coming to ge the r for one goa l. Tha t vic to r y w a s s o m et hi n g t h e c o u n t r y des pera te l y n e e d e d ; a m e a n s fo r eve r yone to forget all the problems they a s South A f r ic a n s f a c e d a i l y.

M u sic h a s a si mi l a r w a y o f making people forget their problems, even if it i s j u s t fo r a m o m e n t . M u sic is a form of expression for people. Whether it i s w r i t i n g i t , si n g i n g i t o r p roducing it. M ore impor tantly, it is something m a ny pe opl e c a n re l a te to ; i t is ar t. Th e im por tan ce of m u sic to m os t peo p l e i n t h ei r d a y to d a y l i ve s is cr ucial. Music c an touc h the hear t; it is t h o ug h t- p rovo k i n g ; i t c a n m otivate; it c an also c alm a person. It is a form o f m e d ic a t io n a n d m e d i t a t io n.

C o u n t l e s s q uo te s ex p re s s t his s ame sentiment. For example, the German p hi l o s ophe r Fr ie dr ic h N ie t z s c h e s aid, “ With ou t m u sic, l ife wou l d be a mis t a ke” (G o o d re a d s .c o m . 2 0 2 1 ) . He wa s also quoted a s s aying, “Music unites a ll qua l i t ie s : i t c a n ex a l t us , diver t u s , c h eer u s u p, or break th e h ardes t of h e a r t s wi t h t h e s o f te s t o f i t s melanc holy tones. But it s principal ta sk is to l e a d o u r t h o ug h t s to hig h e r things, to elevate, even to make us tremble...

Th e m u sic a l a r t o f te n s p e a k s in sounds more penetrating than the words o f p o e t r y a n d t a ke s h o l d o f the most hidden crevices of the hear t... Song e l ev a te s o u r b ei n g a n d l e a d s us to the good and the tr ue.” (Popova, M. 2021) Fr ie d r ic h N ie t z s c h e w a s b o r n in 1844 and died in 19 0 0. M ore than 1 0 0 years l a te r, t h e a b ove re m a i n s t r ue.

So u t h A f r ic a i s a m u l t i l i n g u al and ethnic ally diverse countr y. There are 11 o ffic i a l l a n g u a ge s i n So u t h Afric a. These 11 languages come with their own u niq ue s e t o f c u l t u re s , w hic h is difficult to put a number to. Not only is So u t h A f r ic a r ic h i n d i ve r si t y, but also in histor y, in whic h music plays a ro le. K i n g S h a k a Z u l u u s e d war cries to motivate his soldiers before going i n to b a tt l e, a g a i n e m p h a si si ng the impac t music ha s on identity. A more sig ni fic a n t p a r t o f So u t h A f r ic an histor y wa s apar theid. An incredibly dark tim e fo r So ut h A fr ic a a nd i t s peopl e. Th rough th es e tim es of s tr uggl e, peop l e n e e d e d a c opi n g m e c h a nism. Something to help them forget about the p ro b l e m s a n d u p h e a v a l t h ey were facing. Something to bring joy into their l i ve s . Th e s e h o r r i b l e c i rc u m stances bir thed South Afric an jazz. Along with m a ny o t he r ge nre s o f music , Sophiatow n jaz z ac hieved wor l dwide recognit ion .

Sop hi a tow n w a s t h e c u l t u ra l hub in whic h this jazz got it s iconic name. It s t a r te d o u t a s a fo r m o f ex pression people were feeling at the time. The m u sic g a ve p e op l e a n id e n t i t y, something that wa s theirs and could not be re m ove d f ro m t h e m . ( S a hi s tor y.org.za. 2021) So u t h A f r ic a n j a z z b e c a m e iconic to South Afric a, that s ame jazz later b e c a m e k n ow n a s M a ra bi . I n typic al South Afric an spirit, something from a n o t h e r c o u n t r y, i n t hi s c a s e, jazz from the United States of Americ a, wa s t a ke n a n d m a d e So u t h A f r ic a n. (en.wikipedia.org M arabi. 2021) M arabi ha s a So u t h A f r ic a n id e n t i t y e n t re nc hed within the genre.

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Figure 2 - Sheet Music - by A uthor

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Background Chapter 1

M u sic a n d a rc hi te c t u re a pp ear to be different. But their design principles a n d d e sig n e l e m e n t s a re si mi lar. There are two thought processes involved in t he c re a t io n o f music . ( R i ad. 20 09) A p o l l o ni an and D io nysi an A p o l l o ni a n Thi s t h o ug h t p ro c e s s i s ra t io nal in nature. Within music theor y it deals with i s s ue s l i ke r h y t h mic v a l ue and acoustic al design. In essence this theor y m a ke s us e o f i nte l l e c t to c re ate m u sic.

Dio ny si an Thi s t h o ug h t p ro c e s s i s b a sed on an emotive view. It takes the music al t h e o r y, l i ke r h y t h mic v a l ue a nd acoustic al design, and explores how it c an b e m a ni p u l a te d to c re a te e m otion. This thought c an be seen a s an organic exp re ssio n o f se lf, re lying mo re o n i n t u i t io n t h a n l o g ic .

Th e b a l a n c e o f t h e t wo t h o ug h t s i s c o n si s ten t i n m a n y a r t fo r m s . Sc u l pt u rin g , pa i nt i ng, de sign a nd o f c ou r s e arc hitec tu re. Th e design er s of m u sic-in s pi re d a rc hi te c t u re, c o n s c io usly and analy tic ally break down element s and c on s t i t ue nt s o f music i nto t h eir ba sic pieces an d appl ies th es e to arc hitec t u ra l d e sig n . Ex a m p l e s o f p e ople who did this are Iannis Xennakis, Claude B ra gdo n. ( R i a d. 2 0 09) Th e a r t s , p a r t ic u l a r l y m u sic a n d a rc hi tec t u re, pl a y a ro l e i n s h a pi n g peo p l e’s id e n t i t ie s . Pe op l e wi l l either express their identity through an objec t o r id e n t i f y wi t h c h a ra c te r i s t ic s of that objec t (Leac h, Era sing the traces, 20 0 2 ) . Unde r s t a ndi ng how id en tity is es tabl is h ed is vital for design er s , es p e c i a l l y w h e n t ra n s l a t i n g m u sic to building, to maintain arc hitec tural works re l eva nt to their se tting. (H iggin s . 1925)

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Figure 3 - Who Are We? - by A uthor

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Pro blem St at em ent Chapter 1

A rc hi te c t u re i s o f te n l i n ke d to identity. Whic h is why views s uc h a s critic al re g io n a l i s m te n d to m a ke s e nse. Therefore, this means arc hitec tural design i n s pi ra t io n , i s d e si ra b l e b e c ause it contributes to meaning and identity.

(Le a c h. 2 0 03 ) O f te n, a rc hi te c t s igno re t he iden tity of a pl ace. Adam (20 0 2) cr itiques arc hi te c t s fo r s t a m pi n g si mi l a r arc hitec ture ever y where without respec t for p eopl e’s l o c a l ide nt i t y.

M u sic evo l ve s wi t h t h e t i m e s , projec ting a loc al identity and thus becoming u niq ue to t h e c o u n t r y o f o r igin. Similarly, arc hitec ture ha s the potential to rep re s e n t t h e s a m e. W h a t get s implemented within music and arc hitec ture on a l o c a l / re gio na l s c a l e may create a gl obal audien ce. (Hys l op. 19 64 ) A nd o ( 2 0 0 4. Review ) d e s c r i bes arc hitec ture a s follows, “In arc hitec ture, th e re i s a pa r t t ha t i s t he re s ul t of l ogic al rea s onin g, an d a par t th at is crea te d t h ro ug h t h e s e n s e s . Th ere is always a point where they c la sh. I don’t think a rc hi te c t ure c a n be c reated with ou t th at col l ision .”

Research Obje c t i ve Chapter 1

Th e re s e a rc h o bje c t i ve i s to explore the relationship between South Afric an m u sic a n d So u t h A f r ic a’s a rc hitec tural identity. EC HO, the proposed South A f r ic a n m u sic m u s e u m , s h o u l d integrate the design element s and principles fo u nd in South Afr ic a n music , in to th e arc hitec tu re to create a Sou th Afri c a n a rc hi te c t u ra l id e n t i t y.

Th e id e a l i s to c re a te a m u s eum of South Afric an music, where the music f ro m di ffe re nt t i me pe r io ds al on g with th eir ar tis t s are dis pl ayed an d h on o u re d fo r t h e ro l e t h ey p l a yed in South Afric a’s histor y. The museum will b e a s p a c e fo r So u t h A f r ic a n s, along with tourist s, to explore, discover and b ette r unde r s t a nd So ut h A f r ic a th rough a m u sic al m ediu m .

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Figure 4 - South Afric an Flag - Photo by Shaun M eintjes

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Research Q ue st io ns Chapter 1

Th e re s e a rc h q ue s t io n s revo lve around South Afric an music and it s link to a rc hi te c t u ra l id e n t i t y. A l o n g with how histor y affec ted the music that wa s c re a te d .

1 . W ha t de sign e l e me nt s a nd pr in cipl es are fou n d in Sou th Afr ic an m u sic?

2. H ow c a n t ho s e d e sig n e l e ment s and principles be incorporated into arc hi te c t u re?

3. Wi l l t h e a rc hi te c t u ra l i n te r ven tion crea te a n a rc hitec tu ra l iden tity?

4. How did the circumsta nce s o f t h e t i m e a ffec t t h e m u sic t h a t w a s c rea ted ?

Signific ance of Study Chapter 1

So m e p e op l e c a n s e e t h e i nspirational source of an arc hitec tural piece.

H oweve r m o s t d o n o t . A b u i l ding may not be Miriam M akeba’s - Clic k Song (Q o n gqo t h w a n e) , b u t i t m a y be der ived from th e s tr uc tu re, m el ody, or org a ni s a t io n o f t h a t c re a t i ve piece. Music c an be used a s inspiration or even a s t a r t i ng poi nt . Thi s ope ns n ew oppor tu nities for poten tial design res pon s es, a l l t he w hi l e i nte gra t i ng t h e iden tity of th e l oc al audien ce.

Ro b e r t A d a m h a s s a id p e op l e identif y themselves by where they come from, eve r yo n e h a s a u niq ue s e n s e of what they c all “home”. Regardless of it s c o m p l ex i t ie s , t h e i m p o r t a n c e of identity to an individual is enormous, and a t h re a t o f c h a n ge i n t h ei r home environment could be a threat to their id e nt i t y. ( A d a m. 2 0 12 ) Th e c o n c ep t o f So u t h A f r ic an arc hitec tural identity will be interrogated.

Thi s d i s s e r t a t io n wi l l s e e k to i m prove h ow a rc hi tec t s , a rc hi tec t u ra l a c a d e mic s , a n d m u sic i a n s a ud i t and critic ally appraise their work, a s well a s to a ro us e i nte re s t i n l o c a l c re a tive for m s a s a s pr in gboard for progres s .

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Figure 5 - Mixed Music Lines - by A uthor

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Ass umptions Chapter 1

I t c a n b e a s s u m e d s o m e fo rm of self-expression and understanding will m a ni fe s t wi t hi n t h e p roje c t . As muc h a s there will be qualitative researc h, t h e view p oi n t wi l l b e u niq ue to the author.

A q u a l i t a t i ve re s e a rc h a n d a nalysis method will be developed to breakdown m usic a l c o mpo si t io ns . So i t wil l is ol ate s ou n ds to n ote th e signific an ce of th e m. Thi s wi l l t he n l e a d to a per s on al approac h to creatin g an iden tity.

Scope & Limitations Chapter 1

Wi t h t h e re b ei n g 24 d i ffe re nt s tyl es of Sou th Afr ic a n m u sic (E n .wikipedia . o rg . So u t h A f r ic a n s t y l e s o f music. 2021), the field of researc h is broad.

Th e re fo re, t h e s c op e o f re s earc h and work needs to be honed down to c o m p l e te a s uc c e s s f u l p roje c t.

Th e wo r k wi l l l o o k a t o n e n otable ar tist of South Afric an music. The goal will be to pic k up on e le me nt s a n d d esign pr i n c i p l es wi t hi n t h e a r t i s t ’s m usic t h a t wi l l h e l p c re a te a n a rc hitec tural identity.

Th e limit at io ns t o t he s t ud y are : Ti m e C o n s t ra i n t s D ue to a l a c k o f t i m e, t h e re searc h will be limited in scope.

S h o r t age o f I nfo r m at io n Th e re i s a s h o r t a ge o f i n fo r mation public ly and freely accessible for the m u sic i n q ue s t io n . S h e e t m u sic is something that needs to be purc ha sed in ord e r to a na l y s e i t .

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Figure 6 - Experimental Music Score - by A uthor

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Research M e t ho do lo gy Chapter 1

Th e re s e a rc h i s ex p l o ra to r y. Th e a i m i s to iden t i f y i f t h ere i s a rel a t io n bet we e n So u t h A f r ic a n m u sic a nd creating an arc hitec tural identity. There is a l re a d y a n ex i s t i n g re l a t io n s hip between arc hitec ture and music; a s well a s t h e re l a t io n s hi p b e t we e n a rc hitec ture and identity. However, there is not m uc h i nfo r ma t io n o n t he l i nk between Sou th Afr ic an m u sic an d it s rel ations hi p wi t h a n a rc hi te c t u ra l id entity.

Th e re s e a rc h wi l l re l y o n q u a l i t a t i ve da t a . M uc h o f t h e i n fo r m a t io n i s a lre a d y i n ex i s te n c e. C o n s e q uently the retrieval and compilation of this data by m e a n s o f a n a l y si s a n d a l igning it with the questions will form the ba sis o f t h e p roje c t . Th e s t ud y wi l l be unstr uc tured to allow for flexibility in the re s e a rc h p ro c e s s to ex p l o re the topic at hand.

Th e re s e a rc h wi l l p re d o mi n a tel y u s e t h eo ret ic a l a n a l ysi s by c o m pa r i n g m ate r i a l f ro m d i ffe re n t ex p e r t s /authors within the fields of music, arc hitec ture a n d ide nt i t y, a l o ng wi t h t he l eew ay to m ake u s e of obs er vation s an d deci sio n s to c o m p a re d i ffe re n t i nformation. Since eac h piece of information is u nique, a c a s e s t udy a ppro a c h wil l be param ou n t in th e projec t’s s ucces s .

Definition of Terms Chapter 1

So un d - M e c h a nic a l p re s s u re waves that travel through a physic al medium, l i ke a i r o r w a te r. A p re s s u re wave consist s of regions of compression and ra re f a c t io n o f t he p h y sic a l medium’s par tic les.

Pi t c h - Thi s i s a s p e c i fic f re q uency of sound produced by a vibrating objec t.

I n m u sic , t h e f re q ue n c y o f a sound ha s a harmonic value. This harmonic v a l ue c a n b e d e s c r i b e d a s high (for example, sounds that are in the soprano or t re bl e ra nge) , o r l ow ( fo r exam pl e, s ou n ds th at are in th e ba s s ran ge).

Music Sc o re - A s y s te m o f p r in ted/w r itten s ym bo l s a n d text u s ed to repre s e n t m u sic . Th e i n te n t io n i s that when read, the music will be performed in exac tly the s a me w a y the co m p o s er c o m p o s ed i t , o r a s c l o s e a s p o s si b l e.

H ar m o ny - M u sic . Th e re l a t ionship created between different pitc hes when th ey a re pl a ye d a t t he s a me tim e (Car ter, 20 18). Arc hitec tu re, al s o pro p o r t io n . Th e re l a t io n s hi p b e tween c harac teristic s of different par t s of an a rc hi te c t ura l c o mpo si t io n. (Chin g, 1979) R h y t hm - M u sic . A d e s c r i p t ion of the relationship between durations of s o u n d s wi t h o u t re s p e c t to t heir pitc hes. (Car ter, 2018) Arc hitec ture.

M ove m e n t – Thi s i s c h a ra c te rised by a patterned recurrence of element s or m o t i fs a t re gul a r o r i r re gul a r in ter val s . (Chin g, 1979)

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Chapter 2 Re s e arc h M e t h o ds

Figure 7 - Abstrac t Music Score - by A uthor

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Introduc tion Chapter 2

Thi s c h a p te r wi l l b re a k d ow n the researc h questions into the concise data s t a te m e n t s n e e d e d to a n s wer them. These data-requirement statement s were the n linke d to the re se arc h param eters .

Thi s d i s s e r t a t io n a i m s to d e m o n s t ra te So u t h A fr ic a n m u sic ’s c rea t i ve potentia l a s a n inspira tion for a rc hi tec t u ra l iden t i t y. A s a res u l t , t h e kn ow le d ge b ei n g d i s c ove re d i n c l udes component s of music al and arc hitec tural c om po si t io n, s o me hi s to r y o f Sou th Afr ic an m u sic, an d h ow iden tity is con s t r uc te d a n d u n d e r s to o d . Th ere is a gap in the existing information relating So u t h A f r ic a n m u sic to a rc hitec tural design, whic h this projec t will aim to a d dre s s i n a n ex pl o ra to r y man n er.

Th e d a t a i n t hi s d i s s e r t a t io n is of a qualitative nature. As a res ult, the re se a rc h a pproa c he s will be in terpretive, with th e goal of offerin g an in d ep t h u n d e r s t a n d i n g o f So u t h Afric an music and how it might be applied in a rc hi te c t ura l c o mpo si t io n.

Rese arch D e sign Chapter 2

Thi s s e c t io n i l l u s t ra te s h ow the answers will be found in order to answer th e re s e a rc h que s t io ns .

D at a c o l l e c t io n L ite ra t ure review - E l e me nt s o f music a nd a rc hitec tu re - Th e o r ie s b e t we e n m u sic a n d arc hitec ture - Hi s to r ic a l I nfo r ma t io n A nal y si s C o mpa r i s o n & A na l o gie s - La yi n g o u t v a r i a b l e s f ro m s amples of music and arc hitec ture - C o m p a r i n g t h e m i n o rd e r to uncover common c harac teristic s that resound a n d a re us e f ul i n bo t h music an d arc hitec tu re Pre s e n t a t io n - S ke tc he s - A rc hi te c t u re

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Figure 8 - Abstrac t Music Notes - by A uthor

15

Data Collec tion & Sources Chapter 2

Re s e a rc h Q ue s t io n s 1 . W h a t d e sig n e l e m e n t s a n d principals are found in South Afric an music?

2. H ow c a n t h o s e d e sig n e l e ment s and principals be incorporated into arc hi te c t u re?

3. Wi l l t h e a rc hi te c t u ra l i n te r vention create an arc hitec tural identity?

Ty pe s o f d at a ne e d e d 1 . M u sic c o m p o si t io n p r i n c i p als 2. B a sic d e sig n e l e m e n t s o f music 3. B a sic d e sig n e l e m e n t s o f arc hitec ture 4. The o r ie s tha t link a rc hite c t u re a n d m u sic

Pop u latio n Fram e & Sam pli ng Si ze Chapter 2

Th e re a re a g re a t v a r ie t y o f genres in South Afric an music. Eac h genre h a s a u niq ue s o u n d , wi t h d i fferent element s at play. It would be unjust to a ss u m e a l l So u t h A f r ic a n m u sic is the s ame, if not simil ar. Therefore it c an n o t b e a s s u m e d t h e re i s a general set of c harac teristic s found throughout So u t h A f r ic a n m u sic . D ue to the time constraint s, one song that will be t h o ro ug h l y i n ve s t ig a te d wi l l be used.

M i r i a m M a ke b a’s Pa t a Pa t a . The rea soning behind the decision, is due to t h e ic o nic n a t u re o f t hi s s o n g. It wa s one of South Afric ans first songs to a c hieve i n te r n a t io n a l a c c l a i m. Miriam M akeba is not only known for her si n g i n g , b u t s h e w a s a l s o a c tive in the fight against apar theid. The song a n d l y r ic s b e hi n d Pa t a Pa t a were described by Miriam M akeba a s being “ i n sig ni fic a n t ”, h oweve r, m a ny have c alled it a “par ty song a s an anthem hig h l ig ht i n g t he i n j us t ic e s o f apar theid” (BBC Culture. 2019).

16

Chapter 3 Music, Arc hitec ture & Identity

Figure 9 - Experimental Music Score - by A uthor

17

Introduc tion Chapter 3

To c o m p re h e n d t h e re l a t io n s hip between arc hitec ture and music, a person m u s t fi r s t c o m p re h e n d t h e str uc ture of both. Cer tain a spec t s are shared by a l l a r t i s t s , s uc h a s r h y t h m, form, propor tion, harmony, and, to a lesser exte nt, str uc ture. (Co ur se s. lu m en l ea r ni n g .c o m . 20 21 ) . I n s o m e c i rc u m s t a n c e s , t h e s e te r m s a re i n te rc h angeable, while in others, they are not. This e s s a y wi l l l o o k a t s o m e b a sic element s, element qualities, and idea s that a re s h a re d by b o t h a rc hi te c ture and music. Along with how these main e l e m e n t s ( a rc hi te c t u re a n d music) share a communality with identity, and h ow id e n t i t y c a n b e fo r m e d through arc hitec ture, all while using music a s a d e sign to o l .

Design Element s & Principals

Ba sic Design Elements of Architec ture Chapter 3

A c c o rd i n g to C hi n g (C hi n g , 1979), the four element s listed below are the p a r t s o f a rc hi te c t u re t h a t a re combined or organised in a specific sequence, a c c o rd i n g to c e r t a i n r u l e s , and have various attributes added to them to p ro d uc e a n a rc hi te c t u ra l c o mposition, (Ching, 1979) -

Poi nt Li ne P l ane Vo l u m e

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Figure 1 0 - Point - by A uthor

Figure 11 - Line - by A uthor

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Ba sic Design Element s of Arc hitec ture

Poi nt Chapter 3

Thi s i s a rep re s e n t a t io n o f a position in space. Conceptually speaking, a p oi n t h a s n o d i m e n sio n s m a king it, by definition, static. Although a point h a s n o s h a p e o r fo r m , i t s ex istence ha s a vis ual effec t on those around it.

A c e n t ra l l y p o si t io n e d p oi n t promotes stability and rest. It c an dominate it s s u r ro u n d i n g s a n d h a ve t h e m organised around it. An off-centre point ha s a s u r ro u n d i n g a re a t h a t c o m p etes with it for vis ual dominance. This adds to t h e te n sio n . (C hi n g , 1 97 9)

Ba sic Design Element s of Arc hitec ture

Line Chapter 3

A li n e i s a p oi n t t h a t h a s b e e n extended. It ha s only one dimension, length, a n d n o wid t h o r d ep t h . A l i n e depic t s the route of a moving point, allowing i t to g ra p hic a l l y i n d ic a te d i rec tion, movement, and grow th.

In a vi s ua l c o mpo si t io n, a l i ne c an fu n c tion a s : - J oi n, l i nk , s uppo r t , s ur ro und or in ter s ec t oth er vis u al el em en t s .

- D e s c r i be t he e dge s o f, a nd give s h ape to pl an es .

- A r t ic ul a te t he s ur f a c e s o f p l an es .

A l i ne c a n be di s t i ngui s he d by it s width ratio, con tou r, or degree of con ti n u i t y. The ro l e o f a l i ne i n a vis u al con s tr uc tion is affec ted by it s or ien tat ion . A ve r t ic a l l i n e c a n rep resent balance, the human condition, or a point i n s p a c e. A h o r i zo n t a l l i n e might indic ate stability, the ground plane, the h o r i zo n , o r a m o t io n l e s s b o d y. A diagonal line c an be thought of a s either a f a l l i n g ve r t ic a l l i n e o r a r i si n g horizontal line. Bec ause it is out of balance, it b e c o me s dy na mic a nd a e s th etic al l y ac tive. (Chin g, 1979)

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Figure 12 - Plane - by A uthor

Figure 1 3 - Volume - by A uthor

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Ba sic Design Element s of Arc hitec ture

Plane Chapter 3

A p l a n e i s a l o n g l i n e. I t h a s length and breadth parameters, a s well a s s h a p e, s u r f a c e, o r ie n t a t io n , and position. It ha s two conceptual dimensions, l e n g t h a n d wid t h , b u t n o d epth. A plane’s key distinguishing feature is it s s h a p e. C o l o u r, p a tte r n , a n d texture are additional a spec t s of a plane that a ffe c t i t s pe rc ei ve d weight a n d s tabil ity.

P l a n e s a re u s e d to d e fi n e t hree-dimensional volumes. The vis ual a spec t s o f t h e fo r m t h ey c re a te, a s well a s the qualities of the space they enc lose, wi l l b e d e te r mi n e d by t h ei r p roper ties – shape, colour, texture, and size – a s wel l a s t h ei r s p a t i a l c o n n e c t ion to one another. (Ching, 1979) O ve r h e a d p l a n e c a n ei t h e r be a roof that spans and shelters the interior sp ac e s o f a bui l di ng fro m t he el em en t s , or th e ceil in g pl an e in side.

Wa l l p l a n e h a s a ve r t ic a l o r ientation and is thus most perceptible in the h u m a n ex pe r ie nc e. I t s c ha rac ter is vital to th e s h apin g an d en c l os u re of a rc hi te c t ura l s pa c e.

B a s e p l a n e c a n ei t h e r t h e g round plane (on whic h physic al foundations are l a id ) , o r t h e f l o o r p l a n e, t h e lower enc losing s urface of a room upon whic h we wa lk .

Ba sic Design Element s of Arc hitec ture

Volum e Chapter 3

A vo l u m e i s a p l a n e t h a t h a s been enlarged. It ha s length, width, and depth p rop e r t ie s , a s we l l a s fo r m and space, s urface, orientation, and loc ation.

I t h a s t h re e d i m e n sio n s . Vo l umes c an be thought of a s a composite of the p revio u s d e sig n a s p e c t s ( p l a ne, line and point).

A vo l u m e’s key d i s t i n g u i s hi n g feature is it s form. It is defined by the forms a n d i n te r re l a t io n s hi p s o f t h e planes that define the volume’s bounds. It c an a l s o b e p ro d uc e d by mi x i n g pure forms or morphing existing ones.

So l id s i n t h ei r p u re c o n d i t io n are made by combining simple shapes s uc h a s re c ta ngle s a nd tr ia ngle s. A vol u m e, a s a th ree-dim en sion al el em en t in arc hi te c t u ra l d e sig n l a n g u a ge, c an be either a solid (space defined by ma ss), or a void ( s pa c e e nc l o s e d by pl an es ). (Chin g, 1979).

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melody line in the root key of E

INITIAL CONDITION chord structure melody TENSION a shift in melody that may generate conflict with the chord structure

RESOLUTION getting back to a balanced state

Figure 14 - M elody - by A uthor

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change in position

change in size

change in orientation

Design Element s & Principals

Ba sic Design Elements of Music Chapter 3

M u sic , l i ke a rc hi te c t u re, fo l l ows a ba sic str uc ture. These are the building b l o c k s p ro d uc e d a n d a r ra n ged, following specific principles, whic h have v a r ie d a tt r i b u te s a d d e d to t hem in order to make a music al composition. ( Ro c k C l a s s 1 0 1 . 2 0 2 1 ) - Melody - H ar m o ny - R hy t hm H a r m o n y a n d m e l o d y a re b o t h terms used to explain relationships between pi tc h e s o f s o u n d s . H oweve r melody takes length into account and harmony d o e s n o t . R h y t h m d e s c r i b e s correlations between sound durations without t a k i n g i n to a c c o u n t d i ffe r i n g pitc hes. (M a sterc la ss. 2021).

Ba sic Design Element s of Music

Melody Chapter 3

A m e l o d y i s a pi tc h c o n n e c t ion that r uns horizontally (Car ter, 2018). It is c a l l e d h o r i zo n t a l , b e c a u s e t h e relationship is expressed horizontally on the m u sic a l s t a ff. To ge n e ra te f a scinating melodies, good composers generally u s e te n sio n a n d re l e a s e. Te nsion is established by moving away from the m u sic ’s h a r m o nic c e n t re, o r root note. M oving bac k to the harmonic centre i n a n u n u s u a l w a y c re a te s re lea se.

I t wo u l d b e c h a l l e n g i n g to d epic t things diagrammatic ally bec ause they are e n t i re l y p e rc ei ve d vo c a l l y. Good tunes are frequently described a s those t h a t “ te l l a n a r ra t i ve” (C a r te r, 2018).

1 . Th e m e l o d y s t a r t s , u s u a l l y following the str uc ture of the c hords.

2. I t t h e n m a ke s s o m e f r ic t ion (tension) between the single notes in the m e l o d y a n d t h e s t r uc t u re o f the c hords. The tension may come about by d is s o na nc e, si l e nc e, c ha nge of voices / in s tr u m en t s or ju s t an el em en t of s u r p r i s e.

3. Th e n ( i n m o s t m u sic) t h e tension is followed with a relea se, where the re l a tionship be twe e n the sing l e n otes an d th e c h ords are res tored to a s tab l e, c o n s o n a n t o n e.

Th e t ra n si t io n f ro m a s t a te of relea se to tension and bac k to relea se is w h a t c a u s e s m ove m e n t i n m usic. It is up to the musician’s imagination to p ro d uc e m ove m e n t i n a v a r iety of ways in order to develop an interest in th e wo r k . (Ca r te r, 2 018 )

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Figure 1 5 - Music al Harmony - by A uthor

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Ba sic Design Element s of Music

Harmony Chapter 3

W h e n d i ffe re n t pi tc h e s a re played simultaneously, they form a relationship (C a r te r, 2 0 1 8 ) . Th e re l a t io n s hip is referred to a s ‘ver tic al’, bec ause notes p laye d c o nc ur re nt l y o n t he mu sic al s taff are por trayed a s bein g ‘on top of e a c h o t h e r ’, o n t h e s a m e ‘ ve r tic al line.’

W h e n m o re t h a n o n e n o te i s sounded at the s ame time, the ear interpret s t h e re s u l t i n g s o u n d c o l l a ge a s a single sound. It takes a skilled ear to tell w hic h n o te s m a ke u p t h a t k a l eidoscope of sounds. A c hord is a music al unit t h a t c o n si s t s o f m o re t h a n o ne note played at the s ame time.

A c h o rd p ro g re s sio n o c c u r s when c hords are played in a specific order or p a tte r n , f ro m t h e b e g i n ni n g to the end of a music al work. Distinc t c hords i n a c h o rd p ro g re s sio n p e r form different ta sks ba sed on their relationship to t h e f u n d a m e n t a l c h o rd . C hords are often c la ssified into three c ategories (C a r te r, 2 0 1 8 ) .

Tonic Th e s e a re c h o rd s t h a t a re perceived a s stable. When these c hords are p l a ye d , t h e re’s a s e n s e o f c ompletion, finality, or resolution in a music al pie c e. Th ey a re u s ua l l y t he 1st, 3rd, and 6th degrees in a c hord progression.

Su b d o mi na nt Th e s e c re a te m ove m e n t f ro m t h e to nic c h o rds , a n d a re s l igh t l y ten s e / u n s t a b l e, m e a ni n g w h e n t h ey a re played, they may lead to more instability or b a c k to s t a bi l i t y o r fi na l i t y. Th ey are u s u al l y th e 2n d an d 4 th degrees .

Do mi nant Th e s e a re t h e te n s e s t c h o rd s in a progression. They contra st sharply with t h e to nic c h o rd s , c re a t i n g i n stability. There’s a deep c all for the next c hord to re s o l ve b a c k to a to nic o ne when they are played. They are us ually the 5 t h a n d 7 t h d e g re e s .

B o t h t h e a l p h a b e t a n d t h e pi tc h of music al notes are arranged in a scending ord e r. N o te D i s highe r t ha n n ote C in this s en s e. An in ter val is th e differe n c e i n pi tc h b e t we e n t wo n otes.

A s e mi to n e i s t h e s m a l l e s t i nter val in traditional music theor y. One oc tave is ma de up o f 12 s e mi to ne s . An oc tave is th e in ter val beyon d w hic h th e alp h a b e t ic a l l e tte r s u s e d to d e signate the notes, begin to repeat themselves.

I n te r v a l s c a n b e c o u n te d b eginning with any note. As the root note, the n o te C i s e m p l oye d ( t h e p oint of reference). Bec ause an oc tave is made u p o f 1 2 s e mi to n e s , 1 2 d i ffe rent types of inter vals are possible. The names o f t h e i n te r v a l s a re d e fi n e d by the number of semitones that make up the i n te r v a l . Fo r ex a m p l e, t h e Perfec t 5th inter val is made up of 7 semitones ( m ovi n g f ro m C u p to G ) . The Perfec t 5th is the most consonant inter val, on e t ha t i s mo s t pl e a si ng to th e ear. (Car ter, 20 18)

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Figure 1 6 - Rhy thm Element - by A uthor

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Ba sic Design Element s of Music

Rhy thm Chapter 3

R h y t h m d e s c r i b e s t h e re l a t ionship between sounds and their duration, wit hout ta king diffe r ing pitc hes i n to a c c o u n t (C a r ter, 20 18 ) . R h y t h m i s es s e n t i a l i n d a n c e m u sic p e r fo rmance bec ause it allows the listener to swing to o r g ro ove wi t h t h e s o u n d. To better describe rhy thm, a few terms are re q u i re d . Th e p u l s e o r b e a t of the music is represented by time.

A b e a t i s t h e b a sic u ni t o f t i me. It is typic ally applied to the piece of music o r t h e o c c a sio n . O n c e t h e l e ngth of a beat is determined, ever y other unit o f t i m e i s a m u l t i p l e o f i t . B e c ause a crotc het is considered to be one beat, e a c h o t h e r n o te h a s a n o te value that is a multiple of that beat.

A b a r (o r m e a s u re) , i s a f u ndamental unit of time used to c alculate the l e n g t h o f a pie c e. B a r s a re used to denote beat divisions. In sheet music, i t i s rep re s e n te d by t h e s p a ce between the single ver tic al lines, bec ause t h e d u ra t io n o f n o te s i s t h e empha sis of rhy thm, the symbols of the notes sig ni f y t h e l e n g t h o f t i m e fo r whic h they are played. (Car ter, 2018) Te m p o i s t h e s p e e d a t w hic h the beat s happen. It’s mea s ured in ‘beat s per mi n u te’ ( bp m ) . Thi s m e a s u re is an absolute one.

Fo r ex a m p l e, J o h n n y C l e gg & Sav uka - Asimbonanga (M andela) plays at an a ve ra ge te m p o o f 8 5 bp m . I t means within one minute, the fundamental b ea t pul s a te s 8 5 t i me s . The c reative wor k of Asim bon an ga th u s h a s a m ode ra te p u l s e, n o t fo r e n e rge t ic dancing, and not lulling either. (Song BPM. 2021. 6) A no t he r ex a mpl e i s M i r i a m M akeba’s - Cl ic k Son g (Qon gqoth w an e), th e versio n t h a t ’s i n t h e c o l l e c t i ve album “Out of Afric a”. It ha s an average tempo o f 1 2 5 bp m . Thi s i s a b r i s k p ulse, whic h makes for vibrant dancing that c an b e s u s t a i n e d fo r a l o n g t i m e. (Song BPM. 2021. 7) Th e t i m e sig n a t u re d e s c r i b e s the str uc ture of a bar of music by stating the n u m b e r o f b e a t s t h a t c a n fi t in a bar and the note values of eac h of those b ea t s . I t ’s repre s e nte d i n a frac tion al for m at, with th e n u m erator repres en ti n g t h e “n u m b e r ” o f n o te s and the denominator representing the “type / n a m e” o f n o te s .

Fo r ex a m p l e, i n a 4 /4 sig n a t ure, the numerator “4” means “4 notes”, and the d e n o mi n a to r “4” m e a n s “q u a r ter notes”. So the 4/4 -time signature means “4 q u a r te r n o te s i n o n e b a r ”. A nother time signature is 3/4, whic h means “one b a r h a s t h re e q u a r te r n o te s”. (Car ter, 2018) Th e t i m e sig n a t u re i s l i ke a s t r uc t u ra l gr id i n t h a t i t requ i res el em en t s o f a s p e c i fic d i m e n sio n ( t i m e i n the c a se of music), to be written out in an o rg a ni s e d w a y. Th e re a re s o me strategies for “playing” with the timing of a pie c e. I f t h e re i s a b a c k b o n e, one c an ar tistic ally def y the laws to produce a n e n g a g i n g c o m p o si t io n . (Car ter,N. 2018) O n e o f t h e s e i s s y n c op a t io n , whic h is playing notes in the spaces indic ated by t h e t i m e sig n a t u re. Thi s c an be accomplished by playing some notes for lon ge r o r s ho r te r pe r io ds , t akin g res t s , or s kippin g beat s . Som e s yn copat ion a pp l ic a t io n s c re a te r h y thmic tension, whic h is a useful tec hnique to piq ue t h e l i s te n e r ’s i n te re s t in a work.

Th e fi r s t o r l a s t b e a t o f a b a r is generally accentuated (played more robust t h a n t h e re s t o f t h e b e a t s ) . Dynamic s refers to the playing of some beat s l o ud e r t h a n o t h e r s . Th e d y n a mic s may c hange from time to time, with beat s oth e r t ha n t he fi r s t a nd l a s t b ein g high l igh ted. (Car ter, 20 18)

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struck (vibrating) part 1

2

3

4

5

6

7

8

9

12 12:6

11

10

2:1 c (on higher octave)

Octave

C to find a mean point 1

2

3

4

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5

8

9

10

11

12 arithmetic mean point

1

2 1

3 2

4 3

5

6

4

7 5

9

8

10

7

6

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12 9

8

9:6 3:2

G (perfect 5th) C

Perfect 5th harmonic mean point

1

2 1

3 2

4 3

7

6

5 4

5

8

9 6

10

11

7

12 8

8:6 4:3

F (perfect 4th) C

5:6 minor third 4:5 major third 3:4 fourth 2:3 fifth

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

1:2 octave graphic expression of music intervals

Figure 17 - Harmony & Propor tion - by A uthor

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Perfect 4th

scale showing principal proportions of the Pathenon

Analogies of Music & Arc hitec ture

Harmony & Propor tion Chapter 3

H a r m o nic i n te r v a l s m u s t b e discussed while addressing music al harmony ( pi tc h re l a t io n s hi p s b e t we e n two or more notes). These were established by m a t h e m a t ic a l p r i n c i p l e s d e r i ved from P y thagora s’ early works (Riad, 20 09).

P y t h a go ra s d i s c ove re d m o s t consonant sounds could be extrac ted from m e t a l pie c e s w h o s e l e n g t h s were connec ted by small whole-number ratios.

Th e h a r m o nic i n te r v a l s b e c a me more discordant a s the numbers increa sed i n si ze.

Th e ra t io s o f a few n o te s t h at make up the diatonic sc ale are presented.

Th e l o n ge s t c o n s o n a n t i n te r v a l i s t h e o c t a ve. W h en m en , wo m en a n d c hi ld re n si n g to ge t h e r, t hi s h a pp ens (men singing the lower oc tave of what the c hi l d re n si n g ) .

P y t ha go ra s di s cove re d i t by d i vid i n g a n o bje c t i n to 1 2 e q u a l h a l ve s , s top pi n g a t t h e si x t h , a n d hi tt i n g one side (c ausing it to vibrate and produce s o u n d ) . Th e ra t io o f t h e e n t i re length to the vibrating por tion is 12:6, whic h si m p l i fie s to 2 : 1 . P y t h a go ra s considered finding a 14 -mean point between t h e si x t h a n d t we l f t h s e g m e nt s to loc ate alternative consonant inter vals.

B y t a k i ng t he a r i t hme t ic me a n of 12 an d 6; 12+ 6 = 9 2 Th e n ew s o u n d w a s d i s c ove red to be a c o n s o n a n t by u t i l i si n g 9 a s t h e fo u n d a t io n fo r s pl i tt i ng t he s a me l en gth of th e objec t, an d 6 an d th e s ec tion of i t t h a t i s to vi b ra te. Th e d i s c overed inter val is the Perfec t 5th.

B y usi ng t he ha r mo nic me a n of 12 an d 6; 2(126) = 14 4 = 8 18 18 Th e n ew s o u n d w a s d i s c ove red to be a c o n s o n a n t by u t i l i si n g 8 a s t h e fo u n d a t io n fo r s pl i tt i ng t he s a me l en gth of th e objec t, an d 6 an d th e s ec tion of i t t h a t i s to vi b ra te. Th e d i s c overed inter val is the Perfec t 4th.

Th e re l a t io n s hi p s b e t we e n n o tes i n m u sic a re defi n ed by u n der l yi n g n u m eric l a w s , w hic h , w h e n u s e d c reatively, res ult in music that is plea sing to the e a r. Si mi l a r l y, i n a rc hi te c t u re, there are geometric and numeric principles th at c o nt ro l t he re l a t io ns hi p of sizes between differen t arc hitec tu ral el e m e nt s , w hic h, w he n c re a t i ve l y im pl em en ted, res u l t in eye-c atc hin g arc hi te c t u re.

A s a re s u l t , t h e re i s s o m e si milarity between simple harmony in music and si m p l e p rop o r t io n i n d e sig n (Bragdon, 201 0). However, developing precise s t a n d a rd s o f a rc hi te c t u ra l p ropor tion ba sed on music al harmony laws is a f r u i t l e s s e n d e a vo u r. Th e t wo disciplines are too dissimilar for that, and a rc hi te c t u re m u s t a l s o b e vi s ually appealing along with attempting to be a ud i to r i l y a pp e a l i n g a s we l l . (Bragdon, 201 0) Si m p l e music a l ha r mo nie s were deliberately applied to arc hitec tural feat u re s s uc h a s wi n d ow s , d o o rs, length to width ratios of spaces, windows, a n d s o o n t h ro ug h o u t t h e Renaiss ance period, with the goal of ac hieving t h e id e a l a e s t h e t ic s t h a t we re reac hed in c la ssic al Greek era s.

W h e n i t c o m e s to h a r m o n y, mathematic s is the link that connec t s music a n d a rc hi te c t ure. W he n i t c om es to h ar m on y an d propor tion , th e ratios of n u m b e r s a re w h a t a re t ra n s ferable between both professions.

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Figure 18 - Music Score - Photo by M arius M a s alar

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Analogies of Music & Arc hitec ture

Form Chapter 3

For m ex i s t s i n b o t h m u sic a nd arc hitec ture. Str uc ture in music is the mann e r i n w hic h d i ffe re n t s e g m ent s /unit s of a piece of music are arranged or ord e re d, fro m be gi nni ng to con c l u sion , to gen erate a coh eren t piece of m u sic .

M usic a l fo r ms a re t y pic a l l y c h arac ter is ed by u sin g l etter s to in dic ate disc re te uni t s o f a music a l pie c e an d w r itin g th os e u nit s in a l in e. Som e comm o n music a l fo r ms i nc l ude, for exam pl e: - St rophic - A A A , e tc . (eve r y u nit is simil ar ) - Bi n a r y - A B - Te r n a r y - A B A - Ro n d o - A B AC A , o r A B AC ADA . (A cyc lic way of repeating the different u ni t s ) - A rc h - A B C B A . ( Th e d i ffe re nt unit s c hange a s the song develops, then are p laye d a ga i n i n reve r s e o rde r, til l th e fir s t u nit is th e l a s t) - So n a t a Ro n d o - A B A- C -A B A .

- Th ro ug h c o m p o s e d – A B C DEF (ever y unit is different) Th e te r m fo r m i s f re q ue n t l y used in ar t and design (arc hitec ture) to define a wo r k ’s fo r m a l s t r uc t u re - t he method of organising and coordinating the e l e m e n t s a n d pie c e s o f a c o mposition to produce a coherent image (Ching, 1 97 9) .

S h a pe, si ze, c o l o ur, a nd tex t u re are exam pl es of for m qu al ities . W h en disc u s si ng a rc hi te c t ura l fo r m, it is u n avoidabl e to br in g u p th e s u bjec t of sh ape. S ha pe i n t hre e di me n sion s refer s to th e s u r face con figu ration of a vo l u m e t r ic s t r uc t u re (C hi ng, 1979). The degree of vis ual contra st that ex i s t s a l o n g t h e c o n to u r s ep arating a figure from it s ground or between a fo r m a n d i t s fie l d i n f l ue n c e s our sense of shape.

S h a p e i n m u sic re fe r s to t h e abstrac t c harac ter of a composition’s motion a n d fig u re, w hic h i s a c c o m p l ished by dynamic s, melody, and pace.

A c c o rdi ng to t he pre c e di ng statem en t, th e s h ape of a m u sic al piece is im p a c te d by : D yn a mic s Th e l o ud n e s s o r s o f t n e s s ( w hic h i s a l s o c a l l ed vo l u m e) o f di fferen t s ec t io n s Me l o d y Th e d i re c t io n o f pi tc h a s t h e piec e pro gres s es i n t i m e Tem p o Th e s p e e d o f t h e m u sic Tra n s fo r m a t io n i s a l s o u s e d i n music. In music, transformation refers to the re a r ra n ge m e n t o f n o te s i n a melody line or inside a c hord.

M u sic a n d a rc hi te c t u re a re thought to be inextric ably linked. They both c o n t a i n a n i n te re s t i n g b l e n d of str uc ture and intuitive expression, and the term “a e sthe tic s” is cr ucia l in bo t h c rea t i ve gen res . A rc hi tec t u re i s o rg a ni s e d s p a c e ; m u sic i s o rg a ni s ed sound. Both are compositional, space-time a r t s ba s e d o n s c ie nc e a nd tec h n ol ogy.(Bou r n e. 20 1 0)

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Figure 19 - Rhy thm - by A uthor

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Analogies of Music & Arc hitec ture

Rhy thm Chapter 3

M u sic i s b a s e d o n t h e e q u al and consistent division of time into beat s, b a r s , a nd me a s ure s . Thi s i s a s ou n dl es s , in visibl e s tr uc tu re in w hic h m elo d y i s we a ve d i n i n fi ni te l y varied patterns of notes with variable pitc hes a n d dura t io ns a r i t hme t ic a l l y rel ated an d bl en ded accordin g to th e l aw s of h a r m o n y.

A rc hi te c t ure, i n t ur n, de ma nd s a r h y th mic par tition of s pace a s wel l a s ad h e re n c e to ge o m e t r ic a l a n d numeric al principles.

Ta c t u s , t h e b e a t /p u l s e i n m u sic that is empha sised/accented when a mea s u re b e g i n s . M e t r ic t a c t u s i s a music al composition par t that star t s with a s t ro n g a c c e n t a n d fi ni s h e s b efore the next strong accent (Immah. 20 04).

I n a rc hi te c t u re, t h e c o n c ep t of tac tus (emphatic beat at the beginning and e n d o f a c o m p o si t io n , o r p a r t of a composition) appears. In Renaiss ance a rc hi te c t ure, fo r ex a mpl e, c or n er s or edges of a fac ade h ave apparen t termi n a t io ns ( I m ma h . 2 0 0 4) .

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Figure 20 - Street Jazz - Photo by Leo M oko

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Sou th Afric a’s Music al Histor y Chapter 3

1600 s In dige no us t r i be s pe opl e a nd s l aves im por ted from th e ea s t adapted Wes te r n m u sic a l i n s t r u m e n t s a n d idea s during the Dutc h colonial era, beginning i n t h e 1 7 t h c e n t u r y.

Th e K h oi - K h oi i n ve n te d t h e R amkie, a three- or four-stringed guitar inspired

by M a l a b a r s l a ve s . I t w a s u s ed to combine Khoi and Western folk melodies.

Th e re w a s a l s o t h e M a m o k h o rong. The Khoi employed a single-string violin i n t h ei r ow n m u sic a s we l l a s in the dances of Cape Town, whic h quic kly b e c a m e a m e l t i n g p o t o f c u l tural influences from all over the world.

In t he 1 6 70s , t he gove r no r o f th e Cape h ad his ow n s l ave orc h es tra.

180 0 s In t he e a r l y 182 0s , c o l o ure d (mixed race) ban ds of m u sician s began paradi n g t h ro ug h t h e s t re e t s o f Cape Town in a style similar to that of British m a rc hi n g mi l i t a r y b a n d s , a tradition that wa s bolstered by the traveling mi n s t re l p e r fo r m a n c e s o f t h e 1880s. The enormous c arnival conduc ted in C a p e Tow n eve r y N ew Ye a r ha s c arried on this tradition to the present day.

Th e s u b s e q ue n t c e n t u r ie s s aw the spread of missionaries into the interior, w hic h ha d a signi fic a nt i mpac t on Sou th Afr ic an m u sic al gen res . E ar l y Afr ic a n c o m p o s e r s s uc h a s J o hn Knox Bokwe began writing hymns ba sed on in d ige no us Xho s a ha r mo nic patter n s in th e l ate 180 0 s .

Th e r i s e o f a b l a c k u r b a n p roletariat and the migration of numerous blac k m e n to t h e mi n e s i n t h e 1 80 0 s meant that disparate regional traditional folk m u sic c o l l id e d a n d b e g a n to merge. Western instr umentation wa s utilised to a d a p t c o u n t r y t u n e s , w hic h influenced the emergence of new hybrid ty pe s o f music - ma k i ng ( a s we l l a s dan ces ) in em ergin g m etropol itan area s .

18 60 s Tra ve l i n g mi n s t re l s h ow s b e gan to visit South Afric a in the mid-180 0s. As f a r a s c a n b e d e te r mi n e d , t hese minstrels were first white ar tist s dressed i n “ b l a c k - f a c e,” b u t by t h e 1860s, blac k Americ an minstrel troupes were to u r i n g t h e c o u n t r y. Th ey s ung Americ an South spirituals and motivated n u m e ro u s So u t h A f r ic a n o rg anis ations to star t similar c hoirs; soon, regular m e e t i n g s a n d c o m p e t i t io n s between s uc h c hoirs bec ame popular, forming a w h o l e s u b c u l t u re t h a t s t i l l exist s today.

189 0 s O r p h e u s M c A d o o a n d t h e Vi rginia Jubilee Singers, who toured the countr y fo u r t i m e s , we re a m o n g t h e most popular of the visiting minstrel groups.

O r p h e u s M c A d o o’s J u bi l e e Singers popularised Afric an Americ an spirituals in t he 189 0s .

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Figure 21 - Enoc h Sontonga - Photo s upplied by City Press

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1897 E n o c h So n to n g a , a te a c h e r a t the time, wrote the song Nkosi Sikelel’ iAfrika (G o d B l e s s A f r ic a ) i n t h e e a r ly 19 0 0s.

I n t h e e a r l y t we n t ie t h c e n t ur y, state restric tions on blac k people grew, i n c l ud i n g a mid nig h t c u r few that kept Johannesburg’s nightlife relatively limi te d fo r a c i t y o f i t s si ze ( th en th e l arges t city s ou th of th e Sah ara).

Th e M a ra bi m u sic s t y l e a ro s e in the slum yards that arose bec ause of the ra pid u r b a ni s a t io n o f b l a c k South Afric ans into mining towns s uc h a s the Wi t w a te r s ra n d . Th e s o u n d o f M a ra bi wa s m ea n t to en tice peopl e in to s h e b ee ns ( ba r s s e l l i ng ho me ma d e l iquor or Skokiaan ), an d th en get th em dan cin g . M a ra bi w a s pe r fo r me d o n pian os with pebbl e-fil l ed c an s a s accom panim e n t . O ve r t h e ye a r s , t h e M arabi-swing style evolved into early mbaqanga, So u t h A f r ic a’s m o s t d i s t i nc t i ve type of jazz.

19 12 Th e fi r s t c o m m e rc i a l re c o rd i ngs of South Afric an popular music were made in 1 9 12.

192 0 s M a ra bi ’s t u n e s fo u n d t h ei r w ay into the sounds of the larger dance bands, w hic h we re m o d e l l e d a f te r A meric an swing bands and first appeared in the 1 92 0 s ; M a ra bi c o n t r i b u te d to it s par ticularly South Afric an flavour. Suc h b a n d s , w hic h p ro d uc e d So u t h Afric a’s first generation of professional blac k m u sic i a n s , a c hieve d c o n sid e rable popularity, par ticularly in the 1930s and 1 9 4 0 s : s t a r g ro u p s s uc h a s The Jazz M aniac s, The M err y Blac kbirds, and The J a z z Reve l e r s ro s e to p ro mi n ence, attrac ting large audiences of both blac ks a n d w hi te s .

19 3 0 s Th e b e g i n ni n g s o f b l a c k l i s teners on broadc a st radio. This res ulted in the d eve l opme nt o f a n i ndige no u s recordin g bu sin es s , w hic h aided in th e pop u lar i s a t io n o f bl a c k So ut h A fr ic an m u sic. I n th e 193 0 s , Zu l u a c appel l a sin g i n g ex p a n d e d f ro m N a t a l to the rest of South Afric a.

19 3 3 B r u n s wic k G ra m op h o n e H o use, owned by Eric Gallo, sent several South A f r ic a n m u sic i a n s to Lo n d o n to record for Singer Records. Gallo went on to star t hi s ow n music pro duc t ion com pan y in Sou th Afr ic a.

19 39 Th e t ra d i t io n o f mi n s t re l s y, a l o n g wi t h o t h er fo r m s , c o n t r i bu ted to t h e de ve l op m e n t o f I sic a t h a mi y a . This music form had it s first major hit this year wi t h t h e s o n g “M b u b e,” a n a daptation of a traditional Zulu melody that ha s b ee n re c yc l e d a nd rewo r ke d in n u m erabl e tim es sin ce th en an d is often re fe r re d to a s “ Th e L io n S l e ep s Tonight.”

So l o m o n L i n d a’s O r ig i n a l Evening Birds recorded “Mbube,”, whic h wa s most like l y t he fi r s t A f r ic a n re c o rdin g to s el l over 1 0 0,0 0 0 copies .

19 4 0 s Isikhwe l a jo music w a s popul ar from th e l ate 19 4 0 s to th e 19 60 s , bu t n ationa l i n te re s t d e c l i n e d i n t h e 1 9 50s when Radio Zulu began airing across Natal, Tra n s v a a l , a n d t h e O ra n ge Free State.

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Figure 22 - Sophiatown - Photo by Bettmann Arc hive

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19 50 s So u t h A f r ic a n music ro s e to international popularity with the emergence of Kwe l a ( Z u l u fo r “ge t- u p,” o r i n township slang, “Kwela-Kwela”) music, whic h w a s h e a vi l y i n f l ue n c e d by M arabi sounds. The Penny whistle, a c heap and b a sic i n s t r u m e n t u s e d by s t reet musicians in shanty towns, wa s the primar y i n s t r u m e n t o f Kwe l a a t t h e beginning. Lemmy M aba so wa s a well-known a r t i s t i n t hi s ge nre.

Th e o l d e r s t ra i n s o f M a ra bi a n d Kwel a wi t n es s ed t h e devel opm en t o f m b a q a nga , t he ge nre o f A fr ic a n-in fl ec ted jaz z th at h ad m an y an d var ied prac t i t io n e r s , wi t h a h uge n u m b e r of bands contending for attention and c a sh.

Si n ge r s l i ke M i r i a m M a ke b a , Dolly Rathebe, and Letta Mbulu developed cult fo llowings.

I n t h e l a te 1 9 50 s , a n ew b l ac k urban music culture began to emerge in Sop hi a tow n. M a ra bi c o l l id e d with traditional dance traditions like Zulu Ind l a m u a n d A m e r ic a n big b a n d swing. The Indlamu tendency evolved in the “A f r ic a n s to m p” s t y l e, w hic h gave the music a distinc tly Afric an rhy thmic impetus.

Sop hi a tow n’s l a w l e s s d o m a i n allowed blac k people to engage with more d a r i ng, l i be ra l w hi te s dra w n to th e th r il l s of it s nigh tl ife, s er vin g a s a touc h s to n e fo r So u t h A f r ic a’s fi r st signific ant cultural and social interc hange b et we e n ra c e s .

Th ro ug h o u t t h e 1 9 50 s , M i r i a m M akeba wa s a pivotal presence in the Afric an j a z z s c e n e. B y t h e e a r l y 1 9 60s, she had become an international celebrity, d ra wi ng a tte nt io n to So ut h Afr ic an apar th eid.

19 5 1 Wi l l a rd C e l e h a d a n a pp e a ra n ce in th e fil m “ Th e M a gic Ga rden”, w hic h cre a te d a s l ew o f i mi t a to r s a nd d evotees . Wil l ard Cel e is credited with in ven ti n g t h e Pe n n y w hi s t l e by i n s e r ting a six-holed flute at an angle between his teeth.

19 54 Sp o ke s M a s hi y a ne’s “A c e B l ues” bec ame the year ’s biggest Afric an hit, es ta bl i s hi ng Pe nny w hi s t l e a s a popu l ar gen re.

19 5 5 Th e Sop hi a tow n M o d e r n J a z z Cl u b w a s fo u n ded by t h e c i t y ’s m o s t pro gres si ve j a z z f a n s , w h o w a n te d to spread the sounds of bebop pioneers like C h a r l ie Pa r ke r a n d D i z z y G i l l espie. The jazz c lub sponsored gatherings, and f ro m t he s e ga t he r i ngs s pr ung Sou th Afr ic a’s fir s t bebop en s em bl e, th e in f l ue n t i a l J a z z E pi s t l e s : D o l l a r Brand, Kippie M oeket si, Jona s Gwangwa, and H ug h M a s e ke l a we re a m o n g the first members, and they would go on to sh ape So ut h A f r ic a n ja z z fo r th e res t of th eir l ives .

19 59 E l i a s Le ro l e & H i s Z ig z a g F l utes’ recording “ Tom Hark ” wa s a worldwide s uc c e s s .

I n 1 9 59, A m e r ic a n pi a ni s t J o hn M ehegan coordinated a recording session wi t h m a n y o f So u t h A f r ic a’s most notable jazz players, whic h res ulted in the fi r st two Afr ic a n ja zz LPs.

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Figure 23 - Hugh M a sekela - Photo by Judith Burrows

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19 60 s Sop hi a tow n, a music a l l y i m p or tant place, wa s ended by the white National i s t gove r n m e n t . Th ey fo rc i b l y reloc ated Sophiatown resident s to townships l i ke Sowe to, o u t sid e o f J o h annesburg. Sophiatown wa s demolished, and Tr io m f, a w hi te s u b u r b, w a s erec ted in it s place.

Fol l owi n g t h e S h a r p evi l l e M a ss acre in 19 60, and the ens uing State of Emerge ncy, a s we ll a s wide spre a d arres t s , ban s , an d trial s of ac tivis t s con tes ti n g a p a r t h eid l a w s , a n i n c re a sing number of musicians felt compelled to f lee t he c o unt r y.

D u r i n g t h e ye a r s o f m o u n t i n g persecution, many prominent individuals in So u t h A f r ic a n j a z z d eve l op e d their abilities and c areers out side the nation, in c l udi ng D o l l a r Bra nd ( l a te r Abdu l l ah I brahim , after his con ver sion to I sl a m ) , H ug h M a s e ke l a , J o n a s Gwangwa, Caipha s Semenya, Letta Mbulu, and M i r i a m M a ke b a . Th e B l ue N o tes, a well-known South Afric an jazz ensemble, wen t to E n g l a n d i n 1 9 60. C hris M acGregor, Dudu Pukwana, M ongezi Feza, J o h n n y D y a ni , a n d Lo u i s M oholo were among the members of the band.

K i n g Ko n g ( t h e s to r y o f So u t h Afric an blac k boxer Ezekiel Dlamini), bec ame a s e ns a t io n a nd to ure d i nte r nation al l y.

J a z z E pi s t l e Ve r s e O ne w a s t he J az z E pis tl es’ fir s t an d on l y al bu m . Sim u l ta n eo us l y, c o mpo s e r s s uc h a s Todd M at s hikiz a (w h o w rote th e popu l ar m u si c a l K i n g Ko n g ) a n d G id e o n Nxumalo (Afric an Fanta sia) were experimenting wi t h b l e n d i n g a n c ie n t a n d n ew styles. Philip Tabane wa s a notable South A f r ic a n j a z z p e r fo r m e r o f t h e 19 60s and one of the countr y ’s most inventive m u sic i a n s .

Fro m t h e 1 9 60 s o n w a rd s , a n increa sing number of white roc kers and pop g ro ups e me rge d to a ppe a l to w hite audien ces in a s egregated Sou th Afr ic a.

I n 1 9 60, t h e fi r s t C o l d C a s tle National Jazz Festival wa s held, bringing g re a te r p ro mi n e n c e to So u t h Afric an jazz. For a few years, Cold Ca stle wa s a n a nnua l eve nt , a tt ra c t i ng m u sician s s uc h a s Dudu Pu kw an a, Gideon N xum a l o, a nd Chr i s M c G re go r.

19 62 Th e So u t h A f r ic a n gove r n m e nt developed a development program for Bantu R a dio i n o rde r to nur t ure i ndepen den t devel opm en t an d en cou rage Ban tu s t a n i n d ep e n d e n c e. Th o ug h t he government anticipated Bantu Radio to play t ra d i t io n a l m u sic , A f r ic a n m usic had evolved into a variety of pop genres, a n d e m b r yo nic re c o rd i n g c ompanies exploited radio to promote it s pop s t a r s . B e c a u s e o f t h e g rowi ng empha sis on radio, the authorities crac ked d ow n o n l y r ic s , p ro hi bi t i n g s ongs that were deemed a “public hazard.”

A bd u l l a h I b ra hi m t ra ve l l e d to Switzerland for the first time. Duke Ellington, w h o s u pp o r te d hi s i ni t i a l re c ords, met, and impressed the pianist-composer.

19 6 3 Th e C o l d C a s t l e eve n t i n 1 9 63 produced an LP c alled, “Jazz The Afric an So u n d ”, b u t gove r n m e n t opp ression quic kly put an end to the jazz scene.

O n c e a g a i n , n u m e ro u s m u sic ians emigrated to the United Kingdom or other c ou nt r ie s .

19 66 Fre e d o m’s C hi l d re n w a s fo u nded, a band dedic ated to the style of “acid ro c k ” pio n e e re d i n t h e U ni te d States by bands like The Grateful Dead and J effe r s o n A i r pl a ne.

19 6 7 ‘ Fo u r J a c k s a n d a J i l l ,’ o n e o f South Afric a’s most s uccessful roc k bands in t h e 1 9 60 s ( t h e n a m e e c h o e d their line-up of four men and a woman), had th ei r fi r s t numbe r o ne hi t wi t h “ Tim oth y.”

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Figure 24 - Miriam M akeba - Photo by Frans Sc hellekens

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1970 s Ib ra hi m re t ur ne d to So ut h A fr ic a in th e mid-1970 s to record a s er ies of s em i n a l a l b u m s wi t h t h e C re a m of Cape jazz players (Ba sil Coetzee and Robbie J a n s e n ) , w hic h i n c l ud e d hi s ma sterpiece, “M anenberg,” one of the greatest So u t h A f r ic a n c o m p o si t io n s ever, whic h bec ame the unofficial soundtrac k to t h e a n t i - a p a r t h eid re si s t a nce. Rabbitt, four young guys who began their c a re e r wi t h a c ove r o f a J e t h ro Tull song and, in a daring gesture, appeared n a ke d fo r t h ei r s e c o n d a l b u m cover, arrived in South Afric a in the mid-1970s (“A Cro a k a nd a G r unt i n t he N igh t”).

1973 La d y s mi t h A m a b u t h o, t h e fi r st gold record by blac k musicians, wa s iss ued

by B l a c k M a m b a zo, l e d by the lovely soprano of Joseph Shabalala. This b a nd be c a me o ne o f So ut h A fr ic a’s bigges t s tar s , recreatin g th e s ou n d of Z u l u a c a ppe l l a .

1975 A me r ic a n di s c o w a s bro ught to Sou th Afr ic a, an d dis co s ou n ds were in corp ora te d i nto s o ul music .

1976 So u t h A f r ic a n c hi l d re n ro s e i n large numbers against apar theid and official a u t ho r i t y, s pa w ni ng a l i ve l y, you th fu l cou n tercu l tu re with m u sic a s a centra l fo c us . Exc ept fo r t he M over s , w h o em pl oyed M arabi th em es in th eir m u sic , few So u t h A f r ic a n b a n d s had permanent popularity during this period.

19 80 s A f ro - j a z z b a n d s s uc h a s S a k hile and Bayete ac hieved mainstream s uccess in t he 19 80s by fusi ng t he s ou n ds of Am er ic an fu sion with ol d Afr ic an patte r n s .

Th e tow n s hi p s g a ve bi r t h to a m u sic a l gen re kn ow n a s ‘ bu bbl egu m .’

B y t h e mid - 1 9 80 s , a w hi te a l ternative roc k culture had emerged, with a wide ra n ge o f s t y l e s . J a m e s P hi l l i ps, a Corporal Punishment founding member, w a s a pi vo t a l figure. A s Be r no l du s N iem an d, h e rel ea s ed an al bu m of s atir i c a l Afr i k a a ns s o ngs l i ke “ H o u M y Va s , Ko r p o ra a l ,” a s a t i re o n t h e a r m y, i n f l u e n c i n g a n e n t i re “A l te r n a t i ve Afrikaans” movement of Afrikaners protesting a g a i n s t rep re s si ve s o c i a l m o res; bands like The Gereformeerde Blues Band a n d si n ge r s l i ke Ko o s Ko m b u is were later to gain an enthusia stic following.

At t h e s a m e t i m e, P hi l l i p s’ band, The Cherr y-Faced Lurc hers performed exc e l l e n t b l ue s y ro c k . Th ro ughout the 1980s, a lively underground music s c e n e fe a t u r i n g b a n d s s uc h a s The Softees, The Aeroplanes, Bright Blue, a n d Th e D y n a mic s kep t re b e llious young white South Afric ans “Jolling.” At th e s a me t i me, a c ro s s ove r b etween bl ac k an d w hite m u sician s w a s beginni n g .

J o h n n y C l e gg , a n a n t h rop o l ogist who studied Zulu music and dance so t h o ro ug h l y t h a t h e fo u n d e d his own group, Juluka, alongside Sipho M c hunu, s p e a r h e a d e d t h e c h a rge. J u l uka’s ability to blend traditional Zulu music with w hi te p op a n d fo l k w a s a d i re c t c hallenge to the apar theid regime’s attempt to b u i l d ra c i a l b a r r ie r s b e t we en blac ks and whites. Bands s uc h a s eVoid, Via A f r i k a , a n d M a n go G ro ove, generally with a more pop-driven style, followed t h e c ro s si n g ro u te m a d e by Clegg (hailed worldwide a s “the white Zulu”), w h o s e l a te r ba nd, S a v uk a , c on tin ued to repl ic ate his ear l ier s ucces s .

H ug h M a s e ke l a e s t a b l i s h e d a mobile studio in Bot swana, right across the b o rd e r f ro m So u t h A f r ic a . There, he worked with musicians from West and C ent ra l A f r ic a . Re gga e to o k h ol d acros s Afr ic a fol l owin g in ter n ation al s u p e r s t a r B o b M a r l ey ’s c o n c e r t celebrating Zimbabwe’s independence in 1980.

L uc k y D u b e w a s o n e o f So u t h Afric a’s first major performers, and his style w a s c l o s e l y mo de l l e d a fte r Peter Tos h’s .

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Figure 25 - Ladysmith Blac k M ambazo - Photo by Ro b Verhorst

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19 82 Thi s ye a r, 1 9 82, s a w t h e B o t s wana Festival of Culture and Resistance, whic h w a s a tte nde d by ma ny So ut h Afr ic an exil es . Th e m es s age to w hite atten d e e s - t h e B l a c k C o n s c io u s n ess perspec tive dominated the festival - wa s f a mi l i a r : s e e t hei r go a l a s e nligh tenin g fel l ow w hites , w hil e l eavin g th e bu rd e n o f l i b e ra t io n to t h e b l a c k oppressed. It wa s decided culture should b e e m p l oye d a s a we a p o n i n the conflic t, and the phra se “cultural worker ” b e g a n to rep l a c e “a r t i s t ,” “m usician,” or “writer.” “After all the deaths and eve r y thing...19 82 it’s a nd we s til l h ave to tel l th e cu l tu re to resis t!” s aid Abd u l l a h I bra hi m, w ho w a s l i vi n g in exil e at th e tim e.

19 84 Yvo n n e C h a k a C h a k a ro s e to prominence in the late 1980s, beginning with h e r 1 9 8 4 s m a s h “ I ’m i n Love With a DJ,” whic h wa s the first signific ant hit fo r bubble gum.

19 85 B re nda Fa s sie’s ma s si ve l y s ucces s fu l ‘weeken d s pecial ’ w a s rel ea s ed. Brend a Fa s sie i s po s si bl y t he mo s t divisive an d wel l -kn ow n c h arac ter in tow n s hi p p op.

Thi s i s a l s o t h e ye a r i n w hic h fi ft y- fo u r A m er ic a n pop si n ger s , du bbed “ ”A r tist s Uni te d A ga i ns t A pa r t heid ” produced th e s on g “Su n City,” w hic h in c l ud e d t h e l i n e s , “ Re l o c a t io n to bogus homelands. I don’t comprehend family s ep a ra t io n . B e c a u s e t h ey a re blac k, 23 million people are unable to vote.

We’re s t a b bi n g o u r b ro t h e r s and sisters behind the bac ks of their heads.”

Th e s o n g w a s n o mi n a te d fo r a Grammy and raised over a million dollars for th e a nt i - a pa r t heid move me nt .

19 86 Th e Sp r i n g b o k N ud e G i r l s , p robably the best South Afric an roc k band of the 1 9 9 0 s , e m e rge d d u r i n g t hi s dec ade, spearheading a move toward harsher, g u i t a r- d r i ve n s o u n d s .

A new k i nd o f tow ns hi p music c aptu red th e min ds an d h ear t s of Sou th Afr ic a’s b l a c k yo u t h i n t h e 1 9 9 0s. That song wa s Kwaito, whic h is currently a rgua bl y t he mo s t powe r f ul force in th e Sou th Afr ic an m u sic l an ds c ape.

M d u , M a n d oz a , A r t h u r, C hi s kop, and Zola, for example, rose to stardom wit h na me s a s simple a s thei r m u sic . B o n go M a ffi n , A ba s h a n te, B o o m Sh a k a , a n d T K Ze e a m a s s e d m a ssive fan ba ses, thanks to a streetwise vis ual a e s t h e t ic , a n i n - yo u r- f a c e p erformance energy, and a slew of pop videos.

T K Ze e’s “ H a l l owe e n ,” M d u’s “M azola,” Chiskop’s “Claimer,” Boom Shaka’s “It’s A bo u t Ti m e,” a n d Tro m pie s’ “M adibuseng” r uled the c har t s and dominated yo u t h - o r ie n te d ra d io s t a t io n s s uc h a s the ma ssively s uccessful Yfm. L uc k y D u b e’s a l b u m S l a ve e s tablished him a s one of South Afric a’s best-selling artists.

19 92 Si y a k ud a mi s a ( 19 92 ) by Vu si Ximba wa s possibly the most memorable Zulu -t ra di t io na l re c o rd o f t he l atter twen tieth cen tu r y, an d it s par ked con tro ve rsy due to it s ra unc hy, comic l yric s .

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Figure 26 - Brenda Fa ssie - Photo by Steve Gordon

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19 9 4 So u t h A f r ic a n m e d i a w a s l i b e ralised in 199 4, and new music al styles emerged.

Prop h e t s o f D a C i t y ro s e to prominence a s a renowned hip hop crew, but Kw a i to, a So u t h A f r ic a ni s e d type of hip hop, quic kly s urpa ssed tr ue hip h op g ro u p s . Sy n t h e si s e r s a n d other elec tronic instr ument s are popular in Kw a i to, a s a re s l ow j a m s i n f l uenced by Chic ago house performers like The Fi n ge r s , To n y H u m p h r ie s , a nd Rober t Owen. Trompies, Bongo M affin, and B o o m S ha k a a re Kw a i to l e ge n ds .

19 97 B re n d a Fa s sie h a d a g re a t c o mebac k with her album “M emeza” (whic h means “ S h o u t ” ) , w hic h p ro d uc e d t h e ma ssive hit “ Vulindlela” (“Clear the path” or “M a ke w a y ” ) .

2000s A f r i k a a n s m u sic h a s g a i n e d i n popularity in the new millennium, free of the b a gg a ge o f a p a r t h eid . Fo ko f polisiekar, a punk roc k band from Cape Town, is a sig ni fic a n t a d d i t io n to t hi s form of music. Their step away from the stigma a s s o c i a te d wi t h A f r i k a a n s c u lture ha s garnered a lot of attention in South A f r ic a a nd e a r ne d t he m a l o t of ren ow n .

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Figure 27 - Finger Print - by A uthor

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Fo rmation of A rc hi tec tural Ide n t it y

The Constr uc t of Identity Chapter 3

Th e p s yc h o l o g ic a l a s p e c t o f identity is one that plays a role in arc hitec ture, a l th o ug h t h ey a re d i ffe re n t fields. Understanding and exploring identity will g ive a be tte r unde r s t a ndi ng of attac h m en t to a pl ace.

We b s te r ’s’ d e fi ni t io n o f id e n tity is “who someone is” along with words s uc h a s, re c o g ni t io n , s p e c i fic a t io n, individual and name. (Identity. M erriam-Webste r. ) Thi s de fi ni t io n i s no t e nough in order to better u n der s tan d w h at it is .

Fea r s o n ( 1 9 9 9) b re a k s id e n t i ty up into two s ec tions .

So c i a l I d e n t i t y a n d Se l f I d e n tity.

So c i a l I d e nt i t y So c i a l id e n t i t y a s o c i a l c a te gor y, us ually defined by an affiliation to a certa i n gro up. Fo r ex a mpl e, a gol f c l u b m em ber s hip, this m ean s you are defi n e d by t h e m e m b e r s hi p r u l es, attributes, and expec ted behaviour. If one d o e s n o t l i ve u p to t h e ex p e c tation of the c lub then they no longer identif y yo u with the socia l group.

Se l f- I d e n t i t y Fe a r s o n d e s c r i b e s s e l f- id e n t i ty a s a set of fac t s, attributes, beliefs, desires a n d pr i nc i pl e s o f a c t io n t ha t a per s on takes pr ide in . I f an y of th e m ent ion e d a l te re d i n a n y w a y, t h en it would c hange their self-identity.

A l l o f t h e s e n o t io n s o f id e n t i ty are about people. Fac t s and c harac teristic s mig h t a l te r a t a n y t i m e, e s p ecially in a highly disr uptive setting.

Fo rmation of A rc hi tec tural Ide n t it y

Cultural Identity Chapter 3

H u m a n b ei n g s e m b o d y a n id entity. How does this sense of identity relate to de signe d obje c t s, pa r ticular l y m u sic a n d a rc hi tec t u re?

So c i a l g ro u p s evo l ve d t h ro ughout histor y, from hunting bands to tribes to n a t io ns . So c i a l c o ndi t io ns got in crea sin gl y com pl ex a s th e n u m ber of m em b e r s i n c re a s e d , b u t t h ey re t ained a feeling of identity. Symbols were used to ha ndle the complex ity. A c u l t u re d efi n es i t s el f t h ro ug h defi ni n g s ym b o l ic o bje c t s , w hic h a re a t y p e of material expression. These are the things wi t h w hic h o n e’s n a t io n a l id entity is embedded. Culture is more than just a c o l l e c t io n o f a r te f a c t s , i t i s also a discourse that gives meaning to those o bje c t s . Th e re fo re, c u l t u ra l identity is a dynamic field of operations that in te ra c t wi t h, but i s no t de te r min ed by, cu l tu ral ar tefac t s .

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Figure 28 - Music al Str uc ture - by A uthor

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Fo rmation of A rc hi tec tural Ide n t it y

Architec tural Identity Chapter 3

A rc hi te c t ura l ide nt i t y i s eve r c h an gin g, m uc h l ike iden tity it s el f. Rober t Ada m s p u t s fo r w a rd s y m b o l s (objec t s) are not fixed, they c hange and evolve wi t h t h e c o m m u ni t y, a s i t d o es. What this implies is the people are always c h a n g i n g a n d evo l vi n g , t hi s t hen refl ec t s on the community. With this hol d i n g t r ue, t h e s y m b o l s t h a t they use to identif y with will also c hange in m e a ni n g .

Vi k k i B e l l ’s Th e o r y o f B e l o n g ing brings for ward the idea when people share a hi s to r y, ex p e r ie n c e, c u l t u re, traditions, and rituals, they establish what th ey c a l l a “c o mmuni t y.” A com m u nity per for m s s ym bol ic deeds in a r itua l i s t ic f a s hio n . I t c re a te s a n d stores it s own memories a s a res ult of this.

Th e a re a s ( l o c a t io n s ) w h e re t h o s e r i t u a l s a re per fo r m ed bec o m e pl a c es o f b el o ngi ng fo r i ndi vidua l s w ho per for m th em .

Thi s i s w h a t d i s t i n g u i s h e s a c hurc h from a c hurc h and a sc hool from a s c h o o l . I t a l l b e g i n s wi t h t h e individuals and the rituals they conduc t, and th e n t he s pa c e i n w hic h t hey are per for m ed becom e th eir pl ace of bel on gin g .

St y l i s e d te c h niq ue s a re o n e s used to deal with unfamiliar or uncomfor table c on di t io ns . Fo r ex a mpl e, i f a you n g c hil d l os es a paren t, on e of th eir gr ievi n g m e c h a ni s m s m a y b e to get overly attac hed to ever yone else who comes th ei r w a y, pic t ur i ng t he m a s th e paren t. Leac h appl ies th e con cept of s tyl i s e d p ra c t ic e s to h ow h u m a ns reac t to foreign space. Stylised behaviours in a l ie n s pa c e c a n a l s o be a c c om pl is h ed th rough a for m of s patial appropr i a t io n . Fo r ex a m p l e, i n d i vid u a ls conver ting some urban sites into slums and g rowi ng a tt a c he d to t he m, des pite th at r u ral s paces are avail abl e.

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Figure 29 - Hand - by A uthor

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Fo rmation of A rc hi tec tural Ide n t it y

Fac tors that Determine Style Chapter 3

A s p revio u s l y s t a te d , t h e id e ntity of ar tefac t s created by a people is linked to the r itua ls a nd pra c tice s t h ey a re u s ed fo r. Thi s , h owever, d o es n o t red uc e t h e sig ni fic a n c e o f t h e c harac ter and design features present in these a r te fa c t s . The s e s t i l l ha ve a rol e in th eir iden tity.

Style is the common de nominator of s u bjec t m atter, pres en tation , an d foc u s t ha t a ppe a r s repe a te dl y in ar t wor ks of a cer tain tim e; th e produc t of a c e r t a i n c o m m o n a l i t y o f fe e ling in an age’s leading spirit s. Bogar t believes th e fo l l owi ng v a r i a bl e s c o nt r i bu te to s hift s in s tyl e.

H i s t o r ic al / Po l i t ic al Fac t o r s A r t i s t s a re l i n ke d to t h e hi s tor y of their communities and/or countr y. Their wo r k s a re re f l e c t io n s o f t hi s . They tell a stor y of that histor y. If an ar tist is n o t l i n ke d to t h ei r c o m m u ni t y, their work lac ks depth. As time goes on and t h e i n t ro d uc t io n o f o u t sid e sources get ingrained within the community, t h a t b e c o m e s t h e s t y l e a p e rson get s to know. Invariably evolves.

Ge o grap hic al Fac t o r s Eve r y ge o g ra p hic a l l o c a t io n ha s it s own c limate, a s well a s resources and te c h n o l o g ie s o n l y a v a i l a b l e l oc ally. People in any context would be equally effic ie nt a t c re a t i ng a r te f a c t s th at adapt to th eir geographic al con text.

A r t i s t s a re i n f l ue n c e d by t h eir nationality (or region, or province). This is espe c i a l l y no t ic e a bl e i n l i te ratu re an d m u sic, w hic h rel y on s poken l ang u age. A l t ho ugh t he a r t ma y be from th e s am e era, th e geographic al l oc a t ion wi l l p ro d uc e s uc h v a r i a tions. Afric an music, for example, differs from m usic f ro m A me r ic a .

Tec h n o l o g ic a l Fa c t o r s Tec h n o l o g y a n d m a te r i a l s h ave th e l ea s t im pa c t o n s tyl e sin ce th e a es t h e t ic t h a t a p e r s o n a s s o c i a tes with originates from their imagination and b e l ie f s fi r s t , b e fo re i t i s a c c o mplished (Rapopor t, 19 69). However, it c annot b e ove r l o o ke d t h a t s o m e a c tivities are simply rendered impossible in the a b s e nc e o f a de qua te te c hno l ogy; con ver s el y, th e avail abil ity of s om e tec hn ol o gy provide s a ddi t io na l a l ter n atives for w h at m ay be per for m ed (R apo p or t , 19 69) .

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Figure 30 - Music Element s - by A uthor

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Summar y

Common Elements & Principals Chapter 3

H ar m o ny & Prop o r t io n Th e l i n k h e re i s fo u n d i n mathematic al ratios. The relationship between d i s t i n c t s o u n d s p l a ye d a t t h e s ame time is referred to a s harmony. This c an h a pp e n w h e n t wo o r m o re b odies vibrate at the s ame time. The harmonic i n te r v a l s c re a te d a re a ffe c te d by the ratio of the diameters of the vibrating b o d ie s . A c c o rd i n g to s c ie n t ific studies, ratios of smaller whole numbers yield more consona nt ha r monies , w h erea s ra t io s o f bigger o r c o m pl ex n u mb er s pro duc e di s c o rda nt ha r m onies .

Th e s e m a t h e m a t ic a l ra t io s c a n be u s ed i n a rc hi tec t u re to c a l c u l a te t h e di m e n sio n s o f a n y e l e m e n t , w hether it’s length to width in a linear element or l e ngt h to widt h to height i n a vol u m e.

A c h o rd i s a m u sic a l te r m t h a t refers to the combination of multiple sounds.

Th e c h a ra c te r o f t h e c h o rd i s determined by the harmonic inter vals within i t , wi t h s o m e b ei n g m o re te n se than others. A c hord progression is a series o f c h o rd s t h a t fo l l ow e a c h o t her from beginning to end in a piece of music.

Thi s i s si mi l a r to a n a rc hi te c t u ra l pa tter n . Th e fl uc t u a t io n o f ten sio n a n d re l e a s e i n a c h o rd p ro g re s sio n c an be used to create interest in arc hitec tural c om po si t io ns by a ppl yi ng hie rarc h y.

R h y t hm Th e d i vi sio n s a re t h e p oi n t o f c o n vergen c e h ere. M u sic a l r h y t h m i s t h e di vi sio n o f t i m e i n w hic h s o m e notes are sounded for a longer period of time a n d o t h e r s fo r a s h o r te r p e riod of time. Arc hitec tural rhy thm entails the d i vi sio n o f s p a c e, wi t h c e r t a i n places being larger or more regularly divided th an o t he r s .

A f ra m ewo r k i s u s e d to o rg a nise any designed division. The time signature i s t h e f ra m ewo r k o f m u sic . The framework in arc hitec ture could be a grid or a da t um.

For m Th e c o m m o n t h re a d h e re i s a rranging is involved, and the goal is to ac hieve a c o he re nt e nd pro duc t . The ar ran gem en t of differen t s egm en t s / u nit s of t h e m u sic a l wo r k c re a te s m usic al form. A good arrangement will keep the s o n g i n te re s t i n g by p reve n t ing monotony. The prominent element of the m usic i s i mme di a te l y di s c e r nibl e, w hic h aids in th e piece’s m em orabil ity.

Th e v a r io u s e l e m e n t s a re a r ra n ged a n d c o o rdi n a ted to pro duc e a rc hi tec t u ra l s h a p e. Th e u l t i m a te s hape contour of the arc hitec tural work is the c o n s e q ue n c e o f v a r io u s c o mbinations and transformations of the design ele me nt s . W he n do ne c o r re c tl y, th e en d effec t is a coh eren t im age.

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Figure 31 - Musicians - Photo by Mpumelelo M acu

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Summar y

The Evolution of South Afric an Music Chapter 3

M usic i s a n unmi s t a k a bl e i nd ic ator of th e c h arac ter of an y cu l tu ral con tex t . Th e c u l t u ra l c o n tex t h a s an impac t on arc hitec tural solutions. There i s a s p a t i a l d i m e n sio n to ever y element of our existence. The impor tance o f a rc hi te c t u re i n s h a pi n g o ur perception of reality c annot be empha sised e n o ug h . I n fo r m a t io n f ro m t h e historic al evolution of South Afric an music is re l eva nt in a rc hite c tura l com position .

Summar y

Architec tural Identity Chapter 3

Fro m t h e reviewe d l i te ra t ure, arc hitec tural identity is a juxtaposition be t we e n t wo p oi n t s . Th e a c t i vi ties that one performs within the arc hitec ture, ( Thi s c a u s e s m e m o r ie s a s s o ciated with arc hitec ture) and the physic al work of a rc hi te c t ure. ( The wo r k t h at peopl e c an tan gibl y in terac t with ) Th e p h y sic a l a s p e c t o f a rc hi tec t u re wi l l be expl o red. A l t h o ugh a n u n derstandi ng o f how pe opl e us e an d s ee arc hitec tu re to create iden tity is h el p f u l.

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Figure 32 - People - by A uthor

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Summar y

Conclusion Chapter 3

Th e b a sic d e sig n e l e m e n t s o f arc hitec ture, for the s ake of this researc h are Poi n t , L i n e, P l a n e a n d Vo l u m e. While the ba sic design element s of music are M e l o d y, H a r m o n y, R h y t h m . These design element s are interconnec ted and s h a re c o n n e c t io n wi t h e a c h other through, Harmony and Propor tion, Form a n d R h y t h m . B a s e d o ff o f t h ese a spec t s, there would be enough to create a rc hi te c t u re.

H oweve r t h e re s e a rc h s t a te d that the commonalities need to be connec ted to id e n t i t y. H i s to r y p l a y s a m ajor role on one’s identity. As shown above the m u sic i l l u s t ra te s t h e hi s to r ic al context in whic h the music wa s written, just a s t h e a rc hi te c t u re w a s i n f l uenced by a specific period.

So u t h A f r ic a’s r ic h hi s to r y h a s sculpted the identity of the South Afric an p e op l e. O u r hi s to r y h a s i m p ac ted the way we express ourselves, even in m u sic , a n d t hi s u niq ue m u sic al expression allows for inspiration into other sp h e re s s uc h a s a rc hi te c t ure. Th at is to s ay th at ou r m u sic a s a for m of exp re ssio n c a n be use d to im p a c t o u r a rc hi tec t u ra l s t yl e a n d id en t i t y.

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Chapter 4 Data Analysis & Presentation

Figure 33 - Miriam M akeba - Pata Pata - Album Ar twork - Photo by M egan Lacobini de Fazio

61

Introduc tion Chapter 4

Thi s c h a p te r ex a mi n e s a n d o ffer s i n fo r m a t io n gl ea n ed fro m M i r i a m M a ke b a’s s o ng Pa t a Pa t a . The pre c edin g c h apter broke dow n th e res earc h ques tions i nto t he s ho r t da t a s t atem en t s n eeded to addres s th em . Th es e data - re qui re me nt s t a te me nt s were th en l in ked to th e res earc h param eter s .

Re s e a rc h Pa ra m e te r s H ar m o ny and Prop o r t io n Rhythm For m Th e s o n g’s t i t l e, “ Pa t a Pa t a ,” t ra n s l a tes to “ to uc h to uc h” i n t h e Xh o s a l a n g u a ge, w h e re i t w a s fi r s t w ritten and s ung. In the mid-19 50s, “Pata Pata” w a s a l s o t h e n a m e o f a t y p e of dance that wa s popular in the shebeens o f J o h a n n e s b u rg’s Tow n s hi p s. The dancer crouc hed before his par tner and p a tte d h e r b o d y to t h e r h y t hm of the music a s he rose up and she spun a ro und, ma k i ng hi p c i rc l e s .

Song Information Chapter 4

M ir i a m M a ke ba - Pa t a Pa t a So n g n a m e - Pa t a Pa t a A r t i s t - Ze nsi M i r i a m M a ke ba A lb um - Pa t a Pa t a Re l e a s e D a te - 19 6 7 Ge nre - A fro Pop So n g Wr i te r s - Ze nsi M i r i a m M akeba & Jerr y Ragovoy La n gua ge - Xhos a So n g Le ng t h - 3 : 0 0 mi n

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Figure 34 - Miriam M akeba - Pata Pata Music score - by Alna Smit

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Lyric s Chapter 4

S a g uquga S a g uquga S a g uquga S a g uquga H iyo H iyo H iyo H iyo

s a t hi s a t hi s a t hi s a t hi

ma ma ma ma ma ma ma ma

S a g uquga S a g uquga S a g uquga S a g uquga

hi yo hi yo hi yo hi yo

s a t hi s a t hi s a t hi s a t hi

be ga be ga be ga be ga ma ma ma ma

na nt si na nt si na nt si na nt si

na nt si na nt si na nt si na nt si

be ga be ga be ga be ga

Pata Pata Pata Pata

Pata Pata Pata Pata

na nt si na nt si na nt si na nt si

Pata Pata Pata Pata

Pata Pata Pata Pata

Pata Pata Pata Pata

Pata Pata Pata Pata

“ Pa t a Pa t a” i s t he na me o f a d an ce we do dow n J oh an n es bu rg w ay.

A nd eve r y bo dy s t a r t s to move a s s oon a s “Pata Pata” s tar t s to pl ay - w h oo S a g uquga S a g uquga S a g uquga S a g uquga H iyo H iyo H iyo H iyo

s a t hi s a t hi s a t hi s a t hi

ma ma ma ma ma ma ma ma

S a g uquga S a g uquga S a g uquga S a g uquga

hi yo hi yo hi yo hi yo

s a t hi s a t hi s a t hi s a t hi

be ga be ga be ga be ga ma ma ma ma

na nt si na nt si na nt si na nt si

na nt si na nt si na nt si na nt si

be ga be ga be ga be ga

Pata Pata Pata Pata

Pata Pata Pata Pata

na nt si na nt si na nt si na nt si

Pata Pata Pata Pata

Pata Pata Pata Pata

Pata Pata Pata Pata

Pata Pata Pata Pata

Wh o o, eve r y Fr ida y a nd S a t u rday nigh t it’s “Pata Pata” tim e Th e d a n c e ke ep s goi n g a l l night long till the morning s un begins to shine - h ey !

Ay a s a t w uguga s a t - wo - ho - o S a g uquga S a g uquga S a g uquga S a g uquga H iyo H iyo H iyo H iyo

s a t hi s a t hi s a t hi s a t hi

ma ma ma ma ma ma ma ma

hi yo hi yo hi yo hi yo

be ga be ga be ga be ga ma ma ma ma

na nt si na nt si na nt si na nt si

na nt si na nt si na nt si na nt si

Pata Pata Pata Pata

Pata Pata Pata Pata

Pata Pata Pata Pata

Pata Pata Pata Pata

S a g uquga s a t h’ - hi t i t !

A a h - s a g uq ug a s a t h’ - n a n t si - hit it!

S a g uquga s a t hi be ga na nt si Pata Pata

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Figure 35 - Harmony & Propor tion Analysis - by A uthor

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Analysis

Harmony & Propor tion Chapter 4

Two n o te s , o n e hig h e r a n d one lower, are inc luded within eac h rec tangle.

B e t we e n t h e m , t h e h a r m o nic inter vals are shown. The func tions of the c h o rd d e g re e s a re a l s o i n d ic ated. These will be used to show how this song c a n be us e d to de r i ve a rc hi te c t u ra l p rop o r t io n s .

Th e e l i sio n i s a s e g m e n t / u ni t of a song that overlaps with another, in this in s t a nc e i t ove r l a ps i n t he c h or u s .

M a t h e m a t ic a l Prop o r t io n s fo r Harmonic Inter vals Th e top i l l u s t ra t io n d epic t s t he many harmonic inter vals that present in the s o n g’s e l i sio n , a s we l l a s t h eir placement. The mathematic al ratios that c an b e o bt a i ne d f ro m t ho s e ha r monic in ter val s are al s o s h ow n . Th e middl e im a ge d epic t s a p rop o r t io n a l s y stem derived from this piece of music that c an b e u s e d i n a rc hi te c t u ra l p rojec t s. This propor tional approac h c an be used to de sign spa ce s, window-to- w a l l ra t io s , l en g t h - to - widt h ra t io s , a n d m o re.

A rc hi t e c t ural Pr i nc i p al s fro m C h o rd Pro gre s sio n A n a rc hi te c t u ra l p a tte r n c a n be derived by analysing a piece of music’s c h o rd p ro g re s sio n . Th e b o ttom image shows a ba sic pattern that may be d educ e d fro m t he e l i sio n o f Pata Pata, a s s h ow n in th e top im age. Th e el i sio n i s p l a c e d i n s uc h a w a y that it is preceded by the c hor us /hook (the c lim a x o f t h e s o n g ) Th e t a b l e d epic t s t h e re l a t ionship between c hord func tions in music and h ow t h ey re l a te to t h e d e sign of arc hitec tural patterns. They may also s e r ve a s i n s pi ra t io n fo r a n arc hitec tural projec t’s form-making or spatial p lanni ng l o gic .

Th e h o r i zo n t a l re l a t io n s hi p b e t ween pi tc h es i s wh a t m a kes a m el o dy (Ca r te r, 2 0 1 8 ) . I t i s c a l l e d h o r i zo n tal bec ause the relationship between one note a n d t he o ne o n t he r ight- ha nd side of th e m u sic al s taff is por trayed h or izo n t a l l y.

A me l o dy i s de fi ne d by a s ucces sion of n otes , a m el ody is com m on l y re fe r re d to a s a m e l o d y l i n e i n music. This corresponds to the arc hitec tural c o n c ep t o f l i n e, w hic h i s d e fined a s a collec tion of point s. As c an be seen in t he l a s t i l l us t ra t io n, a rc hi tec tu ral l in es c an be for m ed from m u sic al m el od y l i ne s .

A l i n e, a c c o rd i n g to C hi n g ( 20 07), is an extended point that defines the ro u te o f a m ovi n g p oi n t a n d c an be used to vis ually express direc tion, m ove me nt , a nd ex pa nsio n. I t ’s an im por tan t com pon en t in th e creation of a n y vi s ua l s t r uc t ure.

Si mi l a r l y, a m e l o d y c a n i nd ic ate direc tion, movement, and progress in mu sic . Th e m e l o d y i s c o n sid e re d to rise when a note ha s a higher pitc h than t h e o n e b e fo re i t . Th e m e l o d y is considered to fall when a note ha s a lower pi tc h t h a n t h e o n e b e fo re i t . It’s a monotone melody if eac h note ha s the s a m e pi tc h a s t h e p re c e d i n g one. The level of movement is determined by th e i nte r v a l be t we e n o ne no te an d th e on e before it.

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1st Bar

Figure 36 - Rhy thm Analysis - by A uthor

67 2nd Bar

Syncopation Note 3rd Bar 4th Bar

Syncopation Note

Quaver - Eighth Notes - 1/2 Beat

Crotchet - Quarter Note - 1 Beat

Quaver - Eighth Notes - 1/2 Beat

2 Quavers - 2 Eighth Notes - 1 Beat

Minim - Half Note - 2 Beats

Minim - Half Note - 2 Beats

Quaver - Eighth Notes - 1/2 Beat

Crotchet - Quarter Note - 1 Beat

Quaver - Eighth Notes - 1/2 Beat

2 Quavers - 2 Eighth Notes - 1 Beat

Minim - Half Note - 2 Beats

Minim - Half Note - 2 Beats

Analysis

Rhy thm Chapter 4

A c c o rd i n g to t h e fi n d i n g s o f the literature review, the point of link between m u sic a l a n d a rc hi te c t u ra l r h y thm is in divisions, where music al rhy thm is th e di vi sio n o f t i me a nd a rc hitec tu ral r h y th m is th e division of s pace.

A b a r i s t h e f u n d a m e n t a l u nit of time. It is represented in sheet music by t h e s p a c e b e t we e n t h e si n g l e ver tic al lines. The time signature describes t h e s t r uc t u re o f a b a r o f m u sic by stating the number of beat s that c an fit i n a b a r a s we l l a s t h e n o te values of eac h of those beat s. It s uggest s a sy s te m fo r di vidi ng t i me wi t hin a bar.

M i r i a m M a ke b a’s Pa t a Pa t a h a s a tempo of 126 beat s per minute (BPM) whic h i s c l a s si fie d a s a l l e g ro, w hic h is a fa st paced song, perfec t for dancing to.

Th e r h y t h m e m p l oy s s y n c op a t io n , whic h i s a tec h nique fo r a ddi n g m ove m e n t to r h y t h m by p l a yi n g n otes in between the spaces s uggested by the t i m e sig n a t u re. So m e o f t h e notes in this song’s rhy thm are syncopated, w hic h c re a te s a n unus ua l e ffec t. As a res u l t, th ere are u n even division s of tim e o r s pa c e i n a rc hi te c t ure.

Ta c t u s , t h e b e a t /p u l s e i n m u sic that is empha sized/accented when a mea su re b e g i n s . M e t r ic t a c t u s i s a music al composition par t that star t s with a s t ro n g a c c e n t a n d fi ni s h e s b efore the next strong accent (Imaah, 20 04).

Th e s o n g’s t a c t i a re reve a l e d i n pa i r s o f ba r s . Th e r h y t h m o f t h e i n t ro duct ion e m p l oy s re c u r re n c e o f t he s ame pattern in the first and third bars, a s wel l a s t h e s e c o n d a n d fo u r th bars. The rhy thm of the main body of the s o n g , o n t h e o t h e r h a n d , i n corporates variation, with a distinc t pattern in th e fi r s t ba r f ro m t he t hi rd bar.

A rc hi te c t ura l c o mpo si t io na l s trategies are simil ar to th os e em pl oyed in m u sic a l r h y t h m . R h y t h m i s d e fi ned in arc hitec ture a s any movement marked by a s y s te m a t ic re c u r re n c e of element s or motifs at regular or irregular i n te r v a l s (C hi n g , 2 0 07 ) . O u r eyes may move a s we follow repeating par t s in a c o mpo si t io n, o r o ur bo dies m ay m ove a s we n avigate th rough pl aces .

Sy n c op a t io n M usic a l A ppl ic a t io n No te s a re pl a ye d i n t he s pa c es s pecified by th e tim e sign atu re.

A rc hi te c t u ra l A pp l ic a t io n In s e r t i ng i te ms i n l o c a t io ns oth er th an th os e s ugges ted by a n or m al gr id/ org a ni z i ng e l e me nt M u sic a l Ta c t u s M usic a l A ppl ic a t io n A m usic a l c o mpo si t io na l unit th at begin s with a s tron g accen t an d conc lud e s b e fo re t h e n ex t s t ro n g accent.

A rc hi te c t ura l A ppl ic a t io n Vi s u a l te r mi n a t io n s o f a rc hi tec tural component s, whic h c an take the form of a l i ne, a pl a ne, o r a vo l ume.

Dy namic s M usic a l A ppl ic a t io n To i n c re a s e i n te re s t , a c c e n t /e m ph a size n o tes differen t th a n th o s e s ugges ted by t he t i me signa t ure.

A rc hi te c t ura l A ppl ic a t io n H ie ra rc h y

68

1

69

2

1

Figure 37 - Form Analysis - by A uthor

3

1

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3

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4

utro

Chorus

re-Chorus

erse

re-Chorus

Chorus

re-Chorus

erse

re-Chorus

Chorus

re-Chorus

Analysis

Form Chapter 4

Th e a r ra n ge m e n t o f u ni t s o r par t s to ac hieve coherence is referred to a s fo rm, in both music a nd a rc hitec tu re.

Th e fo r m o f Pa t a Pa t a - M i r i am M akeba will be examined by dis a ssembling it and ex pl a i ni ng how t he pieces fit togeth er. Arc hitec tu ral design appl ic ations wi l l be de mo ns t ra te d ba s ed on th e breakdow n .

In t ro Th e i n t ro h a s a n i n s t a n t l y recognis able tune, the first 1 0 seconds of the son g s e t s t he to ne fo r t he re s t of it. I t is th e u n der ton e du r in g th e res t of the song.

Pre - c h o r u s Thi s b u i l d s u p to t h e h o o k . The song being Xhos a makes it difficult for most o f t h e wo r l d to b e a b l e to si ng along with, except for the “Pata Pata” par t.

Thi s b u i l d s t h e s o n g u p fo r t he listener knowing that the hook will be where on e c a n si ng a l o ng to. “ S aguquga s a t hi be ga na nt si Pata Pata” C ho r us Climax of the song.

Th e rep e t i t io n i n t h e s o n g i s enough to make it a memorable par t, along wit h tha t you c a n sing a long to i t . Th e vo c a l s o f M i r i a m M a keba l ower du rin g t hi s po r t io n, e mpha si si ng th at it is th e h ook / c h or u s . “ H i yo ma ma hi yo ma na nt si Pata Pata” Ver s e W h e re t h e s to r y o f t h e s o n g is told. There are two por tions in the song w h e re t h e ve r s e i s evid e n t . The under tone of the song remains the s ame th ro ugho ut , howeve r t he vo c al por tion an d l yr ic s are w h ere it c h an ges . “ Pa t a Pa t a” i s t he na me o f a d an ce we do dow n J oh an n es bu rg w ay.

A nd eve r y bo dy s t a r t s to move a s s oon a s “Pata Pata” s tar t s to pl ay - w h oo” O u t ro Th e s o n g f a d e s a w a y a l o n g with the lyric c hange. Letting the listener know t h a t t h e s o n g h a s re a c h e d i t s ending. The fading away sec tion is somewhat o f a go o d bye f ro m M i r i a m M akeba a s the song pa sses through a different p or t io n o f Jo ha nne s burg. “ S aguquga s a t h’ - hi t i t !

A a h - s a g uq ug a s a t h’ - n a n t si - hit it!

S a g uquga s a t hi be ga na nt si Pata Pata” Th e fo r m h a s a si m p l e i n te ra c tion. The simplicity lies in having five unique p a r t s , a s we l l a s t h e rep e a t i ng of two different verses (the pre-hook and h oo k ) , a s we l l a s t hre e di ffe ren t ver s es n ot th e s am e. Th e sim pl icity is fu rt h e r e m p h a si ze d by u ni t s b eing grouped in a single simple pattern, making th e s o ng e a s y to l i s te n to, e n gage with , an d, of cou r s e, sin g al on g to.

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Figure 38 - Design Concept Analysis - by A uthor

71

Conclusion Chapter 4

A re m a r k a b l e b u i l t e n vi ro n m ent combines both craft smanship and c harm.

Seve ra l p r i n c i p l e s d e fi n e c h arac ter in the built environment, and the ones ex p l o re d i n t hi s d i s s e r t a t io n inc lude Harmony & Propor tion, Rhy thm, and Fo r m . A few c o n c l u sio n s a re drawn from the us age of these three researc h f a c to r s re ga rdi ng how music an d arc hitec tu re res on ate.

H ar m o ny & Prop o r t io n M a t h e m a t ic a l ra t io s a re a go od pl ace to s tar t w hen it comes to incorporatin g music a l ha r mo nie s i nto a rc hitec tu ral design .

Th e wid t h to h eig h t p rop o r t io n s o f openi n gs c a n begi n to refl ec t m u sic a l ha r mo ny propo r tio ns . The p rop o r t io n s e m p l oye d i n d i ffe re n t re g io n s o f th ei r fo r ms c a n be c re a te d usin g th e s am e idea s .

Pa t a Pa t a by M i r i a m M a ke b a’s shows how harmonic propor tions c an be used in m o re t ha n si mpl y ope ni ngs an d for min g s egm en t s . Th e h ar m on y an d prop o r t io n s e c t io n reve a l s a p ropor tional system from the song that c an be u se d i n a rc hi te c t ura l de sign.

M u sic i a n s u s e te n sio n a n d relea se in a variety of ways. The harmony and p rop o r t io n c h a p te r i n te r p re t s Pata Pata into a semblance of a pattern, but th e s a me l o gic ma y be ex te nded to oth er par t s of design , s uc h a s th e ar ticu lat io n o f c i rc ul a t io n pa t hw ays an d fac ade s ys tem s .

L ig h t c a n a l s o b e u s e d to c reate tension and relea se. One c an develop a l ig h t i n g d e sig n p l a n f ro m a n inspired source by simply mapping the amount o f te n sio n to t h e a m o u n t o f lighting (expressed in window to wall ratios, b r ig h t n e s s a n d s m o o t h n e s s of interior s urface finishes, or types of ar tificial lig ht i ng fi x t ure s ) .

R h y t hm O n e w a y t h a t m u sic c a n i n s pire arc hitec tural design is through the division sy s te m. Spa c e s c a n be bro ke n u p in to r h y th mic division . This r h y th mic divisio n c a n a l s o b e c a r r ie d ove r into the fac ade of the arc hitec tural piece. By m e a n s o f t h e s p a c i n g o f wi n dows, or textures of the building.

For m Th e id e n t i fic a t io n o f b a sic u nit s and their arrangement is a common a spec t i n b o t h m u sic a l a n d a rc hi te c tural forms. The researc h conduc ted in Pata Pa t a’s fo r m s e c t io n l e d to t he discover y of simple unit s that make up the son g’s s ha pe.

A s i l l us t ra te d by t he ex pre s sion of m u sic al for m in th e exam pl e, Sou th Afr ic a n music c a n thus s e r ve a s a r ic h s o u rc e o f a rc hi te c t u ra l i n s pi ra t io n .

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Chapter 5 Design Resolution

Figure 39 - New town - by A uthor

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Site Context Chapter 5

Th e m u s e u m i s fi r s t l y fo r So uth Afric ans to come together and share in the r ic h n e s s o f So u t h A f r ic a n m usic and it s identity. Secondly, it is for tourist s to ex p l o re, d i s c ove r a n d b e tter understand South Afric a through a music al m e di um.

Th e s e l e c te d si te i s l o c a te d on the corner of Miriam M akeba and Rahima M o o s a St re e t s i n N ew tow n , J o hannes burg. N ew tow n is situated on the outs k ir t s o f t h e C B D. Th e a re a is filled with young people who filter in from t h e U ni ve r si t y o f t h e Wi t w a tersrand and the University of Johannesburg.

Wi t hi n t h e i m m e d i a te vic i ni t y of th e site is th e Afr ic a n m u s eu m , w hic h fo c u s e s o n A f r ic a n c u l t u re, h e r itage, and histor y. Next to that is the Worker ’s M us e um a nd t he Sc i - Bo no D is cover y Cen tre, an in terac tive s cien ce m u s e u m fo r k id s , fo c u si n g o n a d i fferent set of people. The site is also home to p l a c e s l i ke B a s e l i n e, t h e Fox Junc tion, Sophiatown Jazz Lounge and The G o o d L uc k B a r. Th e s e a re a l l gathering places with live music venues. The N e l s o n M a n d e l a b r id ge i s wi t hin five minutes’ walking distance, and it takes te n mi n u te s to w a l k to t h e Park Station. The site is therefore filled with p e op l e f ro m a l l a ge s , d i ffe re nt bac kgrounds and different nationalities. All vi si t i n g t h e si te fo r d i ffe re n t rea sons. However, EC HO is where all of these re a sons coincide.

Accommodation List Chapter 5

Th e i n te n t io n b e hi n d t h e m u seum is to create a space in whic h people from a l l ove r t h e wo r l d c a n c o m e and better understand South Afric a through a m u sic a l m e d i u m . Th e m u s e u m will have an area for temporar y exhibitions to ta ke pla ce. A more pe r ma n en t a rea t h a t di s p l a ys m u sic t h ro ug h t h e d i ffe re n t e ra s . Th e re wi l l b e a hall of fame in whic h budding South Afric an m u sic i a n s c a n a s pi re to b e a par t of, along with recognising the great s. In a m u s e u m c o n tex t , t h e re wi l l be offices, storage, a museum shop, a coffee sh op, o n t he ro o f t he re wi l l be provision for ban ds an d m u sician s to perfo r m . Th e c rowd wi l l u t i l i s e the park below, this will help make use of the p a r k a l o ng wi t h ke epi ng t he C ovid-19 pan demic in min d.

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Figure 40 - New town - M ap - Far - by A uthor

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Figure 42 - New town - Perspec tive - Far - by A uthor

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78

Figure 43 - New town - Perspec tive - Close - by A uth o r

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80

Museum of Africa

Figure 44 - New town - Perspec tive - M apping - by A ut h o r

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Nelson Mandela Bridge

Workers Museum

Park Gautrain Station

Newtown Music Factory

Proposed Site

Turbine Hall

The Dance Factory

The SAB World of Beer

Sci - Bono Discovery Centre

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1

1 4

2 3

Figure 45 - Photo M ap 1 - Photo by A uthor

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1

Figure 46 - Miriam M akeba Street - Photo by A uthor

2

Figure 47 - SciBono Discover y Centre - Photo by A u t h o r

3

Figure 48 - House of Beer - Photo by A uthor

4

Figure 49 - Turbine Hall - Photo by A uthor

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7

8

6

5

Figure 50 - Photo M ap 2 - Photo by A uthor

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5

Figure 5 1 - JDA Head Office - Photo by A uthor

6

Figure 52 - Workers Museum - Photo by A uthor

7

Figure 53 - The M arket Galler y - Photo by A uthor

8

Figure 54 - M ar y Fitzgerald Square - Photo by A utho r

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9 10 12 11

Figure 55 - Photo M ap 3 - Photo by A uthor

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9

Figure 56 - JMPD Office - Photo by A uthor

10

Figure 57 - Graphitti Wall - Photo by A uthor

11

Figure 58 - New town Park- Photo by A uthor

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Figure 59 - Open Stand - Photo by A uthor

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16

13 14 15

Figure 60 - Photo M ap 4 - Photo by A uthor

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13

Figure 6 1 - Parking - Photo by A uthor

14

Figure 62 - Dance Fac tor y - Photo by A uthor

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Figure 63 - Dance Fac tor y Cla ss Rooms - Photo by A u t h o r

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Figure 64 - Site - Photo by A uthor

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Figure 65 - M agazzino Italian Ar t - Link - Photo by Javier Calleja s

Figure 66 - M agazzino Italian Ar t - Mus uem - Photo by Javier Calleja s

Figure 67 - M agazzino Italian Ar t - M odel - Photo by Javier Calleja s

Figure 68 - M agazzino Italian Ar t - Sec tion - Drawing by MQ Arc hitec ture

91

Precedent Chapter 5

Na me - M a ga z z i no I t a l i a n A r t A rc hi te c t - M Q A rc hi te c t ure Lo c a t io n - P hi l i p s tow n , N ew York, United States of Americ a Ye a r C o m p l e te d - 2 0 1 7 M a g a z z i n o I t a l i a n A r t i s a p r ivate initiative conceived by Nancy Olnic k and Gio rgio Spa nu to ho us e t hei r col l ec tion of pos t-w ar I tal ian ar t. Th e com mis sio n c o nsi s te d i n a f u l l re n ovation of an existing 11,0 0 0 square-foot buildi n g a n d a n a d d i t io n a l 1 4,0 0 0 square feet of new constr uc tion. The existing L- sh a p e d s t r uc t u re w a s e re c ted in 19 64 a s a distribution center for dair y p ro d uc t s a n d s u r ro u n d e d by loading doc ks and c anopies. The new space n e e d e d a t a l l e r c l e a ra n c e, si nce some of the collec tion’s pieces were large, a s we l l a s hig h l y c o n t ro l l e d natural light.

Th e s t a r t i n g a pp ro a c h w a s simple: the existing L-shaped building could be c o m p l e te d i n to a re c t a n g l e with a central cour tyard. This idea allowed us to p rop o s e a n i n d ep e n d e n t str uc ture that would r un parallel to the longer p a r t o f t h e ex i s t i n g b u i l d i n g and link both str uc tures by means of two gla ss c o n n e c to r s , t h u s s t re s si n g t he lightness. Consequently, it would establish a d i a l o g ue b e t we e n t h e n ew and existing building; the natural light helps s t re s s p re c i s e l y t h a t : t h e existing building works with the specific, solid l ig h t c o mi n g f ro m t h e s k y l ight s aligned with the main pathways through t h e b u i l d i n g , w h e re a s t h e ex pansion proposes a uniform and faint light that m a ke s t h e m o s t o f t h e w h o l e. In both spaces, we have tried ma ximize the f l ex i bi l i t y o f a r t i fic i a l l ig h t by means of trac k lighting that crosses the lower i n te r io r c o rd o n s o f t h e joi s t .

Th e ex i s t i n g s t r uc t u re op e n s up to the cour tyard while the addition only op e n s a p a n o ra mic wi n d ow to the Wetlands. Additionally, the juxtaposition o f t h e t wo vo l u m e s m a ke s t h e central cour tyard become a vir tual room, an exte nsio n o f the lo bby, w hile t h e ref l ec t i n g p o o l t h a t reg u l a r i zes i t s geo m e t r y f a c i l i t a te s t h e t ra n si t io n between the existing building and the addition.

Th e f l ow w a s re d uc e d to a si mple circ le in order to make the visitors follow a n i n t u i t i ve s e q ue n c e o f ro o ms; to keep guest s from being weighed down by t h e b u r s t o f a r t , t h e s p a c es open to the exterior to help people rest their eye s t h ro ug h o u t t h e to u r.

M a g a z z i n o, w hic h m e a n s w a rehouse in Italian, attempt s to pay homage to i t s n a m e a n d t h e A r te Pove ra collec tion whic h it houses. While the ar tist s wor ke d with e le me nt s consid ered to be poor, l ow-qu al ity, or readil y avail ab l e, we w a n te d to p u r s ue t hi s philosophy by using simple component s and b u i l di ng te c hnique s . The “ i n situ” for m wor k con crete w al l , s h aped with ph en ol - t re a te d wo o d pa ne l s , ma kes u p th e s kin of th e n ew con tain er ; th e roof c ove r i s s o l ve d by u si n g a simple str uc ture involving metal gable tr usses, a n d t h e w hi te i n te r io r w a l l s create a neutral bac kdrop for enjoying ar t.

Th e c o n s t a n t t ra ffic o n St a te Route 9, whic h r uns next to the slope where t h e p roje c t i s l o c a te d , fo rc e d the projec t to turn away from the road, and t h e a tte m p t to m a ke t h e i n te rior environment a s quiet a s possible required a d e t a c h e d c o n c re te s h e d with building systems along the parking area.

Thi s n ew s t r uc t u re re g u l a r i zed the arrival and the s urrounding gardens, a l l owi n g t h e vi si to r s to d i s c over the entrance by contra st of volumes and m a te r i a l s .

Wo rds by Arc hite c t Roj a s , C . , 2 0 18 . M a g a z z i n o I talian Ar t / MQ Arc hitec ture. Arc hDaily. Availa b l e a t : htt ps : //w w w. a rc hda i l y.com /889 53 0 /m agaz z in o-ital ian -ar t-m q-arc hi te c t u re? a d _ m e d i u m = g a l l e r y [Accessed November 17, 2021].

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Figure 69 - Museum of Roc k - Exterior - Photo by Ossip van Duivenbode

Figure 70 - Museum of Roc k - Entrance - Photo by Ossip van Duivenbode

Figure 7 1 - Museum of Roc k - Interior - Photo by Ossip van Duivenbode

Figure 7 2 - Museum of Roc k - Evening - Photo by Ossip van Duivenbode

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Precedent Chapter 5

Na me - M us e um o f Ro c k A rc hi te c t - M V R DV & Co be Loc a t io n - Ro s k i l d e, D e n m a r k Ye a r C o m p l e te d - 2 0 1 6 R a g n a ro c k , M V R DV a n d C O B E’s museum of pop, roc k and youth culture in Ro s k i l d e, D e n m a r k , s t a n d s a s an arc hitec tural embodiment of roc k music w hic h hope s to i ns pi re a new gen eration of m u sician s , ar tis t s an d creat i ve p ro fe s sio n a l s . Th e 3. 1 0 0 m2 building, complete with coloss al c antilever, h ou s e s t he ma i n mus e um ex per ien ce w hic h al s o in c l udes an auditor iu m , ad mi ni s t ra t i ve f a c i l i t ie s a n d a bar. The golden studded building stands a s the f ro n t- m a n i n a l a rge r 1 1 .0 0 0 m2 ma sterplan, RO C Kmagneten, whic h looks to t ra n s fo r m t h e ex i s t i n g c e m e nt fac tories on the site into a distric t for roc k m u sic a n d yo u t h c u l t u re w hi lst adding three new buildings, the completed R a g n a ro c k , a n ew D a ni s h h øjskole and the headquar ters for the Roskilde Ro c k Fe s t i v a l .

R a gna ro c k , de signe d fo r t he Dan m ar ks Roc km u s eu m , aim s to touc h th e exi s t i n g si te a s l ig h t l y a s p o s si ble with the intention to preser ve the raw and i n fo r m a l c h a ra c te r o f t h e si te whic h ha s been, and still is, used by skaters a n d a r t i s t s a l i ke. Th e n ew s tr uc ture plugs into the fac tories, standing on fo u r l e g s w hic h t a ke vi si to r s up into the museum and auditorium above. A c l e a r d i vid e, id e n t i fie d by a separation in materials, distinguishes the old a n d t he new ; ra w c o nc re te i n con tra s t with vivid red s tuds . Th e com bin a t ion o f m a te r i a l s ra d i a te a roc k-like atmosphere; from the golden anodised a l u mi ni u m s t ud d e d f a ç a d e w hic h pays homage to lead singers throughout ro c k hi s to r y, to t h e vi vid re d interior, reminiscent of a guitar c a se’s soft ve l ve t inside. “ R a g n a ro c k i s t h e t ra n s l a t io n of roc k music into arc hitec ture; the energy, t h e d e fi a n c e, t h e s t a te m e n t . Loud and in your face!” s ays MVRDV founding p a r t ne r Ja c o b v a n R i js , “ I t ’s not ju s t th e l ooks th ough . Th e rel ation s hip bet we e n R a g n a ro c k a n d t h e o r iginal halls creates spaces that will breed a new ge ne ra tion of roc k sta r s in a h ugel y creative en viron m en t.”

Th e ex p e r ie n c e t h ro ug h o u t the building takes visitors on a journey into th e l i fe o f a ro c k s t a r, c o mbinin g tradition al m u s eu m with im m er sive exhibi t io n s . Th e re d c a r p e t we l c ome, the rise to fame up to the performance s p a c e w hic h h a n g s d a r i n g l y in the air, and the inevitable fall down to the b a r. “ Wa l k i n g tow a rd s t h e go lden building over the red c arpet will turn eac h visitor into a sta r,” Ja cob va n R i js expl a i n s a bo u t t h e a pp ro a c h to t h e m u s eu m . R a g n a ro c k i t s e l f a l s o b e comes an stage; performances c an either face t h e l a rge p u b l ic p l a z a o n o n e side, or the refurbished industrial halls on the o t h e r. Th e go l d e n ove r h a n g defies gravity in a tr ue roc k and roll style and wel c o m e s vi si to r s n o t o n l y i nto the museum, but also in the future will ac t a s t h e e n t ra n c e i n to t h e l a rger RO C Kmagneten ma sterplan.

Th e s o c i a l i n te n t io n s o f t h e sc heme open up new possibilities for music c re a t i vi t y by p rovid i n g a n i n c lusive environment with constant connec tions b e t we e n e d uc a t io n , l ei s u re a nd performance. The buildings themselves, led

by Ra gna roc k , inspire but a lso l eave room within th e s c h em e, s uc h a s ou td oo r pl a z a s , to bre e d c re a t i vity th rough a n ew s ocial , in for m al pl atfor m .

Wo rds by Arc hite c t H e r n á n d ez , D. , 2 0 1 6 . M u s e u m of Roc k / MVRDV + Cobe. Arc hDaily. Available a t: htt ps : //w w w. a rc hda i l y.c o m / 7864 89/ragn aroc k-m vrdv-pl u s -cobe? ad_ m ed i u m = g a l l e r y [ A c c e s s e d N ovember 17, 2021].

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Figure 73 - EC HO - by A uthor

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Concept Chapter 5

Th e n a m e o f t h e m u s e u m i s EC HO. An ec ho is the res ult of a reflec ted s o u n d re a c hi n g a l i s te n e r ’s ear after a delay. The EC HO museum should evo ke e m o t io n s , m e m o r ie s a nd identity through it s design. The exterior will re f l e c t t h e i n te r io r by ex p l o r ing the notion of a delay.

Th e EC H O m u s e u m wi l l ex p l ore the histor y of South Afric an music and the ro le i t p l a ye d i n p e op l e’s l i ves. So, the music wa s created (Initial Creation) t i m e h a s p a s s e d t h u s b e c o ming histor y (Delay). The museum showc a ses m u sic f ro m t h e p a s t , ( Re a c h es a Listener ’s Ear).

Th e c o n c ep t o f a n EC H O i s l i n ea r. Thi s i s di s pl a yed t h ro ugh o u t t h e bu i l d in g . N o t o nl y ba si ng t he bui l din g on an ec h o bu t al s o th e s tr uc tu re of m usic . M u sic i s s t r uc t u re d , h owever organic and flowing the str uc ture is. The b u i l d i n g i l l u s t ra te s s t r uc t u re, all while allowing the output to be displayed i n t h e f a c a d e.

Th e topic o f t h e t h e si s i s to u s e So u t h A fr ic a n m u sic a s a ba si s fo r a rc hi te c t u ra l id e n t i t y. Th e re fo re, there are cer tain principles and design criteria t h a t n e e d to b e i n c o r p o ra te d within the design. As shown and stated in C ha pte r 4.

A s we l l a s t h e p roje c t ’s ove rarc hing vision. Design parameters were also u s e d i n t h e d e sig n . I n C h a p ter 4, the parameters were set. Those fac tors a re a t t he he a r t o f t he de sign, in m os t c a s es , th ey were s u btl y in cor porated , i n o t he r s , t hey we re us e d in an abs trac t m an n er, or th ey were im pl em e nte d i n a ve r y fo r t hr ight way.

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Figure 74 - Confusion - by A uthor

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Figure 75 - Foot Print - by A uthor

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Figure 76 - Concept Sketc h - by A uthor

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Figure 77 - Internal Layout Concept - by A uthor

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N

Figure 78 - Site Plan - by A uthor

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SIT E P L A N scale 1_ 500

staff lift

fire escape

entrance

services

bathroom

museum entrance restaurant

bar

fire escape

staff lift

bathroom

museum lobby kitchen

museum reception planting outdoor seating

interactive music room bathrooms

fire escape central movement

hall of fame

interactive music room

office

kitchen

storage

F

museum display area

board room

office

bathrooms

museum display area

fire escape

N

GR OUND FLOOR PLAN scale 1_ 250

Figure 79 - Ground Floor Plan - by A uthor

1 02

fire escape

staff lift

services

bathroom

fire escape

staff lift

bathroom

interactive music room bathrooms

fire escape

central movement

interactive music room storage

museum display area

bathrooms

fire escape museum display area

N

FIR ST F L O O R P L A N scale 1_ 250

Figure 80 - First Floor Plan - by A uthor

1 03

piano room

fire escape

staff lift

services

bathroom

temporary museum display area

fire escape

staff lift

bathroom

temporary museum display area

skylight

N

roof top garden

SECOND FLOOR PLAN scale 1_ 250

Figure 81 - Second Floor Plan - by A uthor

1 04

roof top bar

music hall

music hall lobby

dressing rooms

recording studio

museum display area

temporary museum display area

reasturant

basement parking

SECTI scale 1

Figure 82 - Sec tion - by A uthor

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museum reception lobby

basement parking

ON A 1_ 250

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Figure 83 - Nor th Elevation - by A uthor

Figure 84 - West Elevation - by A uthor

1 07

1 08

Figure 85 - Perspec tive 1 - by A uthor

1 09

PERSPEC not to s

CT IV E scale

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Figure 86 - Perspec tive 2 - by A uthor

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PER SPECT IV E not to scale

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Chapter 6 Te c h nic al Re s o l u t io n

Figure 86 - Fac ade Pattern - by A uthor

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Fac ade Chapter 6

Fo r t h e s p e c i fic a t io n s e c t io n of the curriculum. The fac ade wa s the detail o f c h oic e. Th e id e a i s fo r t h e building to seem a s though it is dancing. This d a n c i n g e ffe c t wi l l i l l u s t ra te the flowing and organic a spec t of music.

Th e o u tc o m e o f t h e f a c a d e wa s dec ided o n ea r l y wi t hi n t h e design develop m e n t . Th e d e t a i l n e e d e d refining.

Th e f a c a d e i t s e l f i s t r i a n g u l a r, t h e s h a pe i s ba s ed o ff o f So u t h A fr ic a n pa tte r n s fo u n d t h ro ug h o u t a l l c ultures. The idea wa s that the fac ade would not n e c e s s a r i l y b e b a s e d o n a s pecific culture within South Afric a, but rather c o m bi n e a l l t h e c u l t u re s to create a fac ade that is uniquely South Afric an.

Th e t r i a n g u l a r s h a p e i s fo u n d within majority of South Afric an cultures.

Th e c l a d d i n g s t y l e h e l p s g i ve a South Afric an identity to the building by m e a ns o f a s ha pe a nd s t y l e t hat is qu ite famil iar to Sou th Afr ic a. Th e kin etic a s p e c t o f t h e f a c a d e b e s t represent s the flow of music along with how id e nt i t y i s c o n s t a n t l y c h a ng i ng. The fac ade moving and c hanging througho u t t h e d a y i l l u s t ra te s t hi s . Ec ho is ba sed on an arc hitec tural identity that c a n b e fo u n d i n So u t h A f r ic a n Music. That identity is ever c hanging. With a k i n e t ic f a c a d e t h a t c h a n ge s throughout the day, it represent s how identity is a c o ns t a nt l y evo l vi ng s phe re. A Sou th Afr ic an Arc hitec tu ral I den tity ref l e c t s So u t h A f r ic a . I n d oi n g s uc h, what we identif y a s South Afric an needs to be repre se nte d. Ke eping in mi n d t h a t i t a l s o n eeds to ref l ec t m u sic a l el e m e n t s . A l o n g wi t h h ow t h o se music al element s are displayed and make us fe e l . H e n c e, rep e t i t io n p l a y s a role in the aesthetic of the c ladding.

M uc h l i ke repe t i t io n do e s i n Sou th Afr ic an patter n s . Separatin g th e el em e n t s ex p re s s e s t h e i n d i vid ual notes of music a s well a s us a s individual, u niq ue So u t h A f r ic a n s . Th e str uc tural vis ual of the c ladding helps create a j u x t a p o si t io n b e t we e n t h e building (organic) and the str uc ture of music (R igid) . The ide a o f t he c l a dd in g is tr ian gu l ar. Th e gaps between th e c l ad d i n g wi l l a l l ow n a t u ra l ve n t ilation within the building along with natural lig ht , w hic h wi l l a l s o a l l ow t he l igh t to dis pl ay a patter n on th e fl oor. M ovi n g t h e f a c a d e a w a y f ro m t h e building allows for natural ventilation to flow t h ro ug h . B ei n g a b l e to ro t a te the fac ade allows for the flexibility to allow s u n l ig h t i n a s t h e b u i l d i n g n e eds it. The detail is an exploration of what the s t r uc t u re wo u l d l o o k l i ke. The detail is ba sed off of other kinetic fac ades.

O n e s t h a t fo l d . Th e id e a fo r EC HO’s fac ade is it c an rotate along with being a b l e to a d j u s t i t s l e n g t h a w a y and c loser to the building. Thus allowing it to c on s t a nt l y c ha nge a nd mo r ph a s th e day goes on .

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Figure 87 - Ndebele Traditional Pattern - by Ester M ahlangu

Figure 88 - Zulu Bead Work - Photo by GoneRural

Figure 89 - Xhos a Inspired Pattern - Photo by David Ross

Figure 9 0 - Ditema Ts a Dinoko - by Emmly M a s anabo

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Figure 9 1 - Process 01 - by A uthor

Figure 92 - Process 02 - by A uthor

Figure 93 - Process 03 - by A uthor

Figure 9 4 - Process 04 - by A uthor

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Figure 9 5 - Process 0 5 - by A uthor

Figure 9 6 - Process 0 6 - by A uthor

Figure 97 - Process 07 - by A uthor

Figure 98 - Process 08 - by A uthor

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Figure 99 - Process 09 - by A uthor

Figure 1 0 0 - Process 1 0 - by A uthor

Figure 1 01 - Process 11 - by A uthor

Figure 1 02 - Process 12 - by A uthor

Figure 1 03 - Process 1 3 - by A uthor

Figure 1 04 - Process 14 - by A uthor

Figure 1 0 5 - Process 1 5 - by A uthor

Figure 1 0 6 - Process 1 6 - by A uthor

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119

Figure 1 07 - Process 17 - by A uthor

Figure 1 08 - Process 18 - by A uthor

Figure 1 09 - Process 19 - by A uthor

Figure 11 0 - Process 20 - by A uthor

Figure 111 - Process 21 - by A uthor

Figure 112 - Process 22 - by A uthor

Figure 11 3 - Process 23 - by A uthor

Figure 114 - Process 24 - by A uthor

Figure 11 5 - Process 25 - by A uthor

Figure 11 6 - Process 26 - by A uthor

Figure 117 - Process 27 - by A uthor

Figure 118 - Process 28 - by A uthor

Figure 119 - Process 29 - by A uthor

Figure 120 - Process 30 - by A uthor

Figure 121 - Process 31 - by A uthor

Figure 122 - Process 32 - by A uthor

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4. Type - STABILISER ARMS A. Material i. Mild Steel.

B. Finish i. Galvanised.

C. Components Size i. Threaded Torsion Bar - 50mm Ø x 150mm. ii. Fork End Lock Cover - 80mm Ø x 150mm. iii. Tread Receiver Socket - 50mm Ø x 200mm. iv. Brace End Plate - 80mm Ø x 150mm. v. Fork End - 120mm x 15mm. vi. Steel Pin - 20mm Ø x 60mm. vii. Castle Nut - M20 D. Fixing i. All components to be constructed off site by specialist. ii. Fixed to kinetic component and cladding frame using a pin joint. iii. Pin joint to be 20mm Ø Galvanised pin. With a butterfly clip and castle nut at the bottom and flat plate at the top. iv. Pin joints to be sufficiently lubricated.

5mm x 75mm x 5mm Galvanised equal angle 1000mm x 715mm x 75mm Purpose Made Meranti bench treated with exterior timber sealant

45 Degree Chamfer

2. Type - MILD STEEL FOOTING A. Material i. Mild Steel.

B. Finish i. Galvanised.

C. Size i. 1100mm x 600mm x 10mm.

D. Profile i. Flat Mild Steel.

E. Holes i. Holes to be drilled prior to galvanising F. Fixing i. Beam members to steel footing to be welded off site in accordance with SANS 3834/ISO 3834. ii. Steel footing and beam to be chemically anchored on site. iii. 20mm Ø Galvanised raw bolt to be chemically anchored. iv. M20 Galvanised mild steel nut and washer to be used to fix footing to raw bolt.

170mm R/C upstand as per Eng. Design & Sp

Polished Concrete

340mm R/C Slab as per Eng. Design & Spec

Off-Shutter Soffit

Setting Block 1. Type - REINFORCED CONCRETE SLAB A. Strength i. As per Engineers documentation.

B. Material i. Concrete.

C. Size i. 340mm.

D. Finish i. Off-Shutter. ii. 45 Degree Chamfer on exposed edges E. Degree of Accuracy i. III. F. Formwork i. Formwork to be rigid and braced to prevent “kicking".

G. Cast in items i. Reinforcement as per Engineers documentation.

3. Type - KINETIC COMPONENT A. Name i. ATS Hydraulic DART Actuator.

B. Type i. Single Acting Plunger Cylinder.

C. Material i. As per manufacturer.

D. Finish i. As per manufacturer.

E. Fixing i. Fitted onto mild steel footing on site using M12 bolt. ii. M12 Galvanised mild steel bolt, nut and washer to be used to fix Hydraulic Actuator to mild steel footing. iii. Bracing and Actuator installed as per manufacture specifications by an approved specialist.

F. Manufacturer i. ATS Actuator based in Boksburg, Johannesburg (+27 11 397 4756).

Optional Aluminium Trim Continuous Aluminium polycarbonate clamping system fixed to the 340mm R/C slab using M12 Galvanised Mild Steel Bolts at 500mm Centers 40mm Thick MARLON CLIPFIX 1040 multiwall polycarbonate standing seam architectural system set in ARBOCAL to a minimum depth of 80mm then pointed with silicon sealant 40mm Thick MARLON CLIPFIX 1040 multiwall polycarbonate standing seam architectural system Fixing as per Detail

Axonometric Detail Scale 1:10

Facade - Contracted

Facade - Expanded

Scale 1:750

Scale 1:750

Figure 123 - Detail - by A uthor

121

Area of Study

5. Type - CLADDING FRAME A. Material i. Mild Steel.

B. Finish i. Galvanised.

C. Components Size i. Unequal Angle Channel - 100mm x 200mm x 8mm ii. Equal Angle Channel - 100mm x 100mm x 8mm iii. Mild Steel Plate - 600mm x 600mm x 20mm iv. Bolt and Nut - M20 D. Fixing i. Frame to be manufactured off site. ii. Unequal Angle Channel to be welded in a rectangular frame as per engineers drawings. iii. Equal Angle Channel to be welded in a triangular frame as per engineers drawings. iv. Equal Angle Channel and Unequal Angle Channel to be welded together as per engineers drawings. v. Mild Steel Plate to be welded in the centre of the Unequal Angle Channel as per engineers drawings. vi. Holes in the Mild Steel Plate to be pre drilled before it gets welded to the Unequal Angle Channel vii. All off site welding to be in accordance with SANS 3834/ISO 3834.

pec

6. Type - PREFABRICATED CLADDING Component 1 - Frame A. Material i. Mild Steel B. Finish i. Galvanised.

C. Size i. 300mm x 250mm x 5mm.

D. Profile i. Rectangular Tubing.

E. Configuration i. As per architects drawings.

F. Fixing i. Timber cladding to be fixed around Rectangular Tubing by manufactures. ii. Complete prefabricated cladding to be fixed to prefabricated frame.

G. Manufacturer i. Houteng based in Silverton, Pretoria (+27 12 804 4295) Component 2 - Timber A. Material i. SA Pine Timber.

B. Finish i. Exterior Timber Treatment.

C. Size i. 6000mm x 3000mm x 400mm.

D. Profile i. As per architects drawings.

E. Configuration i. As per architects drawings.

F. Fixing i. Prefabricated cladding fixed by manufacturers. ii. Prefabricated cladding fixed to fixed component on site.

G. Manufacturer i. Houteng based in Silverton, Pretoria (+27 12 804 4295)

40mm Thick MARLON CLIPFIX 1040 multiwall polycarbonate standing seam architectural system Fixing as per Detail

80mm Ø Galvanised Mild Steel Fork End Lock Cover Final Design & Spec as per Eng.

40mm Thick MARLON CLIPFIX 1040 multiwall polycarbonate standing seam architectural system set in ARBOCAL to a minimum depth of 80mm then pointed with silicon sealant

50mm Ø Galvanised Mild Steel Tread Receiver Socket Final Design & Spec as per Eng. 80mm Ø Galvanised Mild Steel Brace End Plate Final Design & Spec as per Eng.

Continuous Aluminium polycarbonate clamping system fixed to the 340mm R/C slab using M12 Galvanised Mild Steel Bolts at 500mm Centers

50mm Ø Galvanised Mild Steel Threaded Torsion Bar

Final Design & Spec as per Eng.

Optional Aluminium Trim Setting Block M12 Galvanised Mild Steel Bolt.

75mm x 75mm x 5mm Galvanised equal angle 1000mm x 715mm x 75mm Purpose Made Meranti bench treated with exterior timber sealant

ATS Hydraulic DART Actuator as per Eng. spec.

Installed as per manufacturer specifications by approved specialist.

M20 Galvanised Mild Steel Bolt and Nut Set

1100mm x 600mm x 10mm Purpose made Galvanised Mild Steel Plate Footing Final sizing as per Eng.

600mm x 600mm x 20mm Purpose made Galvanised Mild Steel Plate Final sizing as per Eng.

300mm x 250mm x 5mm Galvanised Mild Steel Rectangular Tubing Final sizing as per Eng.

Connect One Point Fixing Supplied with Panel

6000mm x 3000mm x 400mm Purpose Made SA Pine Prefabricated Cladding. Attached to Mild Steel Rectangular Tubing by Manufacture.

Connect Covering Clip Supplied with Panel Wire Loop around Adjustable Stainless Steel Clip Supplied with Panel Connect Adjustable Wire Hanger 4x min per Panel Supplied with Panel

100mm x 200mm x 8mm Galvanised Mild Steel Unequal Angle Channel Final sizing as per Eng. 20mm Ø Galvanised Mild Steel Pin Joint Secured using a Castle Nut Final sizing as per Eng. 120mm x 15mm Galvanised Mild Steel Fork End Final Design & Spec as per Eng.

ECOPHON Solo Acoustic Panel 1200mm x 3000mm x 50mm Adjustable Stainless Steel Clip Supplied with Panel

Department of Architecture M.Arch Master of Architecture

5

CONTRACT DOCUMENTATION Name

Kyle Peinke Student Number

215639983 Project Description

ECHO A Museum of South African Music

Connect Absorber Anchor Supplied with Panel

Detail 01

Drawing Number & Description

Scale 1:20

Date Out

Date In

Sheet Number

05/08/2021

27/09/2021

06 /06

Details

Scale

1:10 & 1:20 & 1:750

122

Figure 124 - Cladding - by A uthor

123

Figure 125 - Detail M odel 01 - by A uthor

Figure 126 - Detail M odel 02 - by A uthor

1 24

Gerard Sek

sa Street

Rahima Moo

NEWTOWN reet

hini St

Mahlat

Proposed Site

eba Miriam Mak

or Way

Quinn Stree t

Graaff Mot

oto Street

De Villiers

yi Street

Lilian Ngo

o Street Ntemi Pilis

Street

on Road

Barney Sim

Dolly Rathebe Street

Pine Ave

Parker Roa d

nue

Municipal Connection

Albertina

ERF 7/599

d

Sisulu Roa

ERF 9/599

ERF 8/599

ERF 8/599

ERF 4/599

N

Locality Plan Scale 1:5000

71

30

00

71

20

00

Designated Boundary

ERF 8/599

ERF 6/599 Paved Walkway P01

P02

P03

P04

P05

P06

P07

P08

P09

P

P57

P56

P55

P54

P53

P

Visitor Parking

P61

P60

P59

P58

Paved Walkway

N

Site Plan Scale 1:500

Figure 127 - Contrac t Documentation Site Plan - by A uthor

125

713 000

71 4

00 0

Miriam Makeba Street

Margaret Mcingana Street

Area of Study

Rahima Moosa Street

Rahima Moosa Street

Designated Boundary

Main Pedestrian access with no obstructions

AB Boundary - 62 000mm

B

B

ry da un mm Bo 000 4 d te - 1 na ry ig nda es ou D CB

Paved Walkway

A 90°

135°

R = 65°

6 060

Planter

3 000mm Building Line 15 660

R = 75°

5 12 23

Area of Study - Portion A

Paving

23 650

RE

C

135°

Legend

3 000mm Building Line

RE

Existing Tree

ERF RE/17/59

9

Proposed Tree

50 655

50 655

RE

00

50

71

R = 105°

Paved Walkway

RE 0

5 10

Lawn

R = 115° R = 105° 1955 R = 105° 12 5

7 860

51

Paving

Paving

16 400

11 500

19 345

CD Boundary - 120 000mm

Proposed New Museum ERF 3/5992 Area - 4 600m

16 400

11 500

6 330

15 660

15 660

Lawn

13 220

Lawn

Designated Boundary

AE Boundary - 130 000mm

6 330

Planter

2 440

Planter 15 660

3 000mm Building Line RE

P52

Lawn

Proposed Vehicle Ramp to Basement

NOTE: Datumn Level - 100 000 Contour Datumn Level Contour 714 000 = 100 000

Lawn RE

Setting Out Point

3 000mm Building Line

71

40

00

RE

RE

DE Boundary - 75 000mm

89°

D

IE

Designated Boundary

Existing Manhole Height = 714 000

Paved Walkway Proposed Traffic Circle

5 670

IE

10 000 5 000 5 000

11 410

Lawn

10 000

RE

8 000

90°

E

Vehicular access with no obstructions

P10

50 660

50 660

Lawn

RE

Vehicle Entrance

10 000

Paved Walkway

Paved Walkway P11

P12

P13

P14

P15

P16

P17

P18

P19

P20

P21

P22

P23

P24

P25

P26

P27

00

50

71

Visitor Parking

Visitor Parking 117 695

106 095 P51

P50

P49

P48

P47

P46

P45

P44

P43

P42

P41

P40

P39

P38

P37

P36

P35

P34

P33

P32

P31

P30

P29

P28

Paved Walkway

ERF 12/599

Department of Architecture M.Arch Master of Architecture

5

CONTRACT DOCUMENTATION Name

Kyle Peinke Student Number

215639983 Project Description

ECHO A Museum of South African Music

Drawing Number & Description

Site Plan + Locality Plan Date Out

Date In

Sheet Number

05/08/2021

27/09/2021

01 /06

Scale

1:500 + 1:5000

126

Axonometric 01

Axonometric 02

Not to Scale

Not to Scale

14 590

39 590

22 595

6 770

2 420

69 250

A 45 075 28 600

A

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

9 700

A

117 930

117 930

30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19

69 250

N

Basement Plan Scale 1:500

Figure 128 - Contrac t Documentation Drawing Diagram 01 - by A uthor

1 27

N

Ground Floor Plan Scale 1:500

35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

Area of Study

14 590

42 320

25 325

8 195

2 420

A

A

ur

10 780

47 575 28 600

A

F

Department of Architecture M.Arch Master of Architecture

5

CONTRACT DOCUMENTATION Name

Kyle Peinke Student Number

215639983 Project Description

ECHO A Museum of South African Music

N

First Floor Plan

Drawing Number & Description

Scale 1:500

Date Out

Date In

Sheet Number

05/08/2021

27/09/2021

02 /06

Drawing Diagram - 1/2

Scale

1:500

128

14 590

39 585

22 580

2 420

6 775

A

47 575 28 600

47 595

Scale 1:500

2 420

30 590

11 035

A

A

14 015

12 940

52 575 28 600

55 070 28 600

A

Fifth Plan

N

Scale 1:500

14 590

55 475

38 470

15 275

2 420

A

16 175

60 050 28 600

A

Eighth Floor Plan Scale 1:500

Figure 129 - Contrac t Documentation Drawing Diagram 02 - by A uthor

129

14 590

12 455

14 590

Third Floor Plan

N

Scale 1:500

2 420

N

25 325

10 780

9 700

Second Floor Plan

N

42 320

A

45 075 28 600

A

N

14 590

8 195

2 420

Sixth Floor Plan Scale 1:500

50 300

33 210

14 590

44 965

27 955

Area of Study

9 615

2 420

A

A

11 860

50 075 28 600

A

Fourth Floor Plan

N

Scale 1:500

14 590

52 935

35 845

13 875

2 420

A

A

15 095

57 570 28 600

A

N

Seventh Floor Plan Scale 1:500

Department of Architecture M.Arch Master of Architecture

5

CONTRACT DOCUMENTATION Name

Kyle Peinke Student Number

215639983 Project Description

ECHO A Museum of South African Music

Drawing Number & Description

Drawing Diagram - 2/2 Date Out

Date In

Sheet Number

05/08/2021

27/09/2021

03 /06

Scale

1:500

130

A

B 14 260

39 6

17 010

850mm High R/C off shutter planter box with timber seating as coping 50mm Ø Galvanised Mild Steel Weep Hole Planter Line

of roof

ove

ab

R = 10 000

6 060

Walkway

COROBRIK Onyx Cobble Paver

Walkway to fall 1:100 away from building

6 775

100 000

4505mm x 1000mm Powder coated aluminium window frames (PROALUMINIUM ThermoEcoWall PG50) curtain wall system with 20mm safety glass window panels R = 10 000

2 000

1 500

Mild Steel Balustrade along entire stair. Min 1m High

16 17 18 19 20

6 010

15

FIRE WALL

220

Service Duct access panel below

21

23

25

330mm thick R/C fire with a min 2hour ratin

1 500

24

220 26

29

1 780 27

100 850

2 570

14

22

28

Non-Slip Epoxy

30

1 910

Service Duct

13

Mechanical Ventilatio for Fire Escape in wa

1 630

FIRE WALL

1 000

03

2 000

11 12

220

1 800 110 510

Service Duct

D02

Stair Note: Tread: 250mm Riser: 198mm

1 800

110

Lift Shaft

Refuge Area

1 500

Fire Escape

220

110

100 850

Lift Shaft

Lift Shaft

1 570

RE

1 780

2 300

Polished Concrete

IE

Staff Service Elevator

6 340

10

220

3 220

2 340

100 000

D03 FIRE DOOR

3 780

680

Lawn TO MUNICIPAL DRAINAGE CONNECTION

1 460

D04

R = 2000

Walkway to fall 1:100 away from building

R = 2000

9

8

7

6

5

4

3

1

90 ° =

2 000

FIRE WALL

R

2

330mm thick R/C load bearing wall

2 000

04

1 000

D01

D01

1 000

220

3 500

220

Ladies Bathroom

D01

100 000

1 500

2 500

1 610

Polished Concrete 100 850

2 095 110

° 90 = R 2 000

1 670 330

100 850

110

1 630

2 095

Mechanical Ventilatio for Fire Escape in wa 2 000

Lift Shaft

1 500

Refuge Area

330mm thick R/C fire with a min 2hour ratin

22 21 20

Service Duct access panel below

19 18 17 16 15 14 13

0

1 910

09

1 800

100 850

1 670 330

220

1

Polished Concrete

2 500

FIRE WALL

1 500

Lift Shaft 1 780

Lift Shaft

1 500

6 010

Lift Shaft

220

220

Staff Service Elevator

1 860

3 500

30

220

100 850

1 000 110

1 780

100 850

1 000

510

220

3 220

2 340

110

2 570

Service Duct

D02

6 340

1 000

Non-Slip Epoxy

02

110

1 800

1 000

Lift Shaft

Polished Concrete

110

110

Mens Bathroom

Service Duct

330

wb

Mild Steel Balustrade along entire stair. Min 1m High

D01

23

D01

25

D01

110

1 000

W02 AE

24

ur

1 610

D01

W02

5 130

ur

R = 2000

2 000

2 095

AE

AE

wc

wc

8 050

W02

AE

Service Duct

1 160

1 500

W02

AE

1 500

wc 1 000

W02

AE

2 110

D05

Fire Escape

23 650

33 750

29 750

W02

D02

4505mm Powder coated wind (PROA ThermoEco curtain wall s 20mm safety gla

Lift Shaft

2 000

1 330

wb

D03

110mm dia SS with 2 Way vent valve.

100 850

2 000 1 000

Polished Concrete

100 850

Paraplegic Bathroom

Non-Slip Epoxy

wb

1 610

5 160

D03

1 060

100 000

IE

Polished Concrete

2 110

220

Storage & Services

COROBRIK Onyx Cobble Paver

W02

wc

Service Duct

15 590

A

5/6

W02

26

1 000

4 330

Walkway

8 050

55mm dia uPVC waste pipe 220mm thick masonry wall

Family Bathroom

W02

AE

AE

27

W02

AE

29

W02

AE

28

W02

D02

AE

AE

1 860

AE

1 000

1 000

D02

45 075

330

wb 110mm Ø uPVC soil pipe to municipal sewer connection IE min fall @ 1:60

Lift Shaft

2 095

1 000

D01

110

FIRE WALL

1 000

110

1 500

330

Reflection Pond

110

12 11

110

780

2 500

Lift Shaft

110

1 500

Lift Shaft

330 1 275

FIRE WALL

sink

330

Mechanical Ventilation for Kitchen in wall Lift Shaft

Scullery

Kitchen

Non-Slip Epoxy

Non-Slip Epoxy

2 000

100 850

R = 2000

1275mm x 1400mm Stainless Steel NU-LINE goods passenger lift with 1250kg max load

2 000

4 550

R = 10 000

Walkway 100 000

N

Ground Floor Plan Scale 1:100

Figure 1 30 - Contrac t Documentation Ground Floor Plan - by A uthor

131

100 000

Stainless Steel Kitchen Work Top R = 3000 2 120

4505mm x 1000mm Powder coated aluminium window frames (PROALUMINIUM ThermoEcoWall PG50) curtain wall system with 20mm safety glass window panels

Planting

Walkway

5

1 95

Planting

100 213

COROBRIK Onyx Cobble Paver

100 850

Stainless Steel Kitchen Work Top

13 520

Walkway to fall 1:100 away from building

COROBRIK Onyx Cobble Paver

Service Duct

9

8

7

6

5

4

3

1 500 1

2 000

2

220

Stair Note: Tread: 250mm Riser: 198mm

1 460

D03 FIRE DOOR

110mm Ø uPVC soil pipe to municipal sewer connection IE min fall @ 1:60

01

220

10

6 560

100 425

R = 3 000

Planting 26 285

100 638

39 6

14 260

A

B

Area of Study

C 17 670

605

22 595

Street Walkway

Existing Paving 100 000

6 775

19 740

11 00

5

R = 3 000

R = 3 000

Opening above

2 240

04

R = 3 000

Steps to fall 1:100 away from building

Paving

Steps to fall 1:100 away from building

e ov ab

Steps

Steps

Lawn 100 000

Non-Slip Polished Concrete

Non-Slip Polished Concrete

100 638

100 425

6 340

oid

fv eo Lin

Steps

Non-Slip Polished Concrete

s

100 213

Entrance

ewall ng

Non-Slip Polished Concrete

on all

100 850

03 10 65 0

0 30 23

15 660

RAMP NOTE: concrete ramp with a max rise of 1:12

fr

eo

Lin

m x 1000mm d aluminium dow frames ALUMINIUM oWall PG50) system with ass window panels

ve

bo

fa

21 775

oo

D06 D06

40 525

Foyer

Polished Concrete

A

15 590

100 850

5/6

Walkway to fall 1:100 away from building

Museum Entrance

33 750

Polished Concrete 100 850

Restaurant

Lin

e

Polished Concrete

of

W01

Mild Steel Balustrade along entire stair. Min 1m High

W01

Stair Note: Tread: 260mm Riser: 148mm

100 850

vo

id

ab

ov

e

Walkway to fall 1:100 away from building

W01

R = 3000

W01

1190mm High Timber Work Top Joinery by Specialist

W01

1

0

09

09

0

1

on all

02

D07

37 1

W01

0

0

48

s

50

0

1

ewall ng

0

22

0

0

1

48

Outdoor Seating

Bar

D02

0

W01

R = 10 000 6 340

22

prep

W01

Non-Slip Polished Concrete

6

Polished Concrete

00 0

100 850

100 850

W01

W01

prep 22

01

0 1

D02

Void

W01 Mild Steel Balustrade along entire stair.

Min 1m High

48 0 1

220mm thick masonry wall

W01

09 0

W01

12 575

D05 5

4 27

W01 0

R = 3000

880

4 70

W01

W01

3 340 R = 3 000

4505mm x 1000mm Powder coated aluminium window frames (PROALUMINIUM ThermoEcoWall PG50) curtain wall system with 20mm safety glass window panels

Steps

Non-Slip Polished Concrete 100 638

Steps

Non-Slip Polished Concrete 100 425

Steps

R = 3 000

Department of Architecture M.Arch Master of Architecture

W01

Non-Slip Polished Concrete

Lawn

100 213

100 000

5

W01

R = 3 000

Skylight above

W01

Tower Lobby

Museum Lobby

W01

Non-Slip Polished Concrete

Polished Concrete 100 850

13 315

645

4 890

100 850

R = 3 000

D01

17 670 00

70

C

10

80

CONTRACT DOCUMENTATION Name

Kyle Peinke Student Number

215639983 Project Description

ECHO A Museum of South African Music

Drawing Number & Description

Ground Floor Plan Date Out

Date In

Sheet Number

05/08/2021

27/09/2021

03 /06

Scale

1:100

1 32

340

04 14 260

Slip Joint

Storage & Services

800mm x 715mm x 75mm Purpose Made Meranti bench treated with exterior timber sealant fixed to R/C upstand using 75mm x 75mm x 5mm Galvanised equal angle

140 290

Off-Shutter Concrete

Off-Shutter Concrete

Off-Shutter Concrete

Purpose Made Timber clad facade connected to ATS Hydraulic DART Actuator fixed to R/C slab

Off-Shutter Concrete

Epoxy

Off-Shutter Concrete

Off-Shutter Concrete

Purpose Made Timber clad facade connected to ATS Hydraulic DART Actuator fixed to R/C slab

114 025

105 355

105 015

99 660

340 5 525

R/C Slab Soffit

100 000

Basement

Family Bathroom Off-Shutter Concrete

Ladies Bathroom

340mm R/C slab. as per Eng. design & spec.

Off-Shutter Concrete

Music Studios

EC 12

Off-Shutter Concrete

D08

Polished Concrete

Polished Concrete

Family Bathroom Off-Shutter Concrete

Ladies Bathroom

340mm R/C slab. as per Eng. design & spec.

Off-Shutter Concrete

Museum Temporary Exhibition Space

10

Polished Concrete

Polished Concrete

Family Bathroom Off-Shutter Concrete

Ladies Bathroom

340mm R/C slab. as per Eng. design & spec.

Off-Shutter Concrete

Museum Temporary Exhibition Space

10

D03

e ups Epoxy

Polished Concrete

Service Duct

220mm FBS Masonry Wall with 2 layer 250 micron BRICKGRIP DPC Slip Joint

Polished Concrete

Family Bathroom Off-Shutter Concrete

340mm R/C slab. as per Eng. design & spec.

Ladies Bathroom

Museum Temporary Exhibition Space

Off-Shutter Concrete

Off-Shutter Concrete

20mm Laminated Structura Safety Glass Balustrade.

Fixing as per Detai

D03

Epoxy

Polished Concrete

Polished Concrete

Slip Joint

Service Duct

220mm FBS Masonry Wall with 2 layer 250 micron BRICKGRIP DPC Slip Joint

Family Bathroom Off-Shutter Concrete

340mm R/C slab. as per Eng. design & spec.

Ladies Bathroom Off-Shutter Concrete

4505mm Powder coate win (PROA ThermoEco curtain wall 20mm safety g

D03

Epoxy

Polished Concrete

PAVING NOTE: 110mm x 110mm x 50mm COROBRICK Onyx Cobble Paver on min 40mm binding sand layer with 350 Micron DPM on 100mm compacted and crushed recycled concrete stones. Max 5mm Dia

Scale 1:100

Figure 1 31 - Contrac t Documentation Sec tion - by A uthor

Underground Parking

Storage Off-Shutter Concrete

Course permeable soil Selected and graded backfill well compacted in layers of 150mm 100mm KAYPIPE Geopipe M100 Installed to manufacturers spec.

1470mm x 340mm R/C Pad Foundation as per Eng. design & spec.

Off-Shutter Concrete

Floated Screed

340mm R/C Floor slab as per Eng. design & spec.

375 micron GUNDLE USB green 3 layer DPM. Installed to manufacturers spec.

85mm DPM Protection Concrete base 1360mm x 340mm R/C Pad Foundation as per Eng. design & spec.

Floated Screed

14 260

A

ECOPHON Solo A 1200mm x 3000m

Off-Shutter Concrete

340mm R/C slab. as per Eng. design & spec.

340mm x 1100mm R/C column.

Final sizing as per Eng.

Earth Soil Mix R/C Retaining wall as per Eng. design & spec.

220mm double leaf masonry wall DERBIGUM CG Double layer combination (One layer CG3 & One layer CG4) waterproofing system fixed to manufacturers spec.

Clean sand binding layer

ECOPHON Solo A 1200mm x 3000m

Off-Shutter Concrete

Walkway to fall 1:100 away from building

Section A

133

Polished Concrete

NGL

94 135

RETAINING WALL WATERPROOFING NOTE: DERBIGUM CG Double layer combination (One layer CG3 & One layer CG4) waterproofing system with 100mm side and 150mm end overlaps, sealed to primed reinforced concrete surfaces by means of torch fusion with DELTA MS 8 dimpled high density polyethylene protection and drainage membrane with a polyester GEOTEXTILE layer to wrap around 100mm KAYPIPE Geopipe M100

D02

Off-Shutter Concrete

Slip Joint

Epoxy 850

Natural Ground Level

100 850

Concert Hall Backstage

340

Ground Floor

220mm FBS Masonry Wall with 2 layer 250 micron BRICKGRIP DPC Slip Joint

Off-Shutter Concrete

2000mm R/C Reflection Pond with SIKA CEMFLEX acrylic waterproofing with CEMFLEX fabric

340mm R/C slab. as per Eng. design & spec.

Off-Shutter Concrete

Slip Joint

Storage & Services

40mm Thick MARLON CLIPFIX 1040 multiwall polycarbonate standing seam architectural system Fixing as per Detail

Ladies Bathroom

e ups

Service Duct

Epoxy

104 250

Polished Concrete

D03

Slip Joint

3 400

R/C Down Stand

D02 340 1 190

First Floor R/C Slab Soffit

106 525

Off-Shutter Concrete

Polished Concrete

Service Duct

Storage & Services

Off-Shutter Concrete

765

Top of Balustrade

Concert Entrance

D03

Epoxy

Storage & Services Purpose Made Timber clad facade connected to ATS Hydraulic DART Actuator fixed to R/C slab

Off-Shutter Concrete

Epoxy

Epoxy

Epoxy

108 755

Family Bathroom

Service Duct

Slip Joint

2 210

R/C Down Stand

109 520

765

R/C Slab Soffit

109 860

Off-Shutter Concrete

Polished Concrete

Epoxy

220mm FBS Masonry Wall with 2 layer 250 micron BRICKGRIP DPC Slip Joint

Off-Shutter Concrete

D02

Second Floor

Ladies Bathroom

D03

Slip Joint 800mm x 715mm x 75mm Purpose Made Meranti bench treated with exterior timber sealant fixed to R/C upstand using 75mm x 75mm x 5mm Galvanised equal angle

113 260 3 400

R/C Down Stand

765

R/C Slab Soffit

114 365

340

D02

Third Floor

Polished Concrete 340mm R/C slab. as per Eng. design & spec.

Slip Joint

Storage & Services

117 765

Off-Shutter Concrete

Service Duct

Slip Joint

3 400

R/C Down Stand

118 530

Off-Shutter Concrete

D03

220mm FBS Masonry Wall with 2 layer 250 micron BRICKGRIP DPC Slip Joint Epoxy

765

R/C Slab Soffit

118 870

340

D02

Fourth Floor

Concert Entrance

Slip Joint

Storage & Services

40mm Thick MARLON CLIPFIX 1040 multiwall polycarbonate standing seam architectural system Fixing as per Detail

122 270

Family Bathroom

Epoxy

Slip Joint

3 400

R/C Down Stand

123 375

123 035

765

Fifth Floor R/C Slab Soffit

Off-Shutter Concrete

Polished Concrete

Service Duct

220mm FBS Masonry Wall with 2 layer 250 micron BRICKGRIP DPC Slip Joint

340

D02

Ladies Bathroom

Slip Joint

Storage & Services

800mm x 715mm x 75mm Purpose Made Meranti bench treated with exterior timber sealant fixed to R/C upstand using 75mm x 75mm x 5mm Galvanised equal angle

126 775

Off-Shutter Concrete

D03

Slip Joint

3 400

R/C Down Stand

127 540

Epoxy

765

R/C Slab Soffit

127 880

Family Bathroom

Epoxy

220mm FBS Masonry Wall with 2 layer 250 micron BRICKGRIP DPC Slip Joint

340

D02

Sixth Floor

Polished Concrete 340mm R/C slab. as per Eng. design & spec.

Slip Joint

Storage & Services

131 280

Rooftop Bar Off-Shutter Concrete

Off-Shutter Concrete

Polished Concrete

Service Duct

Slip Joint

3 400

R/C Down Stand

132 045

Epoxy

765

R/C Slab Soffit

132 385

Ladies Bathroom

D03

220mm FBS Masonry Wall with 2 layer 250 micron BRICKGRIP DPC Slip Joint

340

D02

Seventh Floor

Off-Shutter Concrete

340mm R/C slab. as per Eng. design & spec.

Slip Joint

Storage & Services

40mm Thick MARLON CLIPFIX 1040 multiwall polycarbonate standing seam architectural system Fixing as per Detail

135 785

Family Bathroom

Epoxy

Slip Joint

3 400

R/C Down Stand

136 550

Epoxy

765

R/C Slab Soffit

136 890

Service Duct

220mm FBS Masonry Wall with 2 layer 250 micron BRICKGRIP DPC Slip Joint

340

D02

Eighth Floor

17 670

Slip Joint

1 665

141 055

04

3 400

R/C Down Stand

141 395

2 500

R/C Slab Soffit

765

Roof

17 670

B

765

340

04

Concert Entrance

Polished Concrete

136 550

Eighth Floor R/C Slab Soffit R/C Down Stand

765

132 385

132 045 131 280

Seventh Floor R/C Slab Soffit R/C Down Stand

127 880

127 540 126 775

Sixth Floor R/C Slab Soffit R/C Down Stand

765

GLASS BALUSTRADE NOTE: Continuous Aluminium glass clamping system fixed to the 340mm R/C slab using M12 Galvanised Mild Steel Bolts at 500mm Centers.

20mm Laminated Structural Safety Glass.

Thickness to suit loading requirements .

As per Eng. design & spec.

20mm Laminated Structural Safety Glass set in ARBOCAL to a minimum depth of 80mm then pointed with silicon sealant.

Fixing as per Detail

123 375

123 035 122 270

Fifth Floor R/C Slab Soffit R/C Down Stand

3 400

1000mm x 715mm x 75mm Purpose Made Meranti bench treated with exterior timber sealant fixed to R/C upstand using 75mm x 75mm x 5mm Galvanised equal angle

340

3 400

Polished Concrete

POLYCARBONATE WALL NOTE: Continuous Aluminium Polycarbonate clamping system fixed to the 340mm R/C slab using M12 Galvanised Mild Steel Bolts at 500mm Centers.

40mm Thick MARLON CLIPFIX 1040 multiwall polycarbonate standing seam architectural system.

MARLON CLIPFIX 1040 multiwall polycarbonate standing seam architectural system set in ARBOCAL to a minimum depth of 80mm then pointed with silicon sealant.

Fixing as per Detail

340

3 400

Purpose Made Timber clad facade connected to ATS Hydraulic DART Actuator fixed to R/C slab

COPHON Solo Acoustic Panel 200mm x 3000mm x 50mm

Detail 01 6/6

765

117 765

765

340

000mm x 715mm x 75mm Purpose Made Meranti bench treated with exterior timber sealant fixed to R/C stand using 75mm x 75mm x 5mm Galvanised equal angle

Acoustic Panel mm x 50mm

118 870

118 530

Fourth Floor R/C Slab Soffit R/C Down Stand

3 400

ACOUSTIC CEILING NOTE: 1200mm x 3000mm x 50mm ECOPHON SOLO ACOUSTIC PANEL Connected using adjustable wire hanger supplied with panel. 4x min per panel. Wire hanger secured to the soffit using ABE Chemical Anchor

340

Purpose Made Timber clad facade connected to ATS Hydraulic DART Actuator fixed to R/C slab

1000mm x 715mm x 75mm Purpose Made Meranti bench treated with exterior timber sealant fixed to R/C upstand using 75mm x 75mm x 5mm Galvanised equal angle

Acoustic Panel mm x 50mm

114 365

114 025 113 260

Third Floor R/C Slab Soffit R/C Down Stand

3 400

40mm Thick MARLON CLIPFIX 1040 multiwall polycarbonate standing seam architectural system Fixing as per Detail Purpose Made Timber clad facade connected to ATS Hydraulic DART Actuator fixed to R/C slab

765

340

000mm x 715mm x 75mm Purpose Made Meranti bench treated with exterior timber sealant fixed to R/C stand using 75mm x 75mm x 5mm Galvanised equal angle

109 860

109 520

Second Floor R/C Slab Soffit R/C Down Stand

2 210

2 975

108 755

106 525 340 1 190

Purpose Made Timber clad facade connected to ATS Hydraulic DART Actuator fixed to R/C slab

765

1 105

715

1 190

1 050

al . il

Museum Foyer

105 355

105 015 104 250

Top of Balustrade First Floor R/C Slab Soffit R/C Down Stand

3 400

Off-Shutter Concrete

3 400

100 850

340

850

Polished Concrete

340mm R/C slab. as per Eng. design & spec.

340mm x 1100mm R/C column.

Final sizing as per Eng.

Underground Parking 340mm R/C Floor slab as per Eng. design & spec.

375 micron GUNDLE USB green 3 layer DPM. Installed to manufacturers spec.

85mm DPM Protection Concrete base 1360mm x 340mm R/C Pad Foundation as per Eng. design & spec.

Off-Shutter Concrete

100 000

99 660

Ground Floor Natural Ground Level R/C Slab Soffit

5 525

m x 1000mm ed aluminium ndow frames ALUMINIUM oWall PG50) l system with glass window panels

R/C Down Stand

3 400

Off-Shutter Concrete 1000mm x 715mm x 75mm Purpose Made Meranti bench treated with exterior timber sealant fixed to R/C upstand using 75mm x 75mm x 5mm Galvanised equal angle

340

Concert Entrance

Off-Shutter Concrete

136 890

135 785

765

DECKING NOTE: 115mm x 20mm thick Bedson Timbers Brown Mahagony Slip Resistant solid decking planks. On 170mm x 60mm C-Section Mild Steel Channels.

On 50mm Structural screed with fall of 1:80 to full bore outlets.

Polished Concrete

8 670

Concert Hall

Area of Study

Roof R/C Slab Soffit

3 400 340

PARAPET WALL NOTE: All parapet walls to be waterproofed with VELVOLOR polyurea/polyurethane sprayon waterproofing by approved applicator

Off-Shutter Concrete 1000mm x 715mm x 75mm Purpose Made Meranti bench treated with exterior timber sealant fixed to R/C upstand using 75mm x 75mm x 5mm Galvanised equal angle

141 055 140 290

765

715

1 050

CONCRETE ROOF NOTE: 20mm nominal granite gravel crusher laid to a thickness of 30mm on BIDIM geotextile membrane, on 40mm thick Isoboard insulation with tongue and groove profile on VELVOLOR polyurea/ polyurethane spray-on waterproofing by approved applicator, on 340mm thick concrete slab with a min 30mm thick 40MPA wood trowelled screed with min fall 1:80 to outlet as indicated.

141 395

Department of Architecture M.Arch Master of Architecture Floated Screed

94 135

Basement

5

CONTRACT DOCUMENTATION Name

Kyle Peinke Student Number

215639983 Project Description

C

ECHO A Museum of South African Music

Drawing Number & Description

Section A - A Date Out

Date In

Sheet Number

05/08/2021

27/09/2021

05 /06

Scale

1:100

134

Chapter 7 Conc lusion

Figure 1 32 - Order of Sounds - by A uthor

135

Conclusion Chapter 7

In o rde r to c o me to a c o nc l usion , on e n eeds to be abl e to an s wer th e ques t ion s . O n c e t h e q ue s t io n s h ave been answered, an end produc t or res ult c a n be de r i ve d.

1. W hat d e sign e l e m e nt s and prin cipal s are fo u n d in So u th A f ric an mu sic?

B a s e d o n M i r i a m M a ke b a’s Pata Pata, the design principles explored within t hi s t h e si s a re : H a r m o n y & Propor tion, Rhy thm, and Form. There is enough i n fo r m a t io n a n d a n a l y si s to note these three principles and element s have e n o ug h d ep t h a n d v a l ue wi t hin them to be able to ba se an arc hitec tural id e nt i t y o n.

2. H ow c a n t h o s e d e sig n e l e ments and principals be incorporated into archi t e c t ure?

A s s t a te d i n Cha pte r 4, H ar mo ny & Propo r t io n C a n h e l p c re a te a s c a l e fo r a building by means of mathematic al ratios.

Th e s e ra t io s c a n b e u s e d i n m o re a s pec t s t h a n ju s t openi n gs . O t h er a sp ec t s s uc h a s t he a r t ic ul a t io n of circu l ation path w ays an d fac ade s ys tem s .

R h y t hm O n e w a y music c a n i ns pi re arc hitec tu ral design is th rough a division s ys tem. Spa ce s c a n be broke n u p i n to r h y t h mic di vi sio n s . Thi s r h y t h mic di visio n c a n a l s o b e c a r r ie d ove r into the fac ade of the arc hitec tural piece. By m e a n s o f t h e s p a c i n g o f wi n dows, or textures of the building.

For m I n b o t h m u sic a l a n d a rc hi tec tural form, the identific ation of ba sic unit s a n d t h ei r a r ra n ge m e n t i s c o mmon. The study performed in Pata Pata’s form s e c t io n re s u l te d i n t h e id e n t ific ation of simple unit s that make up the form of t he s o ng.

3. Wi l l t h e a rc hi t e c t u ra l i n t e r ve n t io n cre at e an archit e c t u ral ide n t it y?

At fir st gla nce, the a nswe r wo u l d b e n o. N o t bec a u s e t h ere i s n o u s e exp lo r i ng a rc hi te c t ura l ide nt i t y ba s ed on Sou th Afr ic an m u sic. R ath er bec a u s e t h e re h a s n o t b e e n e n ough researc h done in exploring a larger array o f So u t h A f r ic a n m u sic , w hic h in turn will create an arc hitec tural identity.

4. How d id t he circum s t ance s o f t h e t i m e a ffe c t t h e m u sic t h a t w a s c re a ted ?

B a s e d o n M i r i a m M a ke b a’s Pata Pata. The histor y of that period had a direc t i n fl ue n c e o n t h e m u sic c re a ted. Pata Pata wa s created and s ung to bring joy to l i s te n e r s . To b e t h a t s unshine during a dark time in South Afric a’s hi s to r y.

I n c o n c l u sio n , So u t h A f r ic a n music a s a ba sis for arc hitec tural identity h a s me r i t . So ut h A fr ic a n mu sic is r ic h in s o m an y differen t area s . I f re sea rc he d e no ugh, a fra mewor k c an be devis ed in order to create an imp rove d , we l l - ro u n d e d id e n t i ty. This will then be recognis able a s proudly So u t h A f r ic a n.

136

Figure 1 33 - Sound M ovement - by A uthor

1 37

List of Figures Chapter 7

Fig u re 1 - N o te - by A ut ho r Pa ge - 1 Fig u re 2 - S he e t M usic - by A u th or Pa ge - 3 Fig u re 3 - W ho A re We? - by A u th or Pa ge - 5 Fig u re 4 - So ut h A f r ic a n F l a g - P h oto by Sh au n M ein tjes Pa ge - 7 Fig u re 5 - M i xe d M usic Li ne s - by A u th or Pa ge - 9 Fig u re 6 - Ex pe r i me nt a l M usic Score - by A u th or Pa ge - 1 1 Fig u re 7 - A bs t ra c t M usic Sc o re - by A u th or Pa ge - 1 3 Fig u re 8 - A bs t ra c t M usic N o tes - by A u th or Pa ge - 1 5 Fig u re 9 - Ex pe r i me nt a l M usic Score - by A u th or Pa ge - 1 7 Fig u re 1 0 - Poi nt - by A ut ho r Pa ge - 1 9 Fig u re 1 1 - Li ne - by A ut ho r Pa ge - 1 9 Fig u re 1 2 - Pl a ne - by A ut ho r Pa ge - 2 1 Fig u re 1 3 - Vo l ume - by A ut hor Pa ge - 2 1 Fig u re 1 4 - M e l o dy - by A ut hor Pa ge - 23 Fig u re 1 5 - M usic a l H a r mo ny - by A u th or Pa ge - 2 5 Fig u re 1 6 - R hy t hm E l e me nt - by A u th or Pa ge - 27 Fig u re 1 7 - H a r mo ny & Propo r tion - by A u th or Pa ge - 2 9 Fig u re 1 8 - M usic Sc o re - Pho to by M ar iu s M a s al ar Pa ge - 3 1 Fig u re 1 9 - R hy t hm - by A ut hor Pa ge - 3 3 Fig u re 2 0 - St re e t Ja z z - Pho to by Leo M oko Pa ge - 3 5

138

Figure 1 34 - Lines and Dot s - by A uthor

1 39

Fig u re 2 1 - E no c h So nto nga - P h oto s u ppl ied by City Pres s Pa ge - 37 Fig u re 2 2 - Sop hi a tow n - P h o to by Bettmann Arc hive Pa ge - 39 Fig u re 2 3 - H ugh M a s e ke l a - P h oto by J udith Bu r row s Pa ge - 4 1 Fig u re 24 - M i r i a m M a ke ba - Ph oto by Fran s Sc h el l eken s Pa ge - 43 Fig u re 2 5 - La dy s mi t h Bl a c k M am bazo - P h oto by Rob Ver h or s t Pa ge - 4 5 Fig u re 2 6 - Bre nda Fa s sie - Photo by Steve Gordon Pa ge - 47 Fig u re 27 - Fi nge r Pr i nt - by A u th or Pa ge - 49 Fig u re 2 8 - M usic a l St r uc t ure - by A u th or Pa ge - 5 1 Fig u re 2 9 - M usic a l St r uc t ure - by A u th or Pa ge - 53 Fig u re 3 0 - M usic E l e me nt s - by A u th or Pa ge - 5 5 Fig u re 3 1 - M usic i a ns - Pho to by M pu m el el o M acu Pa ge - 57 Fig u re 32 - Pe opl e - by A ut ho r Pa ge - 59 Fig u re 3 3 - M i r i a m M a ke b a - Pata Pata - Album Ar twork - Photo by M egan La c obini de Fa zio Pa ge - 6 1 Fig u re 3 4 - M i r i a m M a ke ba - Pata Pata M u sic s core - by Al n a Smit Pa ge - 6 3 Fig u re 3 5 - H a r mo ny & Propor tion An al ysis - by A u th or Pa ge - 6 5 Fig u re 3 6 - R hy t hm A na l y si s - by A u th or Pa ge - 6 7 Fig u re 37 - Fo r m A na l y si s - by A u th or Pa ge - 69 Fig u re 3 8 - D e sign Co nc ept An al ysis - by A u th or Pa ge - 7 1 Fig u re 39 - N ew tow n - by A uth or Pa ge - 7 3 Fig u re 4 0 - N ew tow n - M a p - Far - by A u th or Pa ge - 7 5 Fig u re 4 1 - N ew tow n - M a p - Cl os e - by A u th or Pa ge - 7 7 Fig u re 42 - N ew tow n - Pe r s pe c tive - Far - by A u th or Pa ge - 7 9 Fig u re 43 - N ew tow n - Pe r s pe c tive - Cl os e - by A u th or Pa ge - 8 1

1 40

Figure 1 35 - Minimalist Notation 01 - by A uthor

141

Fig u re 4 4 - N ew tow n - Pe r s pec tive - M appin g - by A u th or Pa ge - 8 3 Fig u re 4 5 - Pho to M a p 1 - Pho to by A u th or Pa ge - 8 3 Fig u re 4 6 - M i r i a m M a ke ba Street - P h oto by A u th or Pa ge - 8 4 Fig u re 47 - Sc i Bo no D i s c ove r y Cen tre - P h oto by A u th or Pa ge - 8 4 Fig u re 4 8 - H o us e o f Be e r - Ph oto by A u th or Pa ge - 8 4 Fig u re 49 - Tu r bi n e H a l l - P h oto by A uthor Pa ge - 8 4 Fig u re 50 - Pho to M a p 2 - Pho to by A u th or Pa ge - 8 5 Fig u re 5 1 - JDA H e a d O ffic e - P h oto by A u th or Pa ge - 8 6 Fig u re 52 - Wo r ke r s M us e um- P h oto by A u th or Pa ge - 8 6 Fig u re 53 - The M a r ke t G a l l e r y - P h oto by A u th or Pa ge - 8 6 Fig u re 54 - M a r y Fi t zge ra l d Squ are- P h oto by A u th or Pa ge - 8 6 Fig u re 5 5 - Pho to M a p 3 - Pho to by A u th or Pa ge - 87 Fig u re 5 6 - JM PD O ffic e - Photo by A u th or Pa ge - 88 Fig u re 57 - G ra phi tt i Wa l l - Photo by A u th or Pa ge - 88 Fig u re 5 8 - N ew tow n Pa r k - P h oto by A u th or Pa ge - 88 Fig u re 59 - O pe n St a nd - Pho to by A u th or Pa ge - 88 Fig u re 60 - Pho to M a p 4 - Pho to by A u th or Pa ge - 89 Fig u re 6 1 - Pa r k i ng- Pho to by A u th or Pa ge - 9 0 Fig u re 62 - D a nc e Fa c to r y- Photo by A u th or Pa ge - 9 0 Fig u re 6 3 - D a nc e Fa c to r y Cl a s s Room s - P h oto by A u th or Pa ge - 9 0 Fig u re 6 4 - Si te - Pho to by A u th or Pa ge - 9 0 Fig u re 6 5 - M a ga z z i no I t a l i a n Ar t - L in k - P h oto by J avier Cal l eja s Pa ge -9 1 Fig u re 66 - M a ga z z i no I t a l i a n Ar t - M u s uem - P h oto by J avier Cal l eja s Pa ge - 9 1

1 42

Figure 1 36 - Minimalist Notation 02 - by A uthor

1 43

Fig u re 6 7 - M a ga z z i no I t a l i a n Ar t - M odel - P h oto by J avier Cal l eja s Pa ge - 9 1 Fig u re 6 8 - M a g a z z i n o I t a l i a n Ar t - Sec tion - Drawing by MQ Arc hitec ture Pa ge - 9 1 Fig u re 69 - M us e um o f Ro c k - Exter ior - P h oto by Os sip van Du iven bode Pa ge - 9 3 Fig u re 70 - M us e um o f Ro c k - E n tran ce - P h oto by Os sip van Du iven bode Pa ge - 9 3 Fig u re 7 1 - M us e um o f Ro c k - I n ter ior - P h oto by Os sip van Du iven bode Pa ge - 9 3 Fig u re 7 2 - M us e um o f Ro c k - Evenin g - P h oto by Os sip van Du iven bode Pa ge - 9 3 Fig u re 7 3 - EC H O - by A ut hor Pa ge - 9 5 Fig u re 74 - Co nf usio n - by A u th or Pa ge - 97 Fig u re 7 5 - Fo o t Pr i nt - by A uth or Pa ge - 9 8 Fig u re 76 - Co nc ept S ke tc h - by A u th or Pa ge - 9 9 Fig u re 7 7 - I nte r na l La yo ut C on cept - by A u th or Pa ge - 1 0 0 Fig u re 78 - Si te Pl a n - by A uth or Pa ge - 1 0 1 Fig u re 7 9 - G ro und F l o o r Pl a n - by A u th or Pa ge - 1 0 2 Fig u re 80 - Fi r s t F l o o r Pl a n - by A u th or Pa ge - 1 03 Fig u re 8 1 - Se c o nd F l o o r Pl a n - by A u th or Pa ge - 1 0 4 Fig u re 82 - Se c t io n - by A ut hor Pa ge - 1 0 5 Fig u re 8 3 - N o r t h E l ev a t io n - by A u th or Pa ge - 1 07 Fig u re 8 4 - We s t E l ev a t io n - by A u th or Pa ge - 1 07 Fig u re 8 5 - Pe r s pe c t i ve 1 - by A u th or Pa ge - 1 09 Fig u re 8 6 - Pe r s pe c t i ve 2 - by A u th or Pa ge - 1 1 1 Fig u re 87 - Fa c a de Pa tte r n - by A u th or Pa ge - 1 1 3 Fig u re 88 - N d e b e l e Tra d i t io nal Pattern - by Ester M ahlangu Pa ge - 1 1 5

144

Figure 1 37 - Minimalist Notation 03 - by A uthor

145

Fig u re 89 - Z ul u Be a d Wo r k - P h oto by Gon eRu ral Pa ge - 1 1 5 Fig u re 9 0 - Xho s a I ns pi re d Patter n - P h oto by David Ros s Pa ge - 1 1 5 Fig u re 9 1 - D i te m a Ts a D i n o ko - by Emmly M a s anabo Pa ge - 1 1 5 Fig u re 92 - Pro c e s s 01 - by A uth or Pa ge - 1 1 6 Fig u re 9 3 - Pro c e s s 02 - by A u th or Pa ge - 1 1 6 Fig u re 9 4 - Pro c e s s 03 - by A u th or Pa ge - 1 1 6 Fig u re 9 5 - Pro c e s s 04 - by A u th or Pa ge - 1 1 6 Fig u re 9 6 - Pro c e s s 0 5 - by A u th or Pa ge - 1 1 7 Fig u re 97 - Pro c e s s 0 6 - by A u th or Pa ge - 1 1 7 Fig u re 9 8 - Pro c e s s 07 - by A u th or Pa ge - 1 1 7 Fig u re 9 9 - Pro c e s s 08 - by A u th or Pa ge - 1 1 7 Fig u re 1 0 0 - Pro c e s s 09 - by A u th or Pa ge - 1 1 8 Fig u re 1 0 1 - Pro c e s s 1 0 - by A uth or Pa ge - 1 1 8 Fig u re 1 0 2 - Pro c e s s 11 - by A u th or Pa ge - 1 1 8 Fig u re 1 03 - Pro c e s s 12 - by A u th or Pa ge - 1 1 8 Fig u re 1 0 4 - Pro c e s s 1 3 - by A u th or Pa ge - 1 1 8 Fig u re 1 0 5 - Pro c e s s 14 - by A u th or Pa ge - 1 1 8 Fig u re 1 0 6 - Pro c e s s 1 5 - by A u th or Pa ge - 1 1 8 Fig u re 1 07 - Pro c e s s 1 6 - by A u th or Pa ge - 1 1 8 Fig u re 1 0 8 - Pro c e s s 17 - by A u th or Pa ge - 1 1 9 Fig u re 1 09 - Pro c e s s 18 - by A u th or Pa ge - 1 1 9 Fig u re 1 1 0 - Pro c e s s 19 - by A uth or Pa ge - 1 1 9

1 46

Figure 1 38 - Organic Str uc ture - by A uthor

1 47

Fig u re 1 1 1 - Pro c e s s 2 0 - by A uth or Pa ge - 1 1 9 Fig u re 1 1 2 - Pro c e s s 2 1 - by A u th or Pa ge - 1 1 9 Fig u re 1 1 3 - Pro c e s s 2 2 - by A u th or Pa ge - 1 1 9 Fig u re 1 1 4 - Pro c e s s 23 - by A u th or Pa ge - 1 1 9 Fig u re 1 1 5 - Pro c e s s 24 - by A u th or Pa ge - 1 1 9 Fig u re 1 1 6 - Pro c e s s 2 5 - by A u th or Pa ge - 1 2 0 Fig u re 1 1 7 - Pro c e s s 2 6 - by A u th or Pa ge - 1 2 0 Fig u re 1 1 8 - Pro c e s s 27 - by A u th or Pa ge - 1 2 0 Fig u re 1 1 9 - Pro c e s s 2 8 - by A u th or Pa ge - 1 2 0 Fig u re 1 2 0 - Pro c e s s 2 9 - by A u th or Pa ge - 1 2 0 Fig u re 1 2 1 - Pro c e s s 3 0 - by A u th or Pa ge - 1 2 0 Fig u re 1 2 2 - Pro c e s s 3 1 - by A u th or Pa ge - 1 2 0 Fig u re 1 2 3 - Pro c e s s 32 - by A u th or Pa ge - 1 2 0 Fig u re 1 24 - D e t a i l - by A ut hor Pa ge - 1 2 1 Fig u re 1 2 5 - Cl a ddi ng - by A uth or Pa ge - 1 23 Fig u re 1 2 6 - D e t a i l M o de l 01 - by A u th or Pa ge - 1 24 Fig u re 1 27 - D e t a i l M o de l 02 - by A u th or Pa ge - 1 24 Fig u re 1 2 8 - Co nt ra c t D o c umen tation Site P l an - by A u th or Pa ge - 1 2 5 Fig u re 1 2 9 - Co nt ra c t D o c umen tation Drawin g Diagram 0 1 - by A u th or Pa ge - 1 27 Fig u re 1 3 0 - Co nt ra c t D o c umen tation Drawin g Diagram 0 2 - by A u th or Pa ge - 1 2 9 Fig u re 1 3 1 - Co nt ra c t D o c ume n tation Grou n d Fl oor P l an - by A u th or Pa ge - 1 3 1 Fig u re 1 32 - Co nt ra c t D o c ume n tation Sec tion - by A u th or Pa ge - 1 3 3 Fig u re 1 3 3 - O rde r o f So unds - by A u th or Pa ge - 1 3 5

1 48

Figure 1 39 - Experimental Music - by A uthor

1 49

Fig u re 1 3 4 - So und M ove me nt - by A u th or Pa ge - 1 37 Fig u re 1 3 5 - Li ne s a nd D o t s - by A u th or Pa ge - 1 39 Fig u re 1 3 6 - M i ni ma l i s t N o t a t ion 0 1 - by A u th or Pa ge - 1 4 1 Fig u re 1 37 - M i ni ma l i s t N o t a t ion 0 2 - by A u th or Pa ge - 1 43 Fig u re 1 3 8 - M i ni ma l i s t N o t a t ion 03 - by A u th or Pa ge - 1 4 5 Fig u re 1 39 - O rga nic St r uc t ure- by A u th or Pa ge - 1 47 Fig u re 1 4 0 - Ex pe r i me nt a l M usic - by A u th or Pa ge - 1 49 Fig u re 1 4 1 - I ns t r ume nt s - by A u th or Pa ge - 1 5 1 Fig u re 1 42 - S ha pe - by A ut hor Pa ge - 1 53 Fig u re 1 43 - M usic fi n - by A ut h or Pa ge - 1 5 5 Fig u re 1 4 4 - EC H O Fi n - by A u th or Pa ge - 1 57

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Figure 140 - Instr ument s - by A uthor

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Figure 14 1 - Shape - by A uthor

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