POSTHUMUS, K - 214768747

ECHOING THE IDENTITY

THE DESIGN OF A COMMUNITY-CRAFTS CENTRE TO REGENERATE A DERELICT URBAN SPACE IN THE PRETORIA CBD Kyle Posthumus | Department of Architecture and Industrial Design | Tshwane University of Technology

This thesis would not have been possible without the inspiration and support of several inspiring people; my thanks and appreciation go out to all of them for being a part of this journey and making this mini-thesis a reality.

Dr. Emmanuel Nkambule and Mr. Pieter Greyvensteyn, my supervisors, deserve my heartfelt gratitude. Without their passion, encouragement, support, and unwavering optimism, this thesis would never have achieved its full potential, let alone been completed.

I will be eternally grateful to my friends and co-workers who also went through this ordeal. Thank you for your encouragement and companionship and for helping to foster a healthy working atmosphere.

A special thanks to my fiancé, Natasja Bos, for the amazing days we have had together, for the motivation, and for giving me the soul and stamina to finish my thesis. Your encouragement has been enormous motivation for me in this pursuit.

My heartfelt thanks to my family for their unending, unconditional love, encouragement, and support. I will be eternally grateful to my parents, Tracey and Jacques, for providing me with the opportunities and experiences that have shaped who I am. They unselfishly inspired me to explore and realize my full potential on this adventure, which would not have been possible without them.

Finally, I would like to acknowledge and thank TUT for providing me with financial support to complete my Master’s in Architecture, as well as their ongoing support on this path.

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ECHOING THE IDENTITY: THE DESIGN OF A COMMUNITY CRAFTS CENTRE TO REGENERATE A DERELICT URBAN SPACE IN THE PRETORIA CBD. Submitted by Kyle Posthumus Submitted in partial fulfilment to the requirements for the degree Master of Architecture Professional At the Department of Architecture and Industrial Design In the FACULTY OF ENGINEERING AND THE BUILT ENVIRONMENT ii

At the TSHWANE UNIVERSITY OF TECHNOLOGY Supervisor Dr. M.E.N Nkambule Co- Supervisor Mr. P. Greyvensteyn 2021

PRETORIA

DECLARATION I, Kyle Posthumus, hereby declare that this mini-dissertation, which I hereby submit for the degree of Master of Architecture Professional (structured) at the Tshwane University of Technology, is my own, original work, and it has not been submitted by me or any other person (s) for a degree or any other tertiary institution.

I understand what plagiarism entails and I am aware of the Tshwane University of Technology’s policy in this regard. Where someone else’s work was used, it was acknowledged, and reference was made according to TUT requirements.

Furthermore, I declare that this mini dissertation is my own work.

I also declare that this project will rely on secondary sources and knowledge available in the public domain. Observations based on data collection will not infringe on vulnerable groups or individuals

Kyle Posthumus

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GLOSSARY OF TERMS

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Active (urban)(fabric)

Democratic (spaces)

The terms “active” and “active urban fabric” refer to the physical textures of an urban environment, where texture is defined as the “life” of the fabric. “Life” in this sense means buildings, streetscapes, roads, infrastructure, shops, workplaces and opportunities provided to the public.

“Democratic” refers to the use of amenities for the public to engage with, offering multifunctional spaces that members of the public can decide to use and that are open to all platforms (variety).

Abandoned

“Disconnected” refers to complete abandonment at all levels of engagement of a particular place, where the place has no engagement to the surrounding context and where it becomes isolated from the public.

Abandoned or abandon building(s) relates to an image of a structure that has become unoccupied or is in a state of grave disrepair with little or no action from the public.

Atmosphere / Atmospheric “Atmosphere” refers to an action that sparks the sensorial qualities that living things can experience or evokes emotions in the conscious mind.

Derelict (urban)(spaces) “Derelict” refers to a state of being in poor condition as a result of misuse and neglect. However, it does not imply that there is no interaction or active engagement from the public.

Disconnected

Engaging Architecture This refers to the structure or space that creates a relationship or inclusive space between the user and the architecture and the programme offered in the structure or space.

Genius Loci Denoting the “spirit or essence of a place”, “genius loci” refers to any quality that defines the spirit of the place (Porter, 2004:88).

GLOSSARY OF TERMS Growth

Ruins

“Growth” refers to the process of increasing size.

In the context of this mini dissertation, “growth” refers to individual growth at a skill-based level, economic growth, cultural growth and social growth that can impact the surrounding context.

The term “ruin” refers to the physical decay, selfdestruction or disintegration of something such as a structure visible to one’s eye that creates an empty vessel. A ruin also conveys a romantic idea of nature and the inevitable decay of the works of humankind (Ots, 2011:182).

Isolation This term refers to an entity of separation from the rest within any context.

Palimpsest Architecture uses the term “palimpsest” as a metaphor to describe the partial erasing and constant overworking of sites and buildings over time (Porter, 2004:135). The process involves respecting a structure’s previous layers.

Regenerate “Regenerate” refers to the process of revitalising an area or space that can attract public investment and improve the living quality of the environment.

Programme Activities or functions of the building or space.

Social Sustainability Socially sustainable architecture focuses on designing places that are compatible with human culture, habits and procedures for the longest time feasible (Kefayati & Moztarzadeh, 2015:46).

Tactility / Tactile “Tactility” or “tactile” refers to the perception of architectural form through touch and, in the face of digital simulation, restitution of evidence of its tangibility in representation (Porter, 2004:186).

Tabula Rasa Architects use the word to describe the site of a demolished building, which they perceive as an opportunity to start over with a new, better construction.

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SUMMARY ADAPTIVE REUSE A COMMUNITY-CRAFTS CENTRE TO REGENERATE A DERELICT URBAN SPACE

BEREA PARK Lilian Ngoyi Street and Rhodes Avenue Pretoria - South Africa vi

25°45’26.75 S 28°11”40.25 E Client: National Heritage Council of South Africa (NHC)

Department of Architecture and Industrial Design Tshwane University of Technology South Africa 2021

ABSTRACT

Urban redevelopment programmes and ongoing economic demand have resulted in abandoned or neglected derelict urban places. Regenerating these places may give them a new identity that may deliver social or economic advantages.

This study selected Berea Park, located south of the Tshwane municipality central business district, to investigate how the surrounding community could use an architectural programme to reconnect this derelict urban space with the active urban network.

A community crafts centre was designed to echo the previous site’s functions of learning, creation and recreation.

The research used reductionism as a methodology to allow an understanding of the core elements and create a new whole critically. Precedent studies and site analysis helped to identify strategies for the regeneration of derelict spaces.

This evaluation demonstrates how architecture can engage to reconnect derelict urban spaces to an active urban fabric while preserving the site’s history and memory, thus contributing to the growth of individuals and the city.

Keywords: Active, Creation, Derelict Space, Disconnection, Engage, Identity

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TABLE OF CONTENTS CHAPTER

CHAPTER

PREFACE

CHAPTER

CHAPTER

ONE

TWO

THREE

Problem Statement

Site Context

Theory

Acknowledgements

i

Introduction

1

Introduction

15

Introduction

51

Report

ii

1.1 Context Background

3

2.1 Location

19

3.1 Literature review

53

Declaration

iii

Glossary

iv

Summary

vi

Abstract

vii

1.2 Research Problem

6

• 1.2.1 General issue: Incorporating the old with the new • 1.2.2 Urban issue • 1.2.3 Architectural Opportunity

1.3 Intentions

9

• 1.3.1 Theoretical Approach and Objective

1.4 Statements • • • •

1.4.1 Main Research questions 1.4.2 Sub research questions 1.4.3 Site intentions 1.4.4 Research methodology

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2.2 Site selection

20

• 2.2.1 Site criteria • 2.2.2 Delimitations

2.3 Urban analysis

23

• 2.3.1 Urban vision • 2.3.2 Site and context • 2.3.3 Context analysis

2.4 Site history

35

• 2.4.1 Pretoria development

2.5 Site analysis

38

• 3.1.1 Introduction • 3.1.2 Importance of derelict spaces • 3.1.3 Engaging architecture as social sustainability • 3.1.4 Identity of places • 3.1.5 Conclusion of literature review

3.2 Case studies • • • •

• 2.5.1 General site analysis • 2.5.2 Analysis of existing structures • 2.5.3 Materials on site

3.3 Ruins

2.6 Site possibilities

3.4 Conclusion

50

58

3.2.1 Introduction 3.2.2 Adaptive reuse 3.2.3 Spirit of place 3.2.4 Conclusion

65

• Importance of ruins

67

TABLE OF CONTENTS CHAPTER

CHAPTER

FOUR

CHAPTER

FIVE

Theory Precedents

CHAPTER

SIX

SEVEN

Client and Programme Design Development

Introduction

69

Introduction

84

Introduction

100

4.1 Precedent studies

72

5.1 Client

86

6.1 Concept

102

87

• 6.1.1 Concept and generator • 6.1.2 Concept development

• • • • •

4.1.1 Ruins 4.1.2 Ruins 4.1.3 Adaptive reuse 4.1.4 Social sustainability 4.1.5 Programmatic

4.2 Conclusion 4.3 Summary

5.2 Programme • • • •

82 83

5.2.1 Brief 5.2.2 Community crafts 5.2.3 Accommodation list 5.2.4 Conclusion: why a community crafts centre?

5.3 Ceramic and clay • 5.3.1 Introduction to ceramic materiality in Africa • 5.3.2 Ceramic process (wet) • 5.3.3 Process flow

6.2 Design strategy

104

• 6.2.1 Primary principles

6.3 Design development 92

• • • •

6.3.1 Concept approach 6.3.2 Urban scale 6.3.3 Site scale 6.3.4 Space and programme scale • 6.3.5 Design iterations and outcomes

105

Design Resolution Introduction

130

TABLE OF CONTENTS CHAPTER

CHAPTER

CHAPTER

EIGHT

NINE

TEN

Technical Resolution

Conclusion

Appendix

Introduction

154 Conclusion

8.1 Specifications

156

• 8.1.1Wall screen experiment

8.2 Contract documentation 162 • 8.2.1Technification of iteration 4

171

Introduction

172

10.1 Images

174

• 10.1.1Images of Berea Park in 2021

10.2 References

176

10.3 List of figures

181

INTRODUCTION

The first chapter presents a comprehensive summary of the existing situation, along with outlines of the research problems that are the focus of this study. The chapter examines the challenges surrounding derelict sites and describes how they come to be. The aims and research questions are presented in terms of possible strategies to revitalise spaces that are detached from the active urban fabric. The theoretical foundation of

CHAPTER

1

ONE PROBLEM STATEMENT the project is also examined, with the inquiry centred on creating a programme that reflects the selected site’s past historical strata. Furthermore, the research methodology procedures are explained, which include data collection, interpretation and evaluation.

1.1 CONTEXT BACKGROUND

1.2 RESEARCH PROBLEMS

1.3 INTENTIONS

1.4 STATEMENTS 2

1.2.1 General issue: Incorporating the old with the new

1.3.1Theoritical approach and objective

1.4.1 Research questions 1.4.2 Sub questions 1.4.3 Site Intentions

1.2.2 Urban issue 1.2.3 Architectural opportunity

1.4.4 Research methodology 1.4.5 Reductionism

1.1 CONTEXT BACKGROUND

The urban fabric of cities and manufacturing industries has been and may continue to become disorganised and isolated in the twenty-first century owing to urban renewal policies and constant economic demand, which result in socially and economically inefficient or derelict spaces. There has been a considerable rise in the number of unoccupied and purposeless areas around the world (Abd El Gawad, Al-Hagla & Nassar, 2019).

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Processing plants, theatres, parks and other constructed sites are fundamentally distinct from structures outside of a city or urban fabric in terms of their design, history and interaction over time. These derelict urban spaces contain reminders and memories of past structure, not only the built form but also the function or spirit of the place as a connection to the larger surrounding context, perhaps as a place of economic gain, production, learning, creation and recreation. Neglecting these principles results in lost memories or in functions that may become disconnected.

Looking at these places or spaces from a contemporary perspective, some may perceive them as the “poor” and “impure” of society (Biddau, Marotta & Sanna, 2020).

Fig 0: Abandoned places become disconnected from the active urban fabric. (By author, 2021)

Abandoned places, however, have significance and progressively people are discovering the value of derelict urban spaces. A good example is the 012 Central Precinct, in the centre of Tshwane’s central business district (CBD). This site was formerly abandoned but has since matured into a prominent hosting and practical scene, stimulating further development in reclaiming derelict urban spaces and giving them the same value and importance as current spaces.

This current trend of using abandoned spaces to accommodate activities emphasises the value of derelict spaces and how their re-purposing may benefit the neighbourhoods and communities in which they are located by acting as catalysts for innovation. These areas have become cultural hotspots, where people can congregate, interact and see the city in which they are located through a new lens.

In the twenty-first century, policymakers, urban planners and property developers often disregard derelict spaces and their potential and importance because of economic demands.

Restoration, redevelopment and sometimes demolition of buildings, parks and spaces are at the forefront of economic dominance. Designers, architects and

activists have the ability to use other solutions that influence an individual’s values. Regenerating derelict buildings or spaces could transform the narrative of policymakers and others to re-evaluate the role that neglected spaces play in society. The negative impact of derelict buildings or spaces creates a “stigma” as specific areas become associated with crime and social hardship because of the number of derelict buildings and spaces they contain (Anderson & Hamilton, 2019). Transforming neglected spaces thus has the potential to benefit the surrounding context socially and economically.

Architects, landscape planners and developers have spent decades working to save historic structures and spaces. Old places offer a gateway to the past as places where people who came before stayed, breathed and touched. Both locals and tourists experience a sense of belonging to historical places.

Adaptive reuse, among many other architectural solutions, is a process that has been used in the architectural discipline for a while. It could be described as an approach used to re-purpose old buildings to provide a strong sense of culture. Typically, it constitutes using the old buildings’ shells as pillars on which to create a new programme or function to sustain the

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old building and provide social or economic benefits to the surrounding context. However, in most cases, the identity of the space or site becomes lost.

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There is no doubt that adaptive reuse and other solutions have played an essential role in preserving structures and spaces. However, in some cases, implementing a new programme may disconnect the original identity or history of the site or space. New programmes introduced with adaptive reuse are often justified on the ground that the previous programme has become obsolete.

Some may argue that the original form and skeleton express the previous identity, but identity is more than a tangible object or sense.

Hayden (1995) describes a unique relationship between identity, memory and place. She states that: “identity is intimately tied to memory: both our memories (where we have come from and where we have dwelt) and the collective or social memories interconnected with the histories of our families, neighbours, fellow workers, and ethnic communities…urban landscapes are storehouses for these social memories, because natural features such as hills or harbours, as well as streets, buildings, and patterns of settlement, frame the lives of many people and often outlast many lifetimes” (Hayden, 1995:226).

Thus , rather than considering other solutions for preservation to be wrong or unsuccessful, the distinction between Hayden (1995) and the other solutions is that there is a gap between the identity of the original site and new programme. The challenge may be to regenerate the derelict landscapes with the identity of the space as an active solution to reconnect the site back to the urban fabric.

This approach may be sensitive and demonstrate that, even if a building, place or space has been neglected, a new programme that is unrelated to the identity is not always the solution. Instead, it is important to consider how a new programme that incorporates the history and identity of the space may be used as a tool for regeneration.

1.2 RESEARCH PROBLEMS

1.2.1 General issue: Incorporating the old with the new Adaptive reuse plays a vital role in preserving and contributing growth to old historical structures or derelict spaces. However, there is a disconnected conversation between the identity of the old structure (function and programme) and the atmosphere that a new programme evokes when the historical layers have been ignored or misinterpreted.

This study aims to establish a fundamental understanding of the current lens of adaptive reuse to create an alternative architectural lens that reflects the past functions of historical buildings as a design generator for a new programme that preserves the old and offers new social, economic and cultural values.

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The study also investigates atmospheric architectural elements as an approach to spatial design functionality that may enhance the genius loci of old structures and pave a road to one’s linked to identity.

The adaptive reuse approach may place the identity of the historical building and atmospheric elements in a dialogue that reflects new approaches to social sustainability that can be adapted and formed for future alterations.

Fig 1: Creating a new identity with historical layers. (By author, 2021)

1.2.2 Urban issue To understand the urban issue that a derelict space represents in the surrounding context, it is necessary first to distinguish between a disconnected site and a derelict site.

The theme of the regeneration of a disconnected site is explored in this study. In this case, a disconnected site is defined as the result of complete abandonment, with no human activity.

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A derelict space can be described as an unmaintained, run-down, or neglected built environment. A derelict site does not always imply a disconnected site. Even if derelict sites show some form of neglect, they are frequently active and alive, and contribute to the surrounding context somehow.

The urban issue is that in social or economic terms, derelict and disconnected sites contribute little or nothing to the active urban fabric. Architecturally, the buildings on display serve no purpose and are frequently regarded as dangerous environments.

With such neglect and isolation, such a site eventually loses its identity in the surrounding fabric, especially if the place has already had a positive impact on the area around it in the shape of social and economic

substance.

In this way, these sites become estranged from society, serving no purpose in the surrounding communities or more significant context. As a result, it is critical in the urban aspect to consider how these sites can become active and contribute to their surrounding contexts.

1.2.3 Architectural opportunity Derelict spaces provide an opportunity for architecture, amongst other professions, to regenerate or grow the space back into the urban fabric through an effective reuse programme that can create new growth opportunities for individuals and the city fabric socially, economically and culturally.

Additionally, a programme that focuses on social sustainability enhances the connections between users and the surroundings through reactive and interactive architecture that reflects human interests.

According to Buser and Koch (2014), social sustainability happens when formal and informal processes, institutions, structures and connections actively promote current and future generations’ abilities to establish healthy and liveable communities.

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Furthermore, derelict spaces provide an opportunity for architecture to act as a catalyst for rediscovering past histories and identities, both tangible and intangible, through economic, social, political and cultural circumstances.

Fig 2: Loss of identity in the urban fabric. (By author, 2021)

1.3 INTENTIONS

1.3.1 Theoretical Approach and objective The theoretical approach to the regeneration of a site uncovers the site’s historical layers and functions to investigate and interpret these functions and combine them with the building of a new programme for the site. Attention to existing uses, such as leisure activities or commute routes, is also essential in maintaining existing functions.

This research adopts a theoretical approach in fulfilling its objective of contributing to the development of derelict urban spaces, specifically those that are disconnected from the active urban fabric.

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A further objective of the study is to investigate whether the identity, memory and history of a site can contribute to a new architectural programme in the twenty-first century that may become a catalyst for the growth of the urban fabric and benefit the local community socially and economically, over time as more functions are added in the future.

Examining the connections between engaging architecture and user-oriented functions as a strategy for sustaining identity, users and buildings could provide a guide for succeeding in the reconnection of the derelict site and its programme to the active urban fabric.

Fig 3: Intentions visual sketch. (By author, 2021)

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Fig 4: Exposing historical layers as a regeneration intervention. (By author, 2021)

1.4 STATEMENTS 1.4.1 Main research question

1.4.3 Site Intentions

The main research question that arises from the problem statement and aims is: how would programmaticengaging architecture that is user-orientated connect derelict urban spaces back to the active urban fabric in the Pretoria CBD, and how could a programme be implemented to reflect the site’s identity?

The selected site is Berea Park, a disconnected derelict site located south of the Tshwane CBD entrance. (See Fig. 9 on page 20.) The intentions of this study regarding the design intervention for this site are as follows.

1.4.2 Sub research questions The research question can be broken down into three sub-research questions:

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a) Are there relationships between programmaticengaging architecture and users within a building to enhance a creative experience? b) What measures could be employed on a disconnected site to renew it and reintegrate it into the active urban fabric? c) Can an architectural programme be introduced in the twenty-first century that reflects the site’s identity and could be sustained with time?

a) As only a portion of Berea Park may be used for the design intervention, a master plan will be proposed to indicate the revival of the existing sports field and the proposed new programme for the existing buildings next to the site selected. b) The identity of Berea Park will be the focus of the memories and histories that drive the architectural programme. A small portion of the surrounding context will be analysed simultaneously to enhance the new programme. c) Berea Park in the twenty-first century is predominately used for recreational activity. Thus, only a portion of the entire site may be selected to propose the intervention. d) Berea Park has three neglected buildings. Only one will be selected to be incorporated into the proposed architectural intervention with the selected portion of the site, which will be phase 1. A conceptual and explorative design on the reuse of the remaining existing buildings will be presented as phase 2.

1.4.4 Research methodology This study employs constructivist-epistemological worldviews, where epistemology can be expressed as the theory of how one gains knowledge.

This involved making use of an inductive approach to research, which advocates observations to gain information.

A constructivist worldview argues that multiple realities exist, depending on the observer(s). This worldview provides a dynamic research method for gaining an in-depth understanding of how to regenerate derelict urban spaces to connect them with the active urban fabric. Reductionism, which closely resembles a substratum of constructivism, plays a role as a research method in gaining this understanding by breaking down the “whole” into smaller components, which are then critically understood before creating a “new whole” (Steup & Neta, 2020).

Following the inductive research approach, the datacollection methods used were sampling, secondary data of texts and pictures, mapping, case studies, literature reviews, and interpretation. This approach aided the critical understanding of the site, theory and the surrounding context to be analysed, compared, validated and then interpreted.

The research includes qualitative studies and is based on an analysis of secondary data (Public domain).

The research question formulated for this study (see 1.4.1 above) could be interpreted subjectively, and, thus, a constructivist worldview with a qualitative study method could assist in generating meaning from the data collected.

The study objectives were achieved by interpreting the world’s engagement and understanding the setting by visiting the context and gathering information personally.

The outcome was the qualitative representation of the findings as a series of writings, diagrams, themes and patterns, maps and sketches to highlight the relationship between interesting architecture and derelict urban spaces as a strategy for regeneration. This research methodological approach was used to contribute to new understandings and knowledge to regenerate derelict urban spaces back to the urban fabric.

The secondary data and historical time-lines were then analysed in depth to establish a special cause-andeffect relationship to produce a new architectural programme to sustain the identity and proposed building of the site.

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1.4.5 Reductionism

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Fig 5: Representation of reductionism ,Exploded camera technification, adapted by author 2021, from Speedyspares

“Transformation is the opportunity of doing more and better with what is already existing. The demolishing is a decision of easiness and short term.

It is a waste of many things-a waste of energy, a waste of material, and a waste of history. Moreover, it has a very negative social impact, For us, it is an act of violence.”

(Lacaton,2021)

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“Good architecture is open-open to life, open to enhance the freedom of anyone, where anyone can do what they need to do. It should not be demonstrative or imposing, but it must be something familiar, useful and beautiful, with the ability to quietly support the life that will take place within it.”

(Lacaton,2021)

INTRODUCTION

The second chapter describes how a site was selected for the study, outlining the criteria used for the selection. It then presents an overview of the selected site’s current status. The historical strata of the site are examined in order to determine the planned architectural intervention. Owing to ongoing site development and COVID-19 delimitations, the author was unable to conduct a site visit and the

CHAPTER

15

SITE

TWO CONTEXT

study-collection methodologies involved collecting secondary information about the site. The chapter then provides an urban analysis, with the author’s urban vision for the site aspiring to realise the site’s potential as a catalyst for the growth and sustainability of the urban fabric. The chapter ends with an analysis of the site, which presents the strengths, weaknesses and opportunities for the site, an analysis of the existing ruins on the site and the materials on site.

2.1 LOCATION

2.2 SITE SELECTION

2.3 URBAN ANALYSIS

2.2.1 Site criteria

2.3.1 Urban vision

2.2.2 Delimitations

2.3.2 Site and Context 2.3.3 Context Analysis

2.4 SITE HISTORY 2.4.1 Pretoria development

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2.5 SITE ANALYSIS 17 2.5.1General site analysis 2.5.2 Analysis of Existing Structures 2.5.3 Materials on Site

2.6 SITE POSSIBILITIES

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Fig 6: Perspective site sketch. (By author, 2021)

2.1 LOCATION

Province of Gauteng

South Africa

For the location of the selected site, see Figures 7 and 8.

City of Tshwane

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Fig 7: Context outlines of locality locations. (By author, 2021)

BEREA PARK

Lilian Ngoyi Street and Rhodes Avenue Pretoria - South Africa 25°45’26.75 S 28°11”40.25 E Selected site

Fig 8: Context map. (By author, 2021)

2.2 SITE SELECTION RESIDENTIAL

EXISTING STRUCTURES

UNISA SUNNYSIDE

SITE SELECTION

HUIS POTGIETER

20 lilia

nN

go

yi

pi

St

Perspective of the site chosen with labelled context around.

Fig 9: Perspective view of chosen site and surrounding context from earthsite

A

r

ive

r es

n

so

l Ne

d

an

M

a el

Dr

In selecting a site, prospective sites that indicated some amount of detachment from the urban fabric were investigated. The criteria for choosing the site are described below.

2.2.1 Site criteria a) Disconnected Site

b)

Derelict Structures

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c)

Presence of water

d)

Opportunities for Multifunctional activities

Fig 10: Compilation symbols of site criteria. (By author, 2021)

The first criterion was that the site should be disconnected. A disconnected site would be a site that has been completely abandoned, with no action or participation from the public sector. Using an isolated location would reinforce the need for using the adaptive reuse lens in the design of a new programme inspired by the site.

The existence of dilapidated structures on the property was the second criterion. Such structures would provide an opportunity to use adaptive reuse principles respecting the palimpsest of the structures. These structures would also provide an architectural response to recycling. The old structures could also be included in the historical strata that would drive the new architectural scheme.

The presence of water on the site or nearby was the third criterion as this would provide an opportunity to use the material for the new programme recreationally or mechanically. A programme to recycle water and pump it back into the nearby river via filtration systems would also be enabled.

With the above criteria in mind, Berea Park, which lies south of the Tshwane CBD entrance, was investigated. Berea Park is a disconnected-derelict heritage site that is situated along the Apies River corridor. A further advantage is its large size, which could strengthen the multifunctional features of a proposed programme by including functions such as recreation and symbiotic activities. Democratic spaces and programmes could be included that would increase the possibilities for the neighbouring surroundings to benefit.

2.2.2 Delimitations

Proposed

In the last decade, Berea Park was unaffected by any new construction. However, since 2021 the site has seen signs of new development. It is critical to recognise the new development on the site and its significance. The new programme is the Department of Land Affairs and Rural Development offices; however, site access to investigate the new development was not granted to the author owing to restrictions associated with the COVID-19 pandemic.

As a result, this study delves into another dimension with a reinvented programme influenced by the site’s historical layers. The new concept of the Department of Land Affairs and Rural Development offices is not considered erroneous but rather improves the theoretical basis of the current study.

A critique of the new programme suggests that it misinterprets the site’s historical identity, based on the theoretical approach and concerns. The misinterpretation includes functions that the public cannot engage with, where the previous function focused on public engagement. Previously, the location may have been summarised as a place of creation and recreation (See Fig. 31, page 35).

2021 Reality

Fig 11: Camera Lens, adapted by author, 2021, from Cinegearpro.

The site and its conditions were examined using secondary data and personal experiences from 2017 and 2018.

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2.3 URBAN ANALYSIS 2.3.1 Urban Vision The author’s urban vision takes into account the current and historical features of the site. Berea Park, located at the southern gateway to Pretoria’s inner city, features a section of the underground, channelised Apies River and recreational grounds that have remained mainly undeveloped. As such, Berea Park is a symbol of nature encroaching on the city, from which it continues, muted, along the Apies River corridor.

and environmentally 3.

The regeneration of the environment, preserving and improving the conditions of the Apies River and recreational grounds as a proposed public facility.

Berea Park is close to the Pretoria Central Train and Pretoria Gautrain stations and comprises several transit nodes that connect the inner city to the national highway.

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Although the Park is connected at an infrastructure level, neglect over time has contributed to the area’s disconnection and the isolation of the park and recreational grounds (Scholtz, 2017:57).

In proposing the urban vision, the author has three main aims: 1.

Regenerating the disconnected site with multifunctional programmes as a means of providing an intervention to the urban fabric, focusing on the inner city and surrounding suburban regions 2.

The exploration of a community crafts centre as a productive urban space socially, culturally, economically

s

KEY FIG: 12 (p. 24) Site (Berea Park) Suburbs

1

Burgers Park

2

Church Sqaure

3

Union Buildings

4

UNISA Sunnyside

5

Pretoria Station

6

Freedom Park

2.3.2 Site and Context See Figure 12.

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0m

400 m 200 m

800 m

Fig 12: Site Context, (by Author, 2021)

2.3.3 Context Analysis

ver

Nana Sita St

Api

es R i

KEY Residential Commercial Institutional

500m walking distance

Pretoria Train station

Burgers Park

Main road entrance Railway Rapid bus transport Bus network Abandoned

Scheiding St

Bus stop

mini-bus taxi pickup

SITE BEREA PARK

Train station

0m

1 km 500 m

Fig 13: Urban analysis of public transport. (By author, 2021)

Nelson Mandela Dr

25

Justic

e Ma

hom

ed St

Berea Park is well connected to its surroundings in terms of infrastructure. The orange circles shown in Figures 13 and 14 represent numerous pick-up and drop-off locations. The Apies River, which runs from south to north, is a popular pedestrian exchange point.

Several forms of public transportation are available in and near Berea Park. Pedestrians use buses, minibus taxis and the train/railway system to get around the city, particularly in the central city. Nelson Mandela Drive and Lilian Ngoyi Street are important vehicle entry points from the south to the north, connecting with the Tshwane rapid bus transport system.

The railway system to the southwest of the site (Pretoria Central Train Station) is an essential transportation infrastructure component. These linking and dynamic transportation nodes give commuters many access points into and out of Tshwane, with Berea Park at the crossroads of these nodes. The addition of Gautrain stations next to the Pretoria Central Station allows distant users a mode of transportation to the site and inner city.

Fig 14: Site and connections. (By author, 2021)

26

Nana Sita Street KEY Pedestrian route Vehicular routes Cogested areas Pretoria Train station

Burgers Park

27

Mini bus pick up

Justic

e Ma

overlap opportuinity linked edges

Ap ies

riv

er

Pretoria station

1 km

0m 500 m

Fig 15: Ubran analysis Pedestrian opportunities.

(By author, 2021)

Southern Gateway Southern gateway

hom

Bus-pick up

ed St

With the development of Justice Mohamed Street, which enhances transportation links between the eastern Pretoria suburbs and CBD, and the rise of the city fabric, including spatial changes, the Park has become fragmented over time. As a result, Berea Park and the surrounding neighbourhood have become isolated.

Fig 16: Activity along Rhodes Ave. (By author, 2021)

Fig 17: Context along Lilian Ngoyi St. (By author, 2021)

Fig 18: Justice Mahomed Street as a barrier.

(By author,2021)

On a macro scale, the road infrastructure links and enhances accessibility, but on a pedestrian and human scale, the road infrastructure has constrained public access to and around the site (Scholtz, 2017:72).

Rhodes Avenue (north of the selected site) increased pedestrian activity in 2018 by installing a minibus taxi pick-up and drop-off stop. The area created an opportunity for the development of street markets and other small business sectors. However, with the continuing new construction at Berea Park, these activities and possibilities have gradually disappeared in 2021, with only a few pockets of activities remaining.

A proposed site concept should then investigate pedestrian access to and routes through the property on a scale of engagement to make users aware of the activities and possible routes to various nodes and transportation systems.

28

Map orientation for pictures used on page 29-30

KEY

1.

1.

2.

29

Fig 20: Sunken river channel. (Scholtz, 2017: 61)

3.

4.

Fig 19: Map orientation with street names.

(By Author, 2021)

Fig 21: Residential building 8-9 stories high. (Scholtz, 2017: 61)

1.

2.

3.

3.

Fig 22: View from Scheiding St. (Scholtz, 2017: 64)

Fig 24: Activity along Rhoes Ave. (Scholtz, 2017: 66)

Fig 23: View Justice Mahomed St close to river channel.

(Scholtz, 2017: 66)

Fig 25: Medium density residential buildings along Lilian Ngoyi St. (Scholtz, 2017: 67)

4.

30

Analysis of site contours, height of existing structures and context thereof

6-8 stories 2-3 stories

Lillian Ngoyi St

1

Main club house heights club house height

Site slope from West to East 10m drop over 100m span

Fig 26: Context section from West to East. (By author, 2021)

Site slope from North to South 5m drop over 100m span

Section from North to South.

Fig 27: Context section from North to South. (By author, 2021)

NeglectedSports field

Rhoes Ave.

31

story

General building heights

Apies river 2-5 m depth

Section from West to East.

a Section edge of Lilian Ngoyi St.

b Section edge Lilian Ngoyi St.

The Apies River has changed from its natural state (south of the site) and has taken a concrete channelised form within the site, which continues to flow north.

The channel is sealed off from the site owing to its submerged status, but the trees bordering the banks point to its presence (refer to Fig. 26 on page 31). The trees bordering the banks indicate a visible way for people to cross the Apies River, with the bridge crossing on Justice Mohamed Street (north of the site). a) Section edge of Lilian Ngoyi Street The western clubhouses in Berea Park are located at street level. Owing to their deteriorated status, the contents, such as debris and waste of the clubhouses have spilled onto the pedestrian sidewalk, creating a nuisance for individuals using the sidewalk. b) Section edge of Lilian Ngoyi Street

c Section edge Rhoes Ave.

Fig 28: Cross sections edges around the chosen site.

(By author, 2021)

A neglected old kindergarten is situated further north of the property, before the crossing with Rhodes Avenue.

The general building’s top canopy, which provides an overhanging shelter, makes the kindergarten a gathering point for recyclers and pedestrians using the side paths.

32

Telkom Tower

Huis Potgieter

33

North-West view of the old bowling clubhouse and context in the background.

Fig 29: Old, existing clubhouse within Berea Park and background context.

Adapted by author, from Dlamini, 2017: 70.

UNISA

Old clubhouse 1

Rider Haggard residential building

Berea View residential building

Old clubhouse 2

34

View of clubhouse “ruins” on the edge of Lilian Ngoyi Street.

Fig 30: Remaining “ruins” of existing clubhouse. Adapted by author, from Dlamini, 2017: 54,

2.4 SITE HISTORY 2.4 SITE HISTORY See Figure 31.

35

Fig 31: Site History diagram. (By author, 2021)

2.4.1 Pretoria Development See Figure 32.

Natural

1855

1859

36

1879 Fig 32: Sketch of Pretoria development. Adapted by author,2021, from Holm, 1989:17.

1889

1902

37

Fig 33: View of clubhouse ruins on Lilian Ngoyi St. (By author, 2021)

2.5 SITE ANALYSIS 2.5.1 General Site Analysis The theoretical approach that informs the project’s narrative relies heavily on the selection of the site. Berea Park, according to Scholtz (2017:69), was Pretoria’s first recreational and cultural hub, and has been in use since the late 1800s, with the earliest recreational amenities established in 1907 and 1926. The Park held cultural events such as a temporary library , staged music events and put up taverns for social gatherings.

Often, these cultural activities were integrated with skill development that helped the community to function.

The site has ruined structures in the form of the three derelict clubhouses. Eliminating these “ruins” would be detrimental to the theoretical approach adopted by the study. Ruined structures are significant because of their historical importance and their evocation of previously provided opportunities with a distinctive architectural atmosphere. Instead of doing away with the ruins, the research aim and site investigation explored ways to preserve the “ruined” ambiance through a programme that the public could participate in.

Berea Park has a long history of leisure activities; in recent years, the existing sports fields have been used as football fields. The sporting programme component of the architectural intervention designed by this study provides a one-of-a-kind opportunity to revitalise the programmes with social and cultural activities to build a hub that would echo the previous functions in general.

An analysis of the strengths, weaknesses and opportunities (SWO) of the site is presented below.

Strengths • • • • • •

Near main transport nodes Plethora of public access points “Ruins” to add to Cultural, social and recreational layers Start of the southern gateway to the CBD Vast public space

Weaknesses • • • • •

Currently inaccessible to the public Harsh street edges Vast scale Existing structures’ structural elements Isolated owing to street barriers

Opportunities • Integration of social, cultural and recreational opportunities • Regeneration back to the urban fabric • Creation of a new identity for the site • Development of the street edges for public use • Creation of a hub at the southern gateway to

Pretoria’s CBD

38

west

Intersecting axis

Apies river

Axis Dense foliage

Existing Sports Field

site fall to east

Fig 34: Site analysis through model building.

(By author, 2021)

Axis

Existing building

39

Existing building

existing entrance Existing building

east

Apies river

Existing building

Pedestrian short-cut

existing entrance

Site analysis through model exploration.

40

Fig 35: Views from Berea Park sports fields towards the city.

(Scholtz, 2017: 68)

Fig 36: Views from North of Berea Park towards the clubhouse.

(Percival, 2017: 64)

Fig 36: Site axonometric analysis showcasing the overview.

(By author, 2021)

Overview

41

Current functions

Fig 37: Site axonometric analysis showcasing the functions.

(By author, 2021)

The site has grown isolated and neglected in the surrounding context with the passage of time and ongoing development, and it has the potential to regenerate itself. The eastern edge is bordered by natural elements such as a plethora of flora and the channelled Apies River. The site does not lack interaction space, but a delicate footprint approach would be important to protect the historical value of the site and make the layers of the “ruins” become a celebrated aspect of the Park.

The site offers three key components, as well as some constraints , such as the usable footprint allowed.

The site includes three components : recreational grounds, leisure grounds and “no activity”. Since the study analyses and celebrates past roles, only a fraction of the site is used for programmatic and architectural intervention, primarily in the “no activity” zone. At the same time, the other dedicated zones will be regenerated to their primary functions. It is also critical not to detract from the current “ruins” but rather to implement a minor intervention with which the public can engage.

Fig 38: Site axonometric analysis showcasing climatic conditions.

(By author, 2021)

Climatic conditions

Pretoria is located within the climatic zone 2 (temperate interior) of South Africa.

The design responses to the climatic conditions that the site is exposed to are: • Passive solar gains • Thermal mass solutions • Cross-ventilation techniques • Maximising of north-facing façades • Exploitation of prevailing winds from the south- east • Adjustable shading techniques

Movement

Ju

sti

ce

M br oha id ge me d

st

Fig 39: Site axonometric analysis showcasing various movements.

(By author, 2021)

The location is well connected; nonetheless, it has become isolated, which is the main constraint mentioned previously, on a pedestrian scale, with little to no activity during peak hours. The site is dominated by vehicle traffic, and most pedestrians use it as a shortcut to the minibus taxi-collection location (north of the site) and to gain quick access to the Justice Mohamed Street bridge to cross the Apies River. Reactivating the site’s perimeter is desirable and more inviting to users as they may catch a glimpse of the activities taking place while on their way to their destination.

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Fig 40: Site axonometric analysis of context zoning.

(By author, 2021)

Zoning

The site is primarily surrounded by semi-dense residential buildings, with commercial areas at street level and to the southwest. Large mixed-use buildings and government offices are located to the north.

To the east are a mix of institutional and commercial sectors, including the University of South Africa (UNISA) Sunnyside campus and local schools. The location is in a unique geographical environment, where all aspects of life are intertwined, and the planned cultural and recreational hub and facilities may serve as a catalyst for their growth in the context of the surrounding city.

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Possibilities

Fig 41: Site axonometric showcasing the brief site possibilities.

(By author, 2021)

The past activities offered at Berea Park suggest a variety of regeneration approaches to link the oncepopular but now-disconnected core to the active urban environment. Individuals could participate in leisure activities, social gatherings, and, with the installation of a community crafts centre, an economic and skilldevelopment opportunity. The site is similarly placed to the south of the CBD’s entrance, allowing users to rest and contemplate before continuing their journey in or out of the CBD. Furthermore, the site has the potential to become a hub for an infrastructure-dominated area.

Overlap for intervention

Pretoria Central Train station Mini-Bus Taxi pickup and drop

SIT

E

44

1 Regeneration

Intervention

2 3

Fig 42: Site axonometric layered site analysis with intercepting nodes.

(By author, 2021)

Apies River

2.5.2 Analysis of Existing Structures Overview.

The significance of heritage infrastructure inside the city manifests its use as a space and place in the community.

Heritage sites within cities contribute to the urban fabric through social and capital enablement when preserved, re-adapted and regenerated. Heritage sites and buildings give value to the urban area because of their history and social context (Dlamini, 2017).

2

45

3

5

1 4

5

Fig 44: Existing buildings, grounds and context thereof.

(By author, 2021)

According to Dlamini (2017), Berea Park has been a hub for recreation, leisure, sporting and cultural destinations.

Berea Park, too, has a physical connection with nature and the Apies River. The Park has also been used to accommodate the sporting community, which ties in with, and reflects South Africa’s most cherished principles of sport as a communal connector.

The heritage structures are described below and the following pages.

1

Old Bowling Clubhouse

2

Northern Clubhouse

3

Southern Clubhouse

4

Old football pitch

5

Leisure grounds

Assessing the damage on the existing structures through secondary data analysis.

KEY Damaged or disintegrated Maintenance required Damaged beyond repair or non existent

46

1

Fig 45: Analysis of the existing buildings.

(By author, 2021)

2

3

Building 1 Bowling Clubhouse.

Completion: 1925

Heritage protection: The building has heritage significance under the National Heritage Resources Act of 1999. Despite this, the building of the clubhouse is scheduled to be demolished in actuality (in terms of the current development not in the current study).

Project Architect: No information about this could be acquired.

Completion: 1920

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Project Architect: No information about this could be acquired.

Building style: Utilitarian with Art Deco influences.

Building 2 Northern Clubhouse Heritage protection: The building has heritage significance under the National Heritage Resources Act of 1999. The clubhouse is to remain a ruin, with exploration of renovation that the public can engage with.

Information extracted from Dlamini (2017:56-64)

Building style: Elements of Cape Dutch revival and Art Deco.

Building 3 Southern Clubhouse.

Heritage protection: The building has heritage significance under the National Heritage Resources Act of 1999. The clubhouse is to remain a ruin, with exploration of renovation that the public can engage with.

Completion: 1907 Project Architect: Thomas A. Moodie.

Style: Cape Dutch Revival.

2

1

48

Fig 46: Collage of Northern Clubhouse.

(Dlamini, 2017: 57)

Fig 47: Collage of Southern Clubhouse.

(Dlamini, 2017: 61)

2.5.3 Materials on site

Investigation of existing materials, such as those found in the existing structures and materials, is used as an aesthetic generator. Existing materials also play a role in the proposed architectural context to celebrate the old. Important existing materials are concrete, steel, plaster, face brick and sand.

49

Concrete: As structural elements.

Concrete is primarily employed as a support member within existing clubhouse buildings.

Steel: Steel is largely employed on the external terraces of the main clubhouse constructions.

Plaster: Portions of the existing structures are finished with plaster with a combination of brick work.

Fig 43: Materials on site and within as an architectural generator.

(By author, 2021)

Facebrick: Portions of the existing structures are finished with plaster with a combination of brick work.

Sand: Existing sports fields have been ignored, revealing the beneath turf surface, and the sand could be reused.

2.6 SITE POSSIBILITIES The figure below represents an early conceptual exploration of the site program possibilities.

Ruins adapted pockets of interaction

50

ad

ap

Fig 48: Analysis of the existing buildings.

(By author, 2021)

ted

INTRODUCTION

The third chapter is divided into three sections: a literature review, a discussion of the adaptive reuse approach and a consideration of the importance of ruins. The literature review examines the relevant theories that guide the project’s development and architectural foundation for future programmes.

The chapter discusses the significance of derelict areas in our culture and their contributions when revived. Furthermore, the theory inquiry delves into

CHAPTER

51

T

H

T HREE E O

R

Y

how programmes that represent the historical uses of a derelict place could aid in the celebration of the old while adopting a new role that contributes to one’s self-improvement. The next section analyses adaptive reuse strategies and presents case studies to determine what atmospheric qualities heritage buildings or new constructions could offer. In the final section, the chapter discusses the significance of ruins and their genius loci. The chapter concludes by relating the discussion of the theory to the proposed design project.

3.1 LITERATURE REVIEW

3.2 CASE STUDIES OF ADAPTIVE REUSE

3.3 RUINS

3.4 CONCLUSION 52

3.1.1 Introduction

3.2.1 Introduction

3.1.2 Importance of derelict spaces

3.2.2 Adaptive Reuse

3.1.3 Engaging-Architecture As social sustainability

3.2.4 Conclusion

3.1.4 Identity of places 3.1.5 Conclusion

3.2.3 Spirit of Place

3.3.1 Importance of Ruins

3.1 LITERATURE REVIEW 3.1.1 Introduction

53

The literature review is organised around several key themes and a discussion on theories and models. In a thematic order, the focus of the study is to show the relevance and importance that derelict spaces have in contributing to an active fabric, the role of engaging architecture to sustain objects and social conditions, and how the identity of a place is a fundamental topic in architecture.

active urban fabric. Patel (2015) reflects on the use of a thought experiment of temporary infrastructures to host cultural and performance events, such as community skill-development classes and dance performances, in derelict parks and spaces. This allowed the users of the community to become the showcase, ultimately stitching the disconnected space with the surrounding context.

3.1.2 Importance of derelict spaces

Creating a sense of involvement through these types of experiments brings back neglected spaces into the active urban fabric. More importantly, in these temporary structures, the community becomes the economic and cultural force for the neighbourhood.

Landscape architects Luis Loures and Thomas Panagopoulos state in their article “From derelict industrial areas towards multifunctional landscapes and urban renaissance” that “Derelict urban sites present a resource to society when reintegrated into the urban fabric” (Loures & Panagopoulos, 2007:181).

Loures and Panagopoulos (2007) note that altering derelict sites back to productive reuse not only has environmental benefits but also includes economic benefits. Regeneration or regrowth encourages a paradigm in which businesses and people relocate to wastelands and can create opportunities for urban renewal and the development of liveable neighbourhoods with social and economic interests.

Using the term “flexible urbanism,” Patel (2015 ) emphasises the importance of derelict spaces in the

3.1.3 Engaging architecture as a social sustainability Of the several approaches to sustainability and sustainable development, social sustainability is the least defined and understood. Social sustainability has received far less attention in the public domain than economic and environmental sustainability. In general, socially sustainable architecture focuses on designing places that are compatible with human culture, habits and procedures for the longest time feasible (Kefayati & Moztarzadeh, 2015:46).

Sustainable architecture is a socially responsive architecture that must guide design by researching human needs and behaviours to develop a long-term connection between humanity and the surrounding structures. In addition, the variables that create a feeling of place, a sense of belonging and identity-building variables in space take on a significant role in making the environment and currents inside it sustainable and persistent (Kefayati & Moztarzadeh, 2015:46).

Kefayati and Moztarzadeh (2015) provide in-depth analysis and criteria for social sustainability in architecture. They argue that architecture, in a socially sustainable environment, needs to adapt to a design approach that creates a responsive architecture consistent with human needs and behaviour patterns to improve physically and mentally with spatial qualities for all segments of society. This is an architecture that reflects direct engagement with cultural systems, sensors and behaviour patterns on a human scale.

Multifunctional spaces play an essential role in the regeneration of derelict urban spaces and connection back to the active urban fabric, especially disconnected ones. Author and architect Amy Muir (2018) argues that social sustainability should be at the heart of good public architecture. Through a social lens, sustainability can be defined as a notion over time. For long-term constructed results, public architecture that encourages continuity and progress in its users is essential. This can be translated into an architectural programme that aids the growth of the users, which in turn has the potential to grow the urban fabric.

Additionally, Kefayati and Moztarzadeh (2015) state that by upgrading public places to engage the city’s people, boosting cultural values and developing identity structures, social and cultural life support may produce a sense of belonging, a harmonious living environment and flexible spaces.

Furthermore, public space, according to Amy Muir (2018), is about social interaction. When it comes to strategic and practical urban design, it is critical to provide a channel through which people can engage.

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Buildings, parks, urban architecture and all other aspects of the public domain play a vital role in fostering community and a sense of belonging that echoes the fundamental thoughts of Kefayati and Moztarzadeh (2015).

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Fig 49: Representation sketch of engaging architecture interpretation. (By author, 2021)

3.1.4 Identity of places Sowińska-Heim’s (2020) article “Adaptive reuse of architectural heritage and its role in the post-disaster reconstruction of urban identity: post-communist Lodz” underlines the importance of historical values in architecture. Major architectural and historical structures serve as a point of reference for the local community, enhancing their sense of security and serving as a significant component in forming social identity.

Derelict areas can act as a catalyst for rediscovering, redefining and interpreting the urban environment and architectural legacy. In new economic, social, political and cultural circumstances, derelict sites have become an instrument for developing urban identity.

As a result, tangible and intangible historical artifacts take on new meanings and are subject to a fresh, modern interpretation through the lens of present desires and beliefs. The regeneration of derelict spaces is a significant part of revitalising and regenerating damaged regions because of the numerous alterations that may occur as a result of a functional alteration that matches modern demands.

As Sowińska-Heim (2020) states, “This allows for the preservation of architectural objects that are important to the local community, promoting the integrity and historical continuity of the city while restoring the

objects’ functional and economic value” (SowińskaHeim, 2020:1).

She adds that in the late twentieth century and twentyfirst century, the view has arisen that cultural legacy should not be considered permanent and unchanging but rather continually reinterpreted to reflect human activity. The belief is that preservation is about more than just protecting tangible values; it is also about preserving the cultural significance of a place and its value to past, present and future generations. Conservation should therefore include the actual substance and usage techniques and the meanings (for example, symbolic meanings associated with memories) and linkages (defined as social, spiritual and cultural ties between people and the environment) (Sowińska-Heim, 2020:2).

Sowińska-Heim (2020) concludes that, as a result, principles that affect the well-being of the site and its historical, social or spatial context have shifted from a traditional approach that sees ideals as fixed and unalterable, inherently linked with the site, to an approach that considers the interaction between the location and its historical, social or spatial context.

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3.1.5 Conclusion of the literature review

57

In conclusion, derelict spaces provide an architectural solution, amongst other professions, to regenerate the space back into the urban fabric through an effective reuse programme that can create new growth opportunities for individuals and the city fabric.

Additionally, a programme that focuses on social sustainability enhances the connections between users and the surroundings through reactive and interactive architecture that reflects human interests. Lastly, derelict spaces provide an opportunity for architecture to act as a catalyst for rediscovering past histories and identities, both tangible and intangible, through economic, social, political and cultural circumstances.

Fig 50: Sketch of existing ruin with adaptive intervention to explore the identity of the structure. (By author, 2021)

3.2 CASE STUDIES OF ADAPTIVE REUSE 3.2.1 Introduction There is a dialogue between architecture and its surrounding context, both tangible and intangible, and the conversation between the two can become poetic and resourceful. Working with an existing structure, particularly a structure with historical layers, becomes difficult but has many possibilities for architects. A rich identity and story are already shaped and woven into an existing building, creating an atmosphere or experience that lives and radiates. However, through the passage of time, that identity could become blurred or ultimately forgotten.

As identity becomes obsolete, architects that work with an existing building wield a powerful tool to create a new atmosphere. More importantly, they have a responsibility to preserve the old and contribute to a new identity (Sadowniczyk, 2020).

There is a potent ambience in older or historic buildings, whether they are derelict or active, that holds an atmosphere that is explorative and mysterious. When one thinks of the initial opportunities these spaces provided, such as cultural, social and economic activities, it is disheartening to see how these structures and their identities have become lost and their impact disconnected from the active contextual fabric. In recent decades, architects, urban planners and

developers have realised the importance of derelict spaces and how they can contribute to society through preservation and adaptive reuse.

Adaptive reuse is a particularly fascinating approach. It allows architects to use an existing building to contribute to a new programme that could benefit the local surroundings or community. There is no doubt that adaptive reuse has played a pivotal role in preserving existing structures and facilitating the growth of the surrounding fabric through their reuse (Sadowniczyk, 2020). However, there are certain issues associated with this approach.

The difficulty with some buildings in the twenty-first century is that they have forgotten their origins for preservation by losing the individuality and mood that the area initially had. Many adaptive reuse initiatives use an old building’s structure as the foundation for a new programme. The question should rather be: can the identity of the building contribute to a new programme that reflects the past genius loci as a method of preservation? To elaborate on this method of preservation , it is crucial to understand the existing method of adaptive reuse and its contribution. This study focuses on adaptive reuse to better understand how to approach the method that reflects the past genius

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Fig 51: 19th century church adaptive reuse from Metal Architecture, 2021.

loci of a building as mentioned in the question.

3.2.2 Adaptive Reuse Adaptive reuse has become a powerful, poetic and sustainable approach to design. It uses old or historic spaces and structures that it transforms or recycles into a new purpose with cultural, social and economic benefits.

59

Architects have been able to preserve the old structures with a new contemporary layer that contributes to the surroundings and transforms the spaces and how one uses the spaces within the structure. The thought-action of recycling, which is a similar process to adaptive reuse, takes place on a personal level. Humans are taught to recycle waste products and reuse objects, which ultimately reduces the amount of waste produced through human consumption. The same response becomes second nature to architects, who reuse or recycle derelict spaces in cities or suburbs to create new opportunities and contribute to a healthier city.

Adaptive reuse has become vital in retaining the essence of an existing structure. In most cases, the design or reuse incorporates the structural components, predominately the walls, as the essence of preservation.

However, numerous layers may be considered and

Fig 52: Zeitz Mocca, Cape Town from The Spaces, 2021.

3.2.3 Spirit of Place maintained.

This makes it crucial to retain the values and heritage of the building and to discover new or enhanced ways of representing or reflecting the historical layers. The historical layers should be reflected tangibly so that people react to the building with their senses.

It would be a disadvantage to the users of the building if the atmosphere and historical layers (which make up the identity of the building) were not compensated for in the adaptive reuse of the building.

Incorporating a contemporary layer that reflects the past functions provides a socially sustainable approach for the future. It also showcases responsibility and sets a precedent for other human values and not just in the architectural realm (Sadowniczyk, 2020). .

Architecture is not limited to the design of a building and its sustainable approach, but rather, and more importantly, it is a design for human spatial needs. It involves human spatial qualities and an understanding of how these spaces allow one to react. Atmosphere has been at the forefront of architectural and spatial design. In the architectural sphere, “atmosphere” refers to the sensorial qualities that a space provokes, focusing on a user’s experience.

Peter Zumthor, 2006 defines atmosphere as “this singular density and mood, this feeling of presence, well-being, harmony, beauty…under whose spell I experience in precisely this way”. Similarly, Christian Borch (2014) notes in his book Architectural Atmospheres, which deals with the experience and politics of architecture, that the encounter of buildings and spatial clusters is increasingly acknowledged to be a sensual, spatial experience, which means that the perception of atmospheres that are assessed could be favourable or adverse.

The mind and body are inextricably intertwined, and architecture creates buildings using basic human proportions, such as the Vitruvian man. It stands to reason that if the human body is tied to the building it inhabits, the atmosphere should be considered.

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Light, shadows, form and objects, sound, substance and texture, and simple air are the ingredients that make up atmospheres. These aspects are critical in eliciting an emotional response from the user (Sadowniczyk, 2020).

61

As adaptive reuse focuses on the identity of the space as a generator for an architectural design, programme and experience, the atmosphere enhances the shared ideas of experience and identity that evoke an emotional and Tabula Rasa attachment to the architecture. This makes adaptive reuse an excellent method for preservation and the design of a contemporary social, economic and cultural hub.

Taking into account that humans are limited to their senses, experience and atmosphere should be expressed through the elements mentioned above, such as light and shadow, form and object, texture, sound and smell, and air.

Fig 53: Representation of light and shadow from BluentCad, 2021.

Light and shadow have the power to elicit emotions in a building. These form a powerful tool for an architect and manipulating them can empower a space or emphasise its elements. However, less light and shadow can result in a more challenging or uneasy perception of spaces.

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Fig 54: Representation of form and object as a void by the Medium, 2021.

Fig 55: Concrete boarding finish as texture by Lughertexture, 2021.

Forms and objects can be used in a building to delegate functions to users. This gives architects the freedom to choose how to use a building’s form and space. Form and objects allow an atmosphere to be present in that space, evoking the senses and emotions.

Materials and textures would not exist without light and shadow. They are complementary to one another.

Materials set the tone and create a character for the building. Colours evoke emotions. For example, bright colours are used in kindergartens to create excitement, focus or relaxation. Colours, textures, and patterns create illusions of the architectural atmosphere (Sadowniczyk, 2020).

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Fig 56: Church ambience as acoustics, 2021.

Fig 57: Encapsulating air as transparency, 2021.

Additionally, sound plays an important role in evoking emotions. It adds another level to the visual emotions experienced, much like the music in films. More importantly, sound in an architectural environment provides clues to the users, such as orientation or restrictions to certain areas. An example could be sound in a museum, where musical themes could indicate particular historical periods.

Finally, air creates space and fills the building; without it, the whole atmosphere is missing. Sound, heat and odour are more ways to evoke emotions and senses.

The most substantial aspect of an architecture’s atmosphere is that it may be open-ended and interpreted in various ways.

3.2.4 Conclusion The most substantial aspect of architecture’s atmosphere is that it may be open-ended and interpreted in various ways.

Architecture can be used to arouse curiosity, emotions and senses to tell a story (Sadowniczyk, 2020). This theme can convey a message, teach us about the past or make a statement.

In conclusion, adaptive reuse provides an architectural solution to regenerate a space back into the active urban fabric through an effective programme that creates new growth opportunities. Opportunities can take the form of skills development, economic values and social substance for individuals and the city fabric.

Additionally, a programme that focuses on social sustainability enhances the connections between users and the surroundings through reactive and interactive architecture that reflects human interests.

Lastly, derelict areas allow architecture to operate as a catalyst for recovering past histories and identities, both tangible and intangible, through economic, social, political and cultural situations.

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3.3 RUINS 3.3.1 Importance of Ruins Ruins, according to Muceniece (2015), are an irreplaceable resource for cultural and historical inquiries.

Ruins often have aesthetic appeal in addition to their heritage worth. Heritage structures combined with natural factors in the surrounding area could form an essential recreational, cultural and social hub.

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Ruins of cultural buildings, or any other building in some way, are far more significant than any other partially preserved historical artifacts or artworks. They are places where time and physical dimensions intersect. Ruins as unrestored structures cannot be completely employed as a building where people are constantly engaged, yet historic ruins provide another form of value despite this loss of practical purpose (Muceniece, 2015).

Buildings undergo physical changes over time with the course of nature and, in many cases, from a lack of upkeep. The materiality of major historic constructions can be appealing with age where materials such as stone, brick and bronze have been used. The materiality can also be unpleasant, such as when concrete, aluminium and steel have been used. According to Muceniece (2015), many people visit historic places and admire the landscapes that integrate the site with its cultural heritage. These spaces tend to become a source of spiritual renewal, or a place to study,

understand and be inspired by.

The presence of nature aids a visitor’s proximity to the ruins. The combination of the ruins with nature may present a different paradigm. However, vegetation should not overwhelm old structures entirely, and a balance between architectural and natural environments should be implemented.

Ruins can reveal a building’s prior greatness, significance or beauty. They can enchant and frighten people because they bear witness to the failure of humankind to protect its creations.

According to Muceniece (2015), ruins have always been a source of inspiration for members of various art movements. From the 18th to 19th century, ruins were often featured as a popular theme within landscape drawings. In modern times, ruins attract great interest in their redevelopment. They are often associated with creative minds such as photographers, graffiti artists and writers. These places can create an emotional background that draws users for the different reasons of an atmospheric awakening.

Ruins of old buildings are essential elements of a landscape, city or region, which together with adjacent

programmes such as recreational activities or cultural activities can develop into a social and cultural hub both on a local and regional scale.

Such hubs, equipped with facilities, easy accessibility and exciting sights, can attract tourists, promote the site’s identity as a recognisable feature, and strengthen the local people’s sense of belonging to their place of residence (Muceniece, 2015).

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Fig 58: Collapse of a building through time. Adapted by author 202, from Muceniece,2015:6

3.4 CONCLUSION

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The literature, theory and architectural approach reviewed in this chapter were chosen according to their relevance to the topic of the study. The theory outlined in the chapter and the suggested design, site and programme are relevant to Berea Park as a disconnected-derelict site with the potential to become a valuable resource to society once revived and reintegrated into the active urban fabric. The suggested design should feature multifunctional programmes (democratic spaces) that may entice enterprises to relocate to or near the site, in this way developing social, cultural and economic interests in the surrounding area.

critical architectural approach. However, the analysis presented above revealed that neglected structures do not always need to be revitalised through restoration or the addition of new contemporary layers to be designated as adapted. Ruins can play a significant function in demonstrating the location’s historical significance and should be a feature paired with minor social intervention.

In line with the ideas concerning the social sustainability of the architecture, the proposed design will concentrate on public creational aspects, recreational activity and a social interchange area to produce a location that may become well-suited for human culture, habits and procedures over time. These spaces have the potential to be multipurpose, which is related to responsive social architecture.

The adaptions will, thus, showcase the historical layers while adding smaller programmes to celebrate the old buildings. Programmatic features should highlight the existing atmosphere and the materiality, forms and shapes used, enabling the genius loci of the site to be present.

As the design intervention may act as a stimulant for growth, this social response is vital in restoring urban regeneration.

In the suggested design project, adaptive reuse is a

The proposed design will incorporate one building into the intervention, with the ambiance of the structure remaining apparent despite the addition of a new role.

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INTRODUCTION

Chapter 4 presents an in-depth discussion of relevant precedent studies that have been selected as examples to aid the design process, as they reflect the theoretical foundations discussed in Chapter 3. The precedent studies were primarily selected as they showed examples of adaptive reuse, ruins, social sustainability architecture, programmatic ceramic studios and cultural sites. Each precedent study concludes with a summary of the attributes

CHAPTER

69

FOUR THEORY PRECEDENTS

of each precedent study’s success. Diagrams and photographs are used to highlight the essential aspects of the studies.

4.1 PRECEDENT STUDIES

4.2 CONCLUSION

4.3 SUMMARY 71

4.1.1 Ruins 4.1.2 Adaptive Reuse 4.1.3 Social Sustainability 4.1.4 Programmatic

4.1 PRECEDENT STUDIES 4.1.1 Ruins Ruesta Urban Center Rehabilitation Architects: Sebastian Arquitectos Completed: 2018 Goal: Ruin restoration

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Description: Ruesta, in Spain, was once a centre of cultural exchange and luxury. Many festivals were held there, and the residents had close bonds. The original settlement is largely unknown, yet it has strong physical and socialcultural significance today. Many residents were compelled to leave the village due to the construction of the Yesa reservoir , and, as a result, the community experienced a dramatic depopulation, resulting in the collapse of structures, social interchange and patrimonial values (Coulleri, 2021).

Relevance: The architectural solution was to create a social interchange hub in the region and neighbouring compounds to revitalise the area and surrounding compounds. The “ruined” structures were maintained rather than renovated to demonstrate their historical value. Instead, the intervention took place within pockets of the compounds, establishing intimate locations for social and cultural interchange through a user-guided approach.

Fig 60: Social intervention within the ruins from Archdaily, 2018

1). Establish the structural components that would require restoration or improvements.

2). Clear all debris and harmful material(s) that could become an obstacle. Clean walk-able surfaces for the users.

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3). Use the voids created to host intimate pockets of exchange whilst keeping the ruins atmosphere present.

Fig 61: Sketch of preservation process.

(By author, 2021)

Fig 62: Social intervention within the ruins as interaction from Archdaily.

4.1.2 Ruins Parque das Ruinas Municipal Cultural Center Architects: Ernani Freire and Sonia Lopes Completed: 1997 Goal: Ruin transformation into a cultural hub

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Description: The Parque das Ruinas Municipal Cultural Institution is a public park and cultural centre in the Santa Teresa suburb of Rio de Janeiro, Brazil. It is housed among the remains of the mansion of the renowned patron of the Rio Belle Époque, Laurinda Santos Lobo. It was regarded as the “marshal of elegance” and used to attract intellectuals and artists together in the mansion.

It is now an award-winning project by architects Ernani Freire and Sonia Lopes, who preserved the structure of the ruins while adding time to the building during the reconstruction works. The remains of the old mansion were meticulously restored and waterproofed (Caolina, 2015).

Relevance: Parque das Ruinas demonstrates how the remains were preserved and structurally re-supported to transform the ruin into a cultural hub. The Park is open to the public and can host cultural and musical activities, emphasising the social connection between users. Furthermore, implementing stairs and walkways that direct users

Fig 63: Photo of Parque das Ruinas interior ruin with walkway (Greyvensteyn, 2019:38)

through the ruin was an architecturally correct and straightforward method to bring forth the genius loci of the ruin. The ruin still shows the “wear and tear” of time, demonstrating the palimpsest of the architecture. The walkways lead users to various areas where they can participate in events.

walkway

public seating

Ruin

hosted event

75 park

walkway

Ruin

entrance

Fig 64: Diagram representation of walkways through the ruin leading to pockets of interaction. (By author, 2021)

Fig 65: Photo of Parque das Ruinas interior ruin with walkway (Greyvensteyn, 2019:18)

4.1.3 Adaptive Reuse 012 Central Architects: dhk Architects Completed: 2014 Goal: Renovation and regeneration

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Description: 012 Central is located in the heart of Pretoria’s CBD and has become one of the area’s final remnants of industrial heritage. To preserve the integrity of the industrial legacy, the refurbishment was undertaken with a light touch both within and outside the existing warehouse. Containers were employed to contain utilities, but their materiality also reflects an industrial warehouse aesthetic. The project is part of a larger rehabilitation strategy led by City Property, and it has already stimulated the emergence of new activities in the surrounding neighbourhood (Architizer, 2021).

Relevance: 012 demonstrates an adaptive reuse approach with light touches of intervention within the existing structure to preserve the heritage value. The primary social connection outside the warehouse is provided by open courtyards and a new beer emporium. Existing materials that made up the existing structure were recognised, and interventions followed the palette to honour the past.

Fig 66: Photo of courtyard with container bathrooms 012 central from Architizer, 2021.

light touch interventions

warehouse exhibition

courtyards

entrance

street

containers

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entrance

street

social interaction spills into warehouse

courtyard main intervention

beer emporium

Fig 67: Diagram representation of 012 central program. (By author, 2021)

Fig 68: Photo of renovated warehouse with light touch intervention as the container houses the function from Architizer

4.1.4 Social Sustainability SESC Pompeia Architects: Lina Bo Bardi Completed: 1986 Goal: Social and Cultural Architecture.

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Description: SESC Pompeia, in Sao Paulo, Brazil, is an example of a programme and architecture centred on its public participation. This focus is becoming increasingly essential and consistent in creating a democratic, horizontal, conscious and plural urban existence (Dauden, 2020). Lina Bo Bardi’s works validate widespread creation potential by providing room and a platform in which creation can happen.

Areas that are sometimes regarded as “ugly” and incomplete are encouraged to be constructed and reconstructed with success and wear. This idea encourages the idea of free will for the users (Daudén, 2020).

Relevance: SESC Pompeia showcases how multifunctional spaces that host a variety of programmes such as social, cultural and recreational activities promote the idea of user connection. These spaces could be labelled “democratic” as the public has the free will to engage with them. Since its construction, the centre has been in use to represent how architecture and the programmes could carry on through time and promote social sustainability.

Fig 69: Photo within the cultural building where class rooms house different skill development activities, from Archdaily,2021.

KEY Social Cultural Recreation

social

social

social

79 cultural

social

cultural

social

recreational

social

Fig 70: Diagram representation of 012 central program. (By author, 2021)

Fig 71: Photo of SESC Pompeia board walk as a social connector, from Archdaily, 2020.

4.1.5 Programmatic Taragaon Museum Architects: Natasha Mittal Saraf / Carl Pruscha Completed: 1972 - reopened 2014 Goal: Exhibition and Heritage

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Description: Known as the Taragaon Hostel in Nepal in the 1960s, originally the facility was primarily utilised to host artists, writers, academics, researchers and religious seekers.

One of the ideas of the architectural design was to create a clustered grid design principle surrounded by courtyards and routes to the exterior to allow users to discuss ideas. This allowed users to wander between structures and spill out into the courtyards, where social connections could be created outside. Contrasting materials were used throughout the design, from the architectural form to the paths that signalled routes, to assist visitors in navigating the clustered “maze-like” grid.

The property was recently converted into a museum that displays artefacts and heritage art (Prabhakar,2021).

Relevance: Allowing users to dwell, wonder and explore is a fundamental concept in building intimate areas where users can connect. Furthermore, having easy access and clear pathways improves connection spaces.

Fig 72: Photo of Taragaon Museum,(Nipun Prabhakar, 2020).

KEY Courtyards Core Program Access

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Fig 73: Site sketch of Taragaon Museum previously a hostel, (Carl Pruscha , 2018)

Fig 74: Photo of Taragaon Museum, (Nipun Prabhakar, 2020).

4.2 CONCLUSION

Chapter 4 presents architectural ideas, forms and conceptions that reflect the theoretical foundation presented in Chapter 3. The precedents chosen had a diversity of focuses, with a common theme that the original structures were neglected, destroyed or renovated heritage structures. Each study represented distinct approaches to preserving historical identity and to how subtle a new intervention should be. The examples demonstrate how adaptive reuse can be more extensive and significant than simply a renovation but can rather be considered a poetic attitude towards respecting the old while incorporating the new. Furthermore, the studies demonstrate a palimpsest approach to the interventions through materiality, hierarchy, form and position concerning the existing structures.

4.1.1

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4.1.5

4.1.4

4.1.2 4.1.3

4.1.1 Ruesta Urban Center Rehabilitation 4.1.3 012 Central

Fig 75: World map overview of precedent locations,(By author,2021).

4.1.2 Parque das Ruinas Municipal Cultural Center 4.1.4 SESC Pompeia

4.1.5 Taragaon Museum

4.3 SUMMARY See Figure 76.

Maintained rather than renovated, social pockets open

stone

Celebrate ruins with public access to events and park closed with new Light touch intervention on inside, new on outside

brick, concrete, glass

83 inside, outside

steel, brick

Combination of social, cultural and recreational social, within

concrete

courtyards

brick

Series of buildings with outside courtyards.

Fig 76: Summary of precedents and information gathered,(By author,2021).

INTRODUCTION

The fifth chapter identifies a probable client and organisation that may be engaged with the property and its architectural elements. Drawing on the theories and examples of practice researched and described in Chapters 3 and 4, a proposed project brief and architectural programme are addressed in this chapter as a means of intervention and generation.

An overview of the accommodation list to guide the

CHAPTER

84

FIVE CLIENT AND PROGRAM

design process is provided. Chapter 5 concludes with a description of why a community crafts programme that focuses on ceramics is is considered an appropriate cultural intervention. The community crafts centre is based on the theories outlined in Chapter 3 and is derived from the historical strata of the site as described in Chapter 2.

5.1 CLIENT

5.2 PROGRAMME

5.3 CERAMICS AND CLAY 85

5.2.1 Brief 5.2.2 Community crafts

5.3.1 Introduction to ceramic materiality in Africa

5.2.3 Accommodation list

5.3.2 Ceramic Processes

5.2.4 Conclusion: Why a community crafts centre?

5.3.3 Process flow

5.1 CLIENT

National Heritage Council of South Africa.

The study identified the National Heritage Council of South Africa as an appropriate client for the project. On 26 February 2004, the National Heritage Council (NHC) was formally established as a legislative organisation responsible for the protection of South Africa’s heritage.

The NHC strives to conserve structures and places of the past as a living collective memory to assist subsequent generations in defining their lives and identities (National Heritage Council, S.a.).

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Berea Park is a heritage site that contains various structures and spaces that have served historically as gathering places for social and cultural connections.

According to the theories that inform this project, it is critical to preserve the site and existing buildings to maintain the historical layers while also providing a socially sustainable lifespan. These theory components (Chapters 3 and 4) mirror the NHC’s goals and objectives.

The NHC may give protection to and promote development of Berea Park, encouraging additional development in the area.

The main focuses of the NHC are: a) its

Policy development to help the sector realise transformation objectives

b)

Public education and awareness

c)

Knowledge creation in previously underserved heritage subjects

d)

Providing support for projects that promote heritage as a socioeconomic resource.

Fig 77: South African National Heritage Council logo (South African National Heritage Council, 2021)

5.2 PROGRAMME 5.2.1 Brief

Furthermore, the proposed solution takes into account the idea that architectural programmes can be a social sustainability intervention (see Chapters 3 and 4).

Ceramic manufacture as a tactile activity may allow people to interact directly with skill development and architecture, and encourage the public to relate to the regenerated area using pottery, roof tiles, screens, ornaments, building materials and other ceramics. In addition, other public activities would be included in the crafts centre schedule to provide more democratic places.

BRIEF

The urban brief focuses on the creation of public access to the site. This, combined with the introduction of democratic spaces, may ensure the reintegration of the Park into the urban fabric.

Additionally, the programmes offered may attract other development, with the potential to enhance the surrounding context.

Site intention

BRIEF

The proposed architectural solution takes the shape of a community crafts centre that focuses on ceramic works, with a master plan to revitalise the site’s social, recreational and leisure components. This architectural response results from the site’s historical functions as a location of production and recreation, where skill development and leisure once intersected (see Chapter 2).

Urban vision

The purpose of the site brief is to revive the recreational and public park grounds. Combining these features, with an emphasis on preserving the existing ruins, creates an enhanced social hub that serves as a link between users and public visitors.

Architectural brief

BRIEF

The identity and historical significance of Berea Park serve as the core story for the proposed design and programmes, with the architectural intervention serving as the secondary character. The brief is to revitalise the isolated location and reintegrate it into the active urban fabric.

The architectural brief calls for the creation of a centre where users can learn ceramic skills. The crafting of ceramics offers a diversity of ways to reach a final output. The architecture also intends to demonstrate the potential of ceramics as building materials and passive solutions.

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WALKWAY

APIES RIV

The levels of engagement between users and the corresponding steps involved in ceramic manufacture form the building’s focal point. This may enable the architecture to maximise user interactions, in this way increasing both the cultural and social potential (see Fig. 78).

ER

5.2.2 Community Crafts

STREET

PUBLIC ACCESS

CRAFTS

PARK

CRAFTS STREET

OFFICES

ENTRANCE

RECREATIONAL PUBLIC ACCESS RUINS

Fig 78: Early programmatic layout of the architectural intervention focusing on engagement spaces, (By author, 2021).

PROCESSING

CRAFTS

PROCESSING

INFO CENTRE

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Echoing Berea Park’s identity has many faces. Overall, it was a place of creation, learning, skills development and recreation. A community crafts centre may be a social and economic opportunity to represent the social aspects of the Park’s identity in a programme that becomes a tactile experience. This would involve a reactive and responsive architecture that could be socially sustained.

Added to the cultural aspect of the brief, a master plan for the addition and revitalisation of the sports grounds will be implemented, adding more democratic spaces with the exploration of the ruins by users. This allows the design to cater to a broader audience.

a.) Programmatic requirements to ensure success of the centre are.

• Heritage preservation: With the added architectural intervention, which acts as the second character, the identity and historical layers of the site and existing ruins are not compromised. The architectural response is subtle and will use principles highlighted in Chapter 3 to preserve the essence of the site.

• Public access: Creating a secure and open environment guarantees that the public may connect with the site and the services offered. The construction of new walkways and the revitalisation of existing walkways provide several access points to and from the site.

• Maintenance: Maintaining the existing ruins gives the structures a social purpose, emphasising their significance in the urban fabric. Furthermore, repairing the football fields provides people with democratic functions. This permits cultural, social and recreational features to coexist on the site.

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5.2.3 Accommodation List a) General accommodation list Information centre includes: • • • • • •

Information desk Seating Admin and reception office Restrooms Storage Parking

Clay and ceramic processing by users include:

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• • • • • • • • • • • • • • • •

Reception area Kitchenette Storage Lounge Workable clay storage Moulding rooms Carving studios Painting studios Public restrooms Family room Indoor and outdoor seating Multi-use studio (workshops) Exhibition rooms Assembly yards (courtyards) Drying and display rooms Firing kilns and storage

• • • • •

Glazing studio Library Multi-media studio Artist studios Public park (integrated)

Clay production (industrial compound) includes: • • • • • • • • •

Material drop off and pick up point Sieving processing room Separation tanks for sand Water storage (collected) and from Apies river Filtration systems Reusable water pump back to Apies river Cutting and moulding studios Offices and monitoring rooms Rest rooms

Recreational facilities integrated with design includes: • • • • • •

Site offices Changing rooms Restrooms Observational decks Conference room Lounges

Features or spaces incorporated with the existing ruins include:

achieve social sustainability is engaging and responsive architecture.

• • • •

Combining the historical layers of the site (see Chapter 2) with the theoretical component of Chapter 3 suggests that the proposed design should have a function or programme in which the public can participate, and from which individuals can learn, develop and prosper.

These interactions can lead to self-development and give individuals and their surroundings social, cultural and economic opportunities.

Rest rooms Walkways Interaction rooms Observation decks

5.2.4 Conclusion: why a community crafts centre?

Sites and structures become derelict or abandoned for a variety of reasons. As stated in Chapter 1, these reasons could be financial, growth of the surrounding context, neglect, new development or that the function has become obsolete.

The abandonment of Berea Park has the distinct causes of neglect and a lack of social sustainability. Significantly, the lack of social interest can be attributed to the site’s neglect. However, as mentioned in Chapter 3, derelict sites may still function in areas where Berea Park has become disconnected.

The proposed “community crafts centre” design provides a human-scale social engagement that can develop and enrich the site’s social attitude. As discussed in Chapter 3, one of the most likely design elements to

The ceramic production at the community crafts centre allows for an infinite number of creations and product options. The tactile sensation associated with the production assures a high level of involvement. Ceramics are utilised for cultural purposes such as traditional pottery, for ornamentation and as a supplementary revenue source. Ceramics also have a poetic and therapeutic value, as abilities can be improved at various stages of the creation. As a result, an intervention centred on involvement and production, paired with recreational activities, may result in the place becoming socially sustainable.

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5.3 CERAMICS AND CLAY 5.3.1 Introduction to ceramic materiality in Africa Clay manufacture is an ancient craft, with the earliest records going back 6000 and 5000 years ago in Egypt and China, respectively.

Ceramic products, notably pottery, have several functions in Africa. They serve as data keepers, providing insight into cultural exchanges within societies.

African ceramics are both art and craft, presenting both philosophical concepts and practical utility (Contemporary African Art, 2021).

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In rural settlements, ceramic goods or vessels are used to transport water or store food and milk and cook, serve and drink beer. These products are designed solely for functional purposes. In addition to their functional utility, some ceramic goods have a vital spiritual role, which is a potent part of African ceremonial arts (Contemporary African Art, 2021).

Fig 79: Beer storage vessel Nkakusa, Tanzania from African pottery, 2021

It is worth noting how ceramic goods are made in Africa as the intention of the design of the craft centre is to focus on social sustainability and traditional ceramic processes have this quality. Making ceramic goods in Africa traditionally begins with the extraction and preparation of clay. Once retrieved, the contents are

Fig 80: Tutsi water pots, Rwanda from African pottery, 2021.

combined with water until they become pliable. To reduce shrinkage during the drying and fire processes, sand-like debris, pebbles or old ceramic goods, grass and dung are kneaded into the clay.

Ceramic goods are often wrapped around a flat base before being moulded or polished. Moulds were created in certain circumstances by re-purposing ancient pottery, wood and calabashes. After achieving the required shape, the objects were sun-dried before being wood fired at a low temperature for roughly five hours.

Firing would frequently take place over a pit or, subsequently, in brick kilns. Short, round brick walls with air openings at the bottom encircle a heavy layer of fuel on which the pots are placed. The kiln is then ignited from the bottom, with old, broken pottery stacked on top to keep the heat in (Contemporary African Art, 2021).

Fig 81: Pot firing in Burkina Faso from African pottery, 2021.

After the ceramic goods have been sun-dried, they can be decorated. The artisan frequently decides to add new shapes or carve the surface to accentuate detail and narrative.

Natural colours such as provided by chalk, leaves and

Fig 82: Pot making in Burkina Faso from African pottery, 2021

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dung are employed to add an aesthetic layer. Animal fat, soot and a pebble were typically used to polish ceramic items, which were then refried to obtain a glossy finish.

Contemporary African ceramics have an elegant form and a fine finish that one does not often expect in a pot designed to be used. This is the point of modern ceramics because very few of these pots have any purpose apart from being decorative.

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Nevertheless, one cannot separate their modernity from their past; their very survival is founded on centuries of production, innovation and trade perfection (Contemporary African Art, 2021).

Fig 83: Decorated global vessel, everted lip, Igbo from African pottery, 2021.

To conclude, there is a personal attachment to crafts and the workings of ceramics, where one can learn and develop skills. There is a distinct unity between objects, people and landscapes where tactility comes in. This reinforces the proposed design idea of having users experience the crafting process as set out below.

Fig 84: Matakham, Chad, Douglas Dawson Gallery from African pottery, 2021.

5.3.2 Ceramic Processes (wet)

The ceramic processes described below are accommodated in the design of the intervention, which focuses on the manufacturing of ceramics in the Berea Park community craft centre. The processes form part of the overall process flow, as indicated in Figure 93.

SEMI-INDUSTRIAL

a) Extraction and collection Several layers of components from which ceramics are made are present in generic sand taken from the earth. Primary coarse sand, silt and clay are just a few examples. The planned design includes a location where sand donations can be dropped off, such as those from building sites. The concept of repurposing sand is related to the themes of adaptive reuse and recycling.

However, not all sand contains a high concentration of clay; therefore, any excess sand would be recycled into the environment or donated to other events.

Fig 85: Sketch of shovel and sand delivery truck, (By author, 2021)

SEMI-INDUSTRIAL

b) Separation Sand grains are separated from other organic materials such as leaves and twigs by sieving the sand particles.

The remaining sand is placed in a container with a screen on top and stirred until the content is workable using the wet sieving process (see Fig. 86). The content is allowed to settle for a few hours to separate the sand particles. The fabric screen keeps the clay content inside while the rest of the material is removed. This method may be scaled up to manufacture a significant volume of clay (Fritzlan, 2021).

Fig 86: Sketch of sieving process and wet sieving, (By author, 2021)

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TACTILE

c) Moulding

96

Moulding starts the process of bringing tactility and involvement from the consumers to the products. Clay can be moulded with various tools, including hands, spinning tops, cast moulds and machines. The proposed design intends to accommodate a variety of potential moulding types. Moulding workshops will be offered, allowing users to create moulds for many manufacturing runs. Before storing the clay content in various studios where users can sculpt, the clay will be cut into workable blocks. This stage serves to create the mass for the final iterations.

Fig 87: Sketch of hand moulding and cast moulding, (By author, 2021)

TACTILE

d) Sculpting Sculpting workshops will be held in the craft centre.

Sculpting provides freedom of expression and is a good way to portray creative ideas on a physical object. The clay sculpture is a rewarding and innovative art form, which gives it a long history of over 20,000 years and keeps it popular today. The size, form and detail of the clay sculptures one can create may vary; however, artists can express a story through detail and creation (Fritzlan, 2021).

Fig 88: Sketch of spinning and sculpting, (By author, 2021)

TACTILE

e) Carving Carving adds another dimension to sculpting by allowing users to better define and express features on the ceramic product using various instruments such as a damaged brush, markers and sticks.

The carving technique is also an excellent way to build mass. This mass can come from outdated or discarded ceramic goods that can be modified and included in the final product. The recycling of outdated ceramic objects allows for smaller-scale recycling (Fritzlan, 2021).

Fig 89: Sketch of sculpting and carving, (By author, 2021)

TACTILE

f) Painting Painting is an option for those who want to add decorative elements to the ceramic products. Natural dyes such as the contents of banana peels, seaweed, hair, and dung can be used, but they must be coupled with minerals such as iron to keep the paint from fading during the firing process. Recycle rubbish to create a meaningful outcome in clay can be achieved in this way, reflecting the study’s theme of sustainability.

Fig 90: Sketch of ceramic painting, (By author, 2021)

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TACTILE

g) Glazing The process of glazing is accommodated in the crafts centre. Glazing is an impenetrable covering or coating fused to ceramic objects during the firing process.

Glazing can serve to colour, embellish and waterproof the ceramic item to some extent. Glazing also makes earthenware ceramic objects suited for retaining liquids and imparts a glossy surface.

Fig 91: Sketch of hand glazing, (By author, 2021)

98 h) Drying and Firing The final but most crucial phase is drying and firing.

Drying is the process of reducing the moisture content of clay and transforming it into an authentic ceramic.

Owing to the high temperatures, firing the clay product transforms it into a durable substance. There are two fire procedures: bisque firing (first) and glaze firing (second), depending on the preceding operations. It is planned that both will be available at the crafts centre.

Fig 92: Sketch of firing process, (By author, 2021)

5.3.3 Process flow Use of water from Apies River when applicable and mains and that of rain water harvesting

Deliver & collection

Soaking beds Sieving

Filtration Moulding

Crusher Excess sand

Extruder

Clay blocks Preparation

Excess water

Glazing

Filtrated and pumped back into the Apies River Transported or recycled

Drying

Organic life

Fig 93: Diagrammatic process flow, (By author, 2021)

Firing Use of Gas Kilns with charcoal activated filters to capture CO2

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INTRODUCTION

Chapter 6 outlines the concept and methodology used to guide the design decisions that are set out in Chapter 7 and that lead to the final iteration.

Included in this chapter are a discussion of the design principles and the conceptual approach as a way of regeneration from the ideas presented in Chapters 3 and 4, as well as the method (community crafts centre) developed to answer the research question as an intervention. The proposed design proceeded

CHAPTER

100

SIX DESIGN DEVELOPMENT

through iterations, beginning with the initial experience and concepts and progressing to the final result while keeping the principles and theories in mind.

The design development shows how the concept and goals, which are interconnected, relate to the various architectural scales in chronological order. This kind of inquiry ensures that symbiotic interaction (the concept) applies on a broader scale and on a human scale. Interaction is critical since it is a technique for reintroducing derelict locations into the active urban fabric.

6.1 CONCEPT

6.2 DESIGN STRATEGY

6.3 DESIGN DEVELOPMENT 101

6.1.1 Concept & generator 6.1.2 Concept development

6.2.1 Primary principles

6.3.1 Concept approach 6.3.2 Urban scale 6.3.3 Site scale 6.3.4 Space and programme scale 6.3.5 Design iterations & outcomes

6.1 CONCEPT 6.1.1 Concept and generator

Figure 94 presents a sketch of a concept generator, with an illustration of the concept “symbiotic interaction”.

The concept of symbiotic interaction was incorporated as a conceptual approach in the proposed design as a way to engage users.

Symbiotic “Symbiotic” is a beneficial relationship between different organisms.

Interaction “Interaction” refers to a visual or physical communication with someone or something.

water

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An experiment with sand in a glass jar inspired the building concept. When the sand content begins to separate, each layer has a role that is distinct from its initial identity.

Clay is used in making ceramics, silt is beneficial

clay content to organic life and coarse sand is utilised to make silt sand decorative or construction elements. However, the sand coarse sand as a whole continues to work as designed.

The concept generator is tied to the investigation’s philosophy and concepts, where societal sustainability is dependent on responsive and engaging architecture.

In a similar way, each of the ruins and proposed design has its own role, but the proposed design collectively represents a place that reflects the site’s historical layers.

Fig 94: Concept generator sketch (By author, 2021)

6.1.2 Concept Development

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Fig 95: Diagrammatic representation of concept (By author, 2021)

Fig 96: Sketches of process and concept intertwined (By author, 2021)

6.2 DESIGN STRATEGY 6.2.1 Primary Principles

CLUSTERED GRID Clustered grids connect items as well as some comparable elements based on proximity. It fosters smaller (intimate) relationships related to the notions discussed in Chapter 3 about building engaging settings.

It enables users to investigate and comprehend while also establishing specific connecting points.

Fig 97: Sketch interpretation of clustered grid (By author, 2021)

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modified

modified

RECIPROCATION IN THE CONTEMPORARY Reciprocation is essentially a mutual exchange or a similar kind of returning a value. The proposed design, when translated into architecture, reciprocates forms, shapes and materials, based on existing buildings. This approach is used to celebrate the existing surroundings while also respecting the past historical layers.

Fig 98: Sketch of reciprocating existing forms and materials (By author, 2021)

Culture

recreational

Social

Fig 99: Sketch of symbiosis interpretation (By author, 2021)

SYMBIOSIS Symbiosis is described as the interaction of diverse species that have a mutually beneficial relationship.

The proposed design should emphasise social, cultural and recreational components in a confined frame that users can readily access and benefit from.

6.3 DESIGN DEVELOPMENT 6.3.1 Concept approach The proposed approach to the concept arose from the interpretation of material from Chapters 3 and 4 as a solution that would enable the regeneration of a derelict urban space back into the active urban fabric. One critical component is social sustainability as a method of regeneration.

“Symbiotic interaction” refers to a close relationship between all scales (macro and micro) included in the suggested design. As a result, the ideal method will investigate how to accomplish the symbiotic relationship through the scales.

A symbiotic relationship runs not only through the scales outside of the site, but also through the interactions of the ruins, recreational elements and intended design.

These elements should also be related to the various scales indicated in Fig. 95 (right).

Looking at the concept through the various scales

Urban scale

105

Site scale

Various scales are examined under 6.4 Design development, where the design iteration investigates both the interface and the proposed design.

Furthermore, it is critical that the proposed design does not stand alone in its setting but instead reaches out to and welcomes the surrounding context, improving interaction.

Program and space scale

Fig 100: Looking at the concept through various scales (By author, 2021)

6.3.2 Urban scale The proposed design is situated on the southern fringes of the CBD entry in Tshwane. The location is surrounded by medium to high-density residential housing, with few to no commercial zones. Berea Park used to serve the residential area as a public park; however, it has been abandoned. The architectural scheme for regenerating the park acts as a hub for inhabitants to interact and develop deep ties.

106

Density

Streets not only connect locations and spaces, but they also serve as spaces in their own right. The street borders at Berea Park are in poor condition. Adding a new layer to the existing walkways and allowing pedestrian access from the streets to the site create a pause, reflection, and safety zones for people all across the site. Updating the street edge gives users a warm welcome to the site.

The addition of public benches and trees for shade improves the usability of the walkways and streets.

The proposed design prioritizes public access, which is critical for increasing social interaction. The existing building’s design strives to open out on the street level to avoid physical restrictions that could prevent users from entering. Additionally, creating pockets of connection in the form of courtyards and open space allows users to participate.

side walks

open building

program recreational

public

social

Fig 101: Urban scale approach (By author, 2021)

6.3.3 Site scale It is critical to translate engagement and regeneration means at the site scale in the form of links between buildings, spaces, and functions. Allowing to access the site for use easily and as a short-cut to various nodes, highlighted in chapter two, provides intimate places.

This method also ensures that the links between the site and the edges to be generated are preserved.

One example of a new connection is a pedestrian bridge within the site that crosses the Apies River to the parallel pedestrian walkway. Instead of moving around the site to the vehicular-dominated bridge, the bridge installation allows visitors to experience the site and activities while traveling to other destinations outside the site.

Significantly, the three fundamental roles of recreation, socialization, and culture should complement one another and be accessible to users. This allows consumers to catch a glimpse of other activities while on their route to another. The site should not dictate where users should be; rather, the programs should be put in such a way that access and functionality are intertwined. This strategy seeks to ensure that users are always visible to one another and cross paths to various programs and functions on the site.

access

connections

access access

access new bridge

access

107

access connections

connections

Fig 102: Site scale forming connections (By author, 2021)

6.3.4 Space and programme scale The proximity of the various programs and functions is critical in obtaining the most potential in interaction through the space and programmatic scale. One of the delimitations in Chapter two is the footprint of a new intervention the site may have. This method directs the intervention to the north, allowing for intimate interactions with the other buildings and their activities.

108

Considering Berea Park may be regarded as an outdoor area, the intervention tries to include smaller outside spaces inside the architectural structure. These spaces complement the building or improve the journey from one location to another (such as assembly yards).

Furthermore, these areas serve as pause and reflect points on the site and a social connector for users.

Smaller pockets of interaction areas, such as the ruins, might ideally exist within structures, bringing an aura of outside spaces to the inside of the building. With the addition of the “clustered grid” design approach, which encourages users to dwell and explore, interaction pockets with people, function, and architecture may be enhanced.

courtyard spaces outdoor spaces CRAFTS RUINS

pockets of interaction

indoor spaces CRAFTS

sports

sports

public park

public park

Fig 103: Programmatic and spatial connections (By author, 2021)

6.3.5 Design iterations and outcomes The design variations arose from the year’s milestones in chronological order. These milestones served as objectives and accomplishments for the proposed design, as well as additional modules.

Each iteration investigated the research goals while keeping the theories and objectives in mind. Many challenges often arose, however referring to the concept and concept approach directed the design into a more dynamic hub.

The design iterations are arranged so that the proposed design may be analysed and the lessons learned are taken further. These consequences shaped intentions and mistakes made during the design process, which guided the process onward.

Site analysis Model exploration Design iterations

Concept Theory Approach Precedents

The design iterations provide insight into how the design evolved from the information provided by the preceding chapter’s study.

Critique Discussions Reflect and investigate

Fig 104: Approach to design iterations (By author, 2021)

109

a) Iteration 1

110

N

Fig 105: Site and form exploration for iteration 1 (By author, 2021)

Outcomes:

The vastness of the site was underestimated during the early study of form and space. Iteration 1 concentrated on proximity to the existing rather than addressing the site edges, which isolated them.

The existing structures to the west, on the other hand, open up on the street level and would be investigated further.

Fig 106: Edge response size (By author, 2021)

Iteration 1 explored organic forms, in terms of the footprint, of structures as a clustered grid. This approach misleads the previous design strategies as reciprocation in the contemporary. The challenge is to be explicit to the context in and around the site.

Furthermore, the organic shapes provide restrictions on ease of movement.

Fig 107: Organic grid (By author, 2021)

Iteration 1 explored the various ways of celebrating the existing structures. The ruins on the western edge would remain the same.

However, the existing bowling clubhouse would be part of the adaptive reuse. The proposal then is to add an addition rather than restoration of the existing building.

Fig 108: Existing building response (By author, 2021)

111

b) Iteration 2

112

Fig 109: Iteration design two (By author, 2021)

113

Fig 110: Iteration design two perspective view (By author, 2021)

Outcomes:

Iteration 2 introduced the general accommodation list within spaces. The design iteration followed a structural grid that did not resemble a clustered grid. Furthermore, the proximity of the different buildings provided no breathing space or reflection courtyards.

However, the introduction of the accommodation list provided information that the design could resemble a series of buildings.

Fig 111: Building proximity to one another (By author, 2021)

Iteration 2 showcased the connections of walkways between street edges and the site. This position resulted in a linear pathway that users can take. It predominantly only allowed one-way access and hid the design and programs away. Instead, the pathways should navigate around the programs and amenities.

114

Fig 112: Linear movement (By author, 2021)

The position of the buildings in iteration 2 obstructs the principles of easy access from the public. The layout obstructs the user’s walkways and would result in a detour around the structure. Ease of connections between different programs should be the most critical factor shown in Fig:102 ,page 107.

Fig 113: Design access detouring (By author, 2021)

Fig 114: Building hierarchy through vertical elevation (By author, 2021)

Iteration 2 explored massing with programs vertically placed.

Providing multi-story buildings provides logistical issues as well as pedestrian movement. Notably, the vertical massing overpowered the existing buildings. The existing buildings should be the hierarchy with the intervention as a second character, complementing the existing.

Iteration 2 explored the material palette. Initially, the design proposal was to create separate identities for the various stages of ceramic production through materiality, building techniques, and orientation. The design outcome became distracting, and the material and orientation should speak one language representing the centre as a collective hub.

Fig 115: Materiality choice variety (By author, 2021)

Iteration 2 began the investigation of the tectonic forms. The roof structure and building elements were explored in translating “craftsmanship” into the structure. The use of modern materials did not represent the concept where users should see the construction techniques to use for themselves, and vernacular solutions were employed to represent these elements. Modern elements became too sophisticated for a didactic relationship.

Fig 116: Approach to tectonics (By author, 2021)

115

c) Iteration 3

116

Fig 117: Floor plan design of iteration 3 (By author, 2021)

117

Fig 118: Perspective view of iteration 3 (By author, 2021)

118

Fig 119: Section A-A of design iteration 3 (By author, 2021)

119

Outcomes:

Iteration 3 focuses on the site’s access from the street and the site’s perimeter. The installation of a succession of buildings in a clustered grid and organic forms have concealed the walkways. Pathways are required to travel to the program’s many processes and ensure easy navigation around the site to other programs.

Fig 120: Different access paths (By author, 2021)

Although iteration 3 divides several of the program’s functionality into a succession of smaller buildings. The direction and footprint of the structure engulf the usable northern site, and the placement also pushes the tiny industrial typologies on the Apies River’s eastern edge. Building proportions would be studied to free up more space for public use, such as the park and sidewalks.

120

Fig 121: Foot print of iteration 3 (By author, 2021)

The adaptive reuse of the old bowling clubhouse produced a hefty construction on top of a light typology in iteration 3. Instead of concealing one’s identity, the intervention should celebrate it.

Adaptive reuse, as discussed in Chapter 4, can use lighter materials such as a roof to preserve a structure rather than entirely modifying or restoring it.

Fig 122: Suppressing the existing (By author, 2021)

Fig 123: Excessive repetition (By author, 2021)

The perspective view in interpretation 3 (Fig:118 page 117) demonstrates repetition in the shape of tectonics, which is perceived as roof structures. Hierarchy is eventually lost as a result of continuous repetition. The suggested design goes on to investigate three roof typologies that mirror the reciprocation of the existing shapes.

Furthermore, the recurrence grew excessive and overwhelming to the existing.

A common space should connect the separation of the crafts component from the more industrial program of ceramic manufacture. This area should include opportunities for public interaction.

Fig 121: Separation of industrial craft (By author, 2021)

Further investigation of the planned design should connect with the existing ruins on the site’s western boundary. The link should be on ground level, with minimal interference to the existing structure, and might hold the site’s recreational and administrative features.

Fig 122: Ruins and intervention integration (By author, 2021)

121

d) Iteration 4

122

Fig 123: Axonometric view of iteration 4 (By author, 2021)

123

Fig 124: Axonometric view of iteration 4 masterplan (By author, 2021)

124

Fig 125: Brief floor plan of iteration 4 (By author, 2021)

125

126

Fig 126: Section of iteration 4 (By author, 2021)

127

Outcomes:

Incorporating leisure activities into the suggested design proved difficult in Iteration 4. The problem was that ground floor space was “running out.” The design considers using the available first-floor levels to push and pull the existing structure to accommodate additional amenities. This strategy would keep as much of the ground floor space open as possible, promoting leisure and recreational activities.

Fig 127: Extension sketch (By author, 2021)

The existing bowling clubhouse would be retrofitted with adaptive reuse components to add a light layer of novelty to the facility.

The proposed design would use the current brick material in a new parametric form. This technique demonstrates that even if the design is as simple as a brick, it can be considered a kind of art and craft.

Other amenities would also be housed within the structure.

128

Fig 128: Experimenting with parametric bricks (By author, 2021)

Fig 129: Ruins and their walkways (By author, 2021)

For the ruins, the final architectural solution includes several walkways leading to observation decks on the outside and intimate social spaces on the inside. As nature may take over, the ruins should be left alone and maintained. Structural stability would be given to parts that require support and necessary protection for the public, such as balustrades.

129

INTRODUCTION

The proposed design builds on the theories and studies presented in the previous chapters to provide a solution that will regenerate Berea Park into a social centre where the historical layers are celebrated.

The design also presents a programme for achieving this regeneration. The suggested design integrates engaging architecture and spaces that connect social, cultural and recreational components to improve

CHAPTER

130

SEVEN DESIGN RESOLUTION

the site’s social sustainability for future generations.

The proposed design intends to incorporate the conceptual approach of symbiotic interaction as a means of engaging users. This approach translates from the urban to the human scale, where the intervention focuses on providing users with a tactile experience to improve skills and create other opportunities. In addition, incorporating intimate pockets of interaction and other amenities provides democratic functions for users, converting the site into a more public access point.

131

Fig 130: Render view from the east assembly yard (By author, 2021)

132

Fig 131: Contextual axonometric view of site (By author, 2021)

133

Fig 132: Exploded roof exploration axonometric view showcasing the interior (By author, 2021)

1. Vehicle entrance and parking

12.

Rhodes Avenue

2. Assembly yards 3.

3. Park extension 4. Water filtration

4.

5. Pedestrian bridge 1.

7. Field 1

134

8. Walkways 9. Field 2 10. Ruins 1

Lilian Ngoyi Street

6. Apies River

10.

2.

5.

9.

11. Ruins 2 8.

12. Mini bus taxi pick up and drop off 7.

6.

11.

Site Plan

7.5m

25m 15m

Fig 133: Site plan diagram (By author, 2021)

A

KEY

Portion 1

Crafts Centre Public Park Social Ruins Plans, sections and elevations of the design will be divided into portions (1 and 2) and represented in the document respectively, due to the scale of the site.

Illustrations, where applicable will incorporate both portions and the demarcation signs will be visible on the Zoned plan

B

B

Portion 2 A

135

Portion 2 B

Zoned Plan

7.5m

25m 15m

Fig 134: Zoned functional plan diagram (By author, 2021)

Portion 1 Ground floor Restrooms

Carving studio

f

Multi-functional studio

m Painting studio

Assembly yards

Exhibition studio

moulding room

moulding room

136 Parking

Glazing Storage workshop

Restrooms f

Clay storage Reception

Info centre

Firing

Assembly yards

moulding room

Assembly yards

Drying and display room

Glazing

m

Courtyard Deliveries and refuse

Artist studios

Fig 135: Portion 1 ground floor plan (By author, 2021)

Sand drop off Cutting & Moulding workshops Sand processing studio

Water collection and filtration

lounge

Separation tanks

7.5m Admin offices

15m

Recreational rooms

Ground floor

137

Portion 1 First floor Ceramic library

Office Void Lounge

Makers studio

Exterior walkway Exterior seating

Multi-media studio

Info centre lounge

Fig 136: Portion 1 First floor plan (By author, 2021)

Ramp up

138 Printing lab

Observation walkway

139

7.5m Roof seating

15m

Roof seating

First floor

140

Fig 137: View from assembly yard on ground floor (By author, 2021)

141

Fig 138: View from First floor towards the multi-functional studio below (By author, 2021)

Ceramics library

Painting studio

Multi-media studio

142

Section A-A Refer to zoned plan on page 135 for section cut line Fig 139: Section A-A (By author, 2021)

Mixing studio

Printing labs

Roof seating

Social ruins

Sports field

143

Info centre and parking

Mixing studio Multi-media studio

144

Section B-B Refer to zoned plan on page 135 for section cut line Fig 140: Section B-B (By author, 2021)

Glazing workshop

Glazing studio

Restrooms

Extended park

Separation tanks

Apies river

145

Fig 141: Section B-B extended (By author, 2021)

146

Fig 142: View inside a mixing studio (By author, 2021)

147

Fig 143: View of the exterior parametric brick wall and extended park (By author, 2021)

148

Fig 144: View of the exterior to artists studio courtyard and sport fields.(By author, 2021)

149

Fig 145: View of the exterior assembly yard and.(By author, 2021)

Portion 2 A Ground floor

Social seating and exhibition

Guided walkways

150

Walkways

Walkways

Field 1

Entrance Walkways

Ground floor

Fig 146: Portion 2 ground floor plan A (By author, 2021)

Portion 2 B Ground floor Entrance

Social seating and exhibition

Guided walkways

Observation seating

Walkways

Field 2

Social seating and exhibition

Walkways

Ground floor

Fig 147: Portion 2 ground floor plan B (By author, 2021)

151

152

Fig 148: View inside ruins and guided walkway (By author, 2021)

153

Fig 149: Exterior ruin observation platform overlooking the sports fields (By author, 2021)

INTRODUCTION

Chapter 8 introduces the technical resolution for the proposed community crafts centre. Specifications focus on an interactive sun screen, where the infill tiles are created by the users, who are able to configure the screen panel. Furthermore, the ties of the sun screen connect into the use of rammed earth walls. The rammed earth walls play on the idea of recycling on-site and sourced materials to

CHAPTER

154

EIGHT TECHNICAL RESOLUTION

produce a visible environmental impact and tactile showcase of the possibilities of ceramic products and the ingredients thereof as highlighted in Chapter 2.

Contract documentation demonstrates the building methods and services associated with the community crafts centre, where the use of masonry construction, among other materials, was investigated. The use of bricks and earthen materials was investigated as a way to integrate the centre with the existing setting, combining the existing elements on site with new materials such as the rammed earth walls.

8.1 SPECIFICATIONS

8.2 CONTRACT DOCUMENTATION 155

8.1.1 Wall screen experimentation

8.2.2 Technification on iteration 4

8.1 SPECIFICATIONS 8.1.1 Wall screen experimentation

156

Fig 150: Exploration of the rammed earth and tile screen (By author, 2021)

Fig 151: Exploration Sketch (By author, 2021)

Fig 154: Moulding exploration models and sketches (By author, 2021)

157

Fig 152: Soil in glass jar (By author, 2021)

Fig 153: Photographs of sieving (By author, 2021)

Fig 155: Moulding models and outcomes (By author, 2021)

158

Fig 157: Model exploration and notes (By author, 2021)

Fig 156: Model and sketch exploration (By author, 2021)

Fig 158: Section sketch exploration (By author, 2021)

Fig 159: Exploration sketch (By author, 2021)

Fig 160: Exploration model (By author, 2021)

Fig 161: Exploration notes (By author, 2021)

159

160

Fig 162: Development models and sketches (By author, 2021)

Fig 163: Compilation of final models (By author, 2021)

161

Fig 164: Axonometric view of component (By author, 2021)

8.2 CONTRACT DOCUMENTATION LILIAN NGOYI ST

8.2.2 Technification on iteration 4 ERF 3231

ERF 14/1164

SCHEDIENG ST ERF R/712570

ERF R/2571

ERF 2693

ERF 3/2571

ERF R/1163

ERF 10/1164

JUS

TICE

MAH

OME

DS

N NG OYI S

T

T

AVE

ERF 27/2550

RHODES AVE

74 deg rees

Y LINE

ING

145m BO

UNDR

BUILD 260m 2

SED

41385

E DRIV LA NDE

APP

NEL

IES R

SON

MA

IVER

90 deg rees

5m Bu ilding Line

1445

PROPOSED SPORTS FIELD

ERF 3622

T RH

AR

PROPOSED DEVELOPMENT

2878

Storm water outlet

188

190

GE

2178 3315

2825

84m Building Line

186

185

187

3493

5230

EXISTING BUILDING

1236

183

EXISTING BUILDING

s.o.p

184

DS

IVE

R

ELA DR ELA DR

ND

NE

LOOP ST

ND

SR

MA

PIE AP

289

MA

333

329

26

ON

22

179

181

ON

18

RHODES ST

R/2188

10/1164

LS

14

ST

LS

10

R/15/25701

MED

10/1164

311

3157

R/12/2570

MAHO

327

ICE

301

LILIAN NGOYI ST

SCHEIDING ST

JUST 309

256

R/13/2570

4/2200

NE

1/2189

R/2200

14/2570

BLOEM ST

1/2190

3375

283 4/2201

R/7/2570

SCHEIDING ST 2187

1/2188

s.o.p

300mm Ø concrete stormwater channel underneath walkway to outlet Brick walkway

PROPOSED NEW ADDITION

3395

3254

1330

Brick walkway

Existing 220mm brick wall 22 000

Area of focus boundry

4362

R=170mm T=250mm

drop off

3203

80m2

Brick paving

PROPOSED PARK

PROPO

1355

ce

to ll ipe fa il p on so necti VC on uP r c Ø we :40 e mm le s 1 0 11 nicp mu

Main pedestrian access no obstructions

Road access

3376

ie

2

190.5 m

10910

{3D}

4206

PROPOSED BUILDING

250m 2

PROPOSED WORKSHOP

22m Building Line

Existing parking area

EXISTING BUILDING

ce

Brick paving

2

150 m

Municiple connection

ce

210m 2

3142

NE RY LI UND 160 degrees

SCALE NTS

ERF 2871

196 189 198

1267

R/11/937 2992

3305

116 existing building

MED

ST

2207

RD ST

2208

2291 R/2209

CLARA ST

R/2292 1/2292

3304

1/2209

5/894 884

3622

PIET UYS

2293

UNDR

1/2290

EXISTING BUILDING

ST

Department of Architecture

M. Arch

140m BO

R/2280

R/2287

3309

MAHO

7/837

existing building

3034

AP

ICE

405

RIDER HAGAA

2279

R/2281

2278

Y LINE

JUST

8/837

3179

TULLEKEN ST

2277

VER PIES RI

3250

111m BOUNDRY LINE

R/2267

existing building

2294

YS ST

219

1328 1329

214768747 Project description

DELA DRIVE

1325

132 5

Kyle Posthumus

Student number

NELSON MAN

1336

1334

1338

1332

111m BOUNDRY LINE

D 1340

SCALE 1:500

LILIAN NGOYI ST

PRELL ER ST

SITE PLAN

Name

1328

1329

101

223

230

106 degrees

234

NORM AA

233 235 237

236

EL

LA

ND

DE

MA

MA N

ON

LS

876

102

AD

R IVE SR LS ON

AP PIE

SCALE 1:5000

NE

LOCALITY PLAN

DR

R

L ST

2/2375

232

229

3441

5

CONTRACT DOCUMENTATION

PIETU

1/3 97

NE

1

ce

PROPOSED BUILDING

ie

T

ie

110mm Ø uPVC soil pipe to municple sewer connection fall 1:40

ie

2125

9 200

520 m

ie

30m BO

E

ISOMETRIC VIEW

ie ce

2

ie

DS

135m BOUNDRY LINE ce ie

Access to site

PROPOSED BUILDING

s.o.p

MAH

OME

Line of above roof

0.2m Building Line

ie

PROPOSED BUILDING

Existing Manhole datum = 100 000 = 1334 ce

TICE

ERF 289

1330

1334

133 2

1338

13 36 3 050

110 degrees

162

JUS

RHODE S

LILIA

ERF R/15/2570

Community Crafts Centre in Pretoria CBD

Drawing number & description

LOCALITY AND SITE PLAN

N

Date OUT

N

10/08/2021

Date IN

1:5000 AND 1:500

GSEducationalVersion GSPublisherVersion 1204.0.13.100

Fig 165: Site analysis and locality sheet (By author, 2021)

Sheet No./No.

27/09/2021

Scale:

1/8

A

B

C

5 140

D

5 140

E

F

5 140

7 740

G

5 140

H

5 140

J

5 140

K

5 140

L

5 140

M

5 140

5 140

59440 900 1105

4880

2520 ce ie

110

945

110

110

945

110

ENTRANCE WALKWAY

4/8

Graphite Brick Pavers 99 830

whb

1175

whb

110

10300

710

line of roof overhang above

5 000 3500

220

400

300

1500

2300

400

5 000

400 2975

220 99 915 D10

ae ss ss ae

ss ae

wc

wc

D14

D14

5 000

1500

7700

1110 1500

40300

605

5 000

4960 6775

5 000

1815 220

5 000

D14

DIS BTH

line of roof overhang above 220

2

ur

110

D13

Polished Cemcrete whb

220

whb

5 000

85mm step

MALE BTH

1070

220

4135

220

220

3550

50mm Ø uPVC waste water pipe to stub stack

ur

925 1885 220

505

220 1385

7345

6905

wc wc

110mm Ø uPVC soil pipe to municple sewer connection fall1:40

370

220

220 Perforated wall: 220mm x 110mm x 75mm 110mm Ø galvanised sheet metal Satin Terracota non-load bearing brick wall. downpipe fixed to brick wall with Brick overlaps of 50mm with flush joints 30mm stainless steel off-pipe bracket

Department of Architecture

M. Arch

1

5

CONTRACT DOCUMENTATION Name

ENTRANCE WALKWAY

ENTRANCE WALKWAY

Graphite Brick Pavers 99 830

Graphite Brick Pavers 99 830

A

1500

D11

110 D12

170mm step

D14

wc

FEMALE BTH

whb

110 1490 110 1540

1540

3

Polished Cemcrete

3031 1850 220

D12

1500

170mm step

Perforated window: 220mm x 110mm x 75mm Satin Terracota window design. Brick overlaps of 50mm with flush joints

220

170mm step

300

110 220 1815 4285 110 1490 110

4700 300 3035 110mm Ø galvanised sheet metal downpipe fixed to concrete column with 30mm stainless steel off-pipe bracket

Line of floor slab above

ss ae

165

1500

1700

W11

85mm step

W1

ss ae

ie

ce

Perforated wall: 220mm x 110mm x 75mm Satin Terracota non-load bearing brick wall.

Brick overlaps of 50mm with flush joints

STORAGE whb

D15

85mm step

300

W2

PORCH Polished Cemcrete 99 915

ss ae

3010

220

Polished Cemcrete 100 000

440

Polished Cemcrete

1500

845 1500 300 465 465 1500 2730

220

GLAZING WORKSHOP

D9

Polished Cemcrete 99 915

300

220

RECEPTION

Graphite Brick Pavers 99 830

1500 Onyx Brick Pavers 99 830

1700

ASSEMBLY YARD

D7

W1

Main pedestrian access no obstructions

WALKWAY

ss ae

4

BIC

85mm step

D11

g

D13

220

900

PORCH

85mm step

D3

4920

440

790

D3

1185

line of roof overhang above

W11

1010

Polished Cemcrete 100 000

300

110

W6

110 900

1.2m high countertop

1780

RECEPTION LOBBY

Line of beam above

170mm step

D4

line of beam above

680

BIC

1100 BIC

110 900

110mm Ø uPVC rainwater outlet.

110mm Ø uPVC rainwater downpipe cast into concrete column

85mm step

900

D5

1 RAMP NOTE: 1100mm wide reinforced concrete ramp to engineer's specifications. ramp slope maximum 1:12 to SANS 10400 PART S. 1500mm wide landing. 110mm x1100mm high concrete upstands with 50mm Ø stainless steel hand rail.

2500

D8

300

300 110 KITCHEN 1135 520 1135

W1

500

85mm step

KILN NOTE: Gas-reduction Kiln built to specialist drawings. Kiln to have layers of 110mm thick facebrick interior and 110mm insulated exterior brick face with a fibre blanket layer between brick layers.

300

1425

13460

5 000

110

STORAGE

170mm step

5 000

2

100 680

220

2925

2070

D6

Polished Cemcrete 99 915

D17

Ramp slope 1:8

2175

300

Polished Cemcrete 99 915

100 000

PORCH

to ipe :40 il p ll 1 so n fa VC tio uP ec Ø onn c m 0m le 11 ncip mu

wc

D16

Polished Cemcrete

100 000

1460

Graphite Brick Pavers 99 830

220

GLAZING STUDIO

STORAGE

220

100 000

1105

PODIUM

85mm step

D18

2520

85mm step

D14

220

D16

D18

2620

WALKWAY 220

4695

wc

1350

FIRING ROOM

220

300mm non-load bearing rammed earth wall to egineer's specifications

2520

D12

85mm step

D11

110

2420 220

D11

300mm x 300mm In-situ reinforced concrete column

220

Polished Cemcrete

220 1910 220

1167

whb

1210

220

163

5

300 1460

220

3225

1210

300

220

85mm step

110mm Ø galvanised sheet metal downpipe fixed to concrete column with 30mm stainless steel off-pipe bracket

1910 220

W11

B 4/8

3770

1100

W9

1850 220

1870

440

2540

170mm step

220

W9

D12

85mm step

W11

D4

300

2105

W11

170mm step

D11

FE FE

2500 2500

170mm step

D8

220

100 000

300

ELE

D11

Polished Cemcrete

4740

W11

EXHIBITION STUDIO

1910 220

170mm step

1100

D12

1870

300

6

170mm step

1870 300

D12

1100

1695

Line of galvanized mild steel beam above

1120

WALKWAY Graphite Brick Pavers 99 830

1870

Perforated window: 220mm x 110mm x 75mm Satin Terracota window design. Brick overlaps of 50mm with flush joints

220 1910 220

300 1710

D12

Perforated wall: 220mm x 110mm x 75mm Satin Terracota non-load bearing brick wall.

Brick overlaps of 50mm with flush joints W12

100 000 1870 300

Polished Cemcrete

2500

2520

300mm non-load bearing rammed earth wall to egineer's specifications

170mm step

W10

300

W10

3335

W10

400mm thick load bearing rammed earth wall to engineer's specification

W11

D4

2500

1100

Polished Cemcrete

900

110

110

7

2070

110

85mm step

2670

600

D12

950

DRYING AND DISPLAY ROOM 1870

220

D12

1200

PORCH

CLAY STORAGE

1870

D9

170mm step

1180

4880

Line of sun screen component see detail 6 page. 6/8 W10

Polished Cemcrete 99 915

W5

4840

170mm step

D9

8

D11

D11

405

300

1910

220

W5

300

85mm step

2150

Line of beam above

1870 300

110

BIC

1500

1200

1510

958 335

1100

2460

400

265

220

3

300

110

1500

2650

Lintol over

4840

W11

1100

1160

3155

170mm step

265

300

W12

1825 1500

1910

Line of 2500mm aluminium mechanical rotation door to mechanical engineer's specification

300 2520

110

1350

170mm step

D9

100 000 1160

3175 595

170mm step

300

110

D11

170mm step

D9

W10

485

D4

170mm step

2500

220

2460

BIC

110

300mm non-load bearing rammed earth wall to egineer's specifications

1200

220

440

Polished Cemcrete 100 000

300

110 110

Polished Cemcrete

W5

MIXING AND SPINNING ROOM 1

Line of galvanized mild steel beam above 110

300

3385

950

W10

220 975 110 975

FHR

ie

220

110

1730

435 1200

W10

220

whb

1010 110

3835

1285

7520 1285

85mm step

FE

265

110

1660

110

220

Line of slab above

BIC

300 250

99 830

945

Polished Cemcrete 100 000

170mm step

1770

W3

D8

491 2075

110

170mm step

710

491

530

BIC

D1

520 285

110

MULTI-USE STUDIO 1600

220

750

770

ce

110

2920

Polished Cemcrete 100 000

85mm step

220

110 1010

13460

3835

110 220

D5

1200

Line of roof overhang above

300

300

W4

BIC

D11

440mm thick Satin Terracota brick wall

MIXING AND SPINNING ROOM 2

1055

1160

5 000

2110

W4

220

905

110

220

FE

440

W3

line of roof beam above

whb

1460

2520

5300

110

D14

950

W10

D12

110 950

1320 300

BIC

110

1010

BIC

D1 85mm step

520

2500

110

1160

1285

220

2670

D14

2670

1100 1590

WALKWAY

1915 110

D8

Polished Cemcrete 100 000

300

2520

1160

110mm Ø uPVC soil pipe to munciple connection fall 1:40

W4

1500mm high x 110mm thick concrete wall

3580

1790 whb

W8

2200

FHR

1850

Onyx Brick Pavers 99 830

2520

220 BIC

905

whb

110

whb whb

D14 D14 D14

W4

900

170mm step

D2

Polished Cemcrete

1700

1700

110

170mm step

ASSEMBLY YARD

2620 300

1160

50mm Ø uPVC waste water pipe

400 300

190

1555

2520

300 1160

line of stair landing above 110

4270

BIC

W5

2620

2520

405

MIXING AND SPINNING ROOM 3

520 530

1008

wc ur

Line of floor slab above

110

220

1700

STORAGE 220

STAIR NOTE: tread = 250mm riser = 170mm

D12

110

whb

750

1802

D12

2520 1160

ce

W4

3580

170mm step

W3 ie

220

1007

DOUBLE VOLUME

D12

1115

1115

D1

520 530 750

1800

BIC

W5

1802

170mm step

85mm step

490

490 5 000

170mm step

1160

100 000

D12

2550

300

85mm step

1950 220

ce

40300

1150 300

1500

220 1950 110

B 4/8

5 000

1500

D11

1095

1095 300

300

D11

110

3010

170mm step

395 1500

10 9 8 7 6 5 4 3 2 1

W4

220

1500

2520

9

220

Polished Cemcrete

D13

1100mm high balustrade to SANS 10400 PART M

1350

Line of concrete walkway bridge above

5 000

D14

whb

220 110 300

1500

2620 300

1160

300mm non-load bearing rammed earth wall to egineer's specifications

changing table

FAMILY RM

MALE BTH

11 12 13 14 15 16 17 18 19

300 395

1235

D9

410

10530

D11

1500

110 3025

300

220

whb

170mm step

Polished Cemcrete 100 000

D5

220

whb

PAINTING STUDIO

1660

D5

STORAGE

2520

1160

ie

Polished Cemcrete

3625

3625

5 000

1205

4

ss ae

whb

2465

STORAGE

2520

110mm Ø uPVC soil pipe to municple sewer connection fall 1:40

D13

line of beam above

300mm x 300mm In-situ reinforced concrete column

5

ss ae

Polished Cemcrete 100 000

D13

whb

D11

300

STORAGE

1215

85mm step

745

1160

ce

FEMALE BTH

ss ae

wc

2370

W3

220

10300

220

BIC

W3

Onyx Brick Pavers

1720

2830

2330

220 1870 220

D9

85mm step

1715

110mm Ø uPVC soil pipe to munciple connection fall 1:40

1350

110

1580 520

g

Polished Cemcrete 100 000

220

W7

6

ss ae

floor drain

99 830 5 000

W4

50mm Ø uPVC waste water pipe

300

50mm Ø uPVC waste water pipe

wc

W4

CARVING STUDIO

4840

ie

wc

1440

W4

WALKWAY

7

300

D10

2895

1194

5 000

8

A

ie

ce

9

4840

ie

300mm non-load bearing rammed earth wall to egineer's specifications

Line of sun screen component see detail 6 page. 6/8

ie

300

110

ie

ce

2620 300

110

900

3350

2520

110

1820

380

2520

4336

440

150

110

2470

150

1145

4840

ramp slope 1:12

2520

150

110

1235

220

150

110

300

4840

920

150

16730

r =1550mm

25 150

240

300

2115

1065

4486

110

5115

885

25

110

5140

4/8

150

Kyle Posthumus

Student number

214768747 Project description

2365

520

1785

840

225

GROUND FLOOR PLAN

1630

185 1965

12580

5140

2170

1100

1870 300

5140

4990

5280

Community Crafts Centre in Pretoria CBD

10290

520 540

6800

3780

12580

15720

4990

7845

7725

SCALE 1:100 59440 5 140

7 740

5 140

5 140

5 140

5 140

5 140

5 140

5 140

5 140

5 140

Drawing number & description

GROUND FLOOR PLAN

N

A

B

C

D

E

F

G

H

J

K

L

M

Date OUT

10/08/2021 Scale:

SCALE 1:100

GSEducationalVersion GSPublisherVersion 1204.0.13.100

Fig 166: Ground floor plan sheet(By author, 2021)

Date IN

Sheet No./No.

27/09/2021

2/8

A

B

C

5 140

D

5 140

E

F

5 140

7 740

G

5 140

H

5 140

J

5 140

K

5 140

L

5 140

M

5 140

5 140

59440 300 1515

2405

1215

2405

1255

1215

2405

1215

300

2515

2405

2515

300

1215

2405

1215

300

35980

1255

2405

1255

220

2555

2405

2555

220

1255

2405

1255

220

35720

220

220

300 Sloped 255mm thick x 340mm high concrete upstand beam with two coats bituminous waterproofing aluminium paint on external surface

5 000 9700

fall 1:60

fall 1:60

20300

5 000

fall 1:60

6

fall Masonary barrel arched roof

fall Masonary barrel arched roof

fall 1:60

5 000

fall Masonary barrel arched roof

fall 1:60

fall 1:60

fall 1:60

fall 1:60

4845

150

3310

220

340mm high Satin Terracota brick parapet wall with190mm Satin Terracota soild coping brick block ontop

5 000

Sloped 255mm thick x 340mm high concrete upstand beam with two coats bituminous waterproofing aluminium paint on external surface

fall 1:60

4740

220

220 Perforated wall: 220mm x 110mm x 75mm Satin Terracota non-load bearing brick wall. Brick overlaps of 50mm with flush joints

2850

220

5

ELE

1590

3290

770

220

STORAGE

outlet

outlet

4

220

FHR

220

2060

3380

W13

2435

110

110

150mm wide concrete gutter with two coats of bituminous waterproofing paint on external surface. Fall towards rainwater downpipe

4740

110mm Ø galvanised sheet metal downpipe fixed to concrete column with 30mm stainless steel off-pipe bracket

Line of first UFFL extrusion

300

300

40300

B 4/8

outlet

110mm Ø Stainless steel fullbore with 110mm Ø uPVC connection to 110mmØ sheet metal downpipe outlet on ground floor

220

1910 220

340mm high Satin Terracota brick parapet wall with190mm Satin Terracota soild coping brick block ontop

fall 1:60

5 000

2

110mm Ø Stainless steel fullbore with 110mm Ø uPVC downpipe cast into concrete column with outlet on ground floor

340mm high Satin Terracota brick parapet wall with190mm Satin Terracota soild coping brick block ontop

CONCRETE ROOF NOTE: 255mm concrete roof slab with 25mm thick cement screed to fall 1:60 with Derbigum SP4 waterproofing membrane to be tourched on fusion on top screed with 50mm end laps and 25mm side laps. 50mm thick gravel protection layer ontop of waterproof membrane

fall 1:60

fall 1:60

fall 1:60

fall 1:60

5 000

5 000

valley

fall 1:60

9740

103 145

CONCRETE ROOF NOTE: 255mm concrete roof slab with 25mm thick cement screed to fall 1:60 with Derbigum SP4 waterproofing membrane to be tourched on fusion on top screed with 50mm end laps and 25mm side laps. 50mm thick gravel protection layer ontop of waterproof membrane

5 000

340mm high Satin Terracota brick parapet wall with190mm Satin Terracota soild coping brick block ontop

fall 1:60

15220

1305

fall 1:60

220

5 000

150mm wide concrete gutter with two coats of bituminous waterproofing paint on external surface. Fall towards rainwater downpipe

220

14780

220 1260

fall 1:60

3 2405

valley

1260

fall 1:60

Line of mild steel I- Beam above

fall 1:60

1165 1260

fall Masonary barrel arched roof

fall 1:60

2405

fall Masonary barrel arched roof

fall 1:60

1260

fall Masonary barrel arched roof

W13

220

220

fall Masonary barrel arched roof

fall 1:60

40mm thick MODEK flush opal 50% polycarbonate panels fixed to 50mm thick aluminium frame

Polished Cemcrete 103 230

5000

D5

W13

PRINTING STUDIO

2405

W13

290

FE

300

10000

valley

5000

W13

fall Masonary barrel arched roof

1165

220 D2

220

2

fall 1:60

103 145

outlet

220

outlet

110mm Ø stainless steel full bore outlet connected to a 80mm Ø uPVC outlet pipe to concrete gutter

Polished Cemcrete 103 230

85mm step

fall 1:60

9700

outlet

fall 1:60

2400

fall 1:60

1960 220

fall 1:60

7

340mm high Satin Terracota brick parapet wall with190mm Satin Terracota soild coping brick block ontop fall 1:60

110mm Ø stainless steel full bore outlet connected to a 75mm Ø galvanised sheet metal rain water downpipe

MULTIMEDIA STUDIO

WALKWAY

fall 1:60

360

8

5 000

5030

300

1260

fall 1:60

300

1500

valley

1145 300 4700

1100mm high balustrade to SANS 10400 PART M

3425 220 1315

945

220

1500 360

103 145 CONCRETE ROOF NOTE: 255mm concrete roof slab with 25mm thick cement screed to fall 1:60 with Derbigum SP4 waterproofing membrane to be tourched on fusion on top screed with 50mm end laps and 25mm side laps. 50mm thick gravel protection layer ontop of waterproof membrane

STAIR NOTE: tread = 250mm riser = 170mm

W12

2405

W13

Exposed Concrete

1180

103 145

1545

1500

9

220

220 2405 1165

100mm Ø stainless steel full bore connected to a 80mm steel downpipe oulet on ground floor

B 4/8

1600

1600

85mm step D2

1500

1500

1825 220

1505 220

300

85mm step

103 145

1600

1600

1165

1825 1545 1150 220 1100mm x 300mm wide concrete upstand beam with 50mm Ø stainless steel handrail 110mm Ø uPVC pipe cast into concrete slab with outlet towards ground floor

4840

1315

1315

VOID

D12

103 145

1165

300 1100

300

W13

300

170mm step

D12

103 145 CONCRETE ROOF NOTE: 255mm concrete roof slab with 25mm thick cement screed to fall 1:60 with Derbigum SP4 waterproofing membrane to be tourched on fusion on top screed with 50mm end laps and 25mm side laps. 50mm thick gravel protection layer ontop of waterproof membrane

1165

300 1130

1545

Cement Screed 103 060 1165

300 1165 2215

2215

5 000

170mm step

D12

W12

EXTERIOR WALKWAY

101 530

3

D5

955 220

300

1165

2405

5 000

300

40300 5 000

300

4

LOUNGE

10 9 8 7 6 5 4 3 2 1

85mm step

6

5

11 12 13 14 15 16 17 18 19

Polished Cemcrete 103 230

170mm step

1315

1095 300

300

103 145

4700

4700

5 000

220

220

D2

85mm step

110

Department of Architecture

M. Arch

102 380 valley

valley 220

1

300

110mm Ø Stainless steel fullbore with 110mm Ø uPVC connection to downpipe. outlet on ground floor

110mm Ø Stainless steel fullbore with 110mm Ø uPVC downpipe cast into concrete column with outlet on ground floor

RAMP NOTE: 1100mm wide reinforced concrete ramp to engineer's specifications. ramp slope maximum 1:12 to SANS 10400 PART S. 1500mm wide landing. 110mm x1100mm high concrete upstands with 50mm Ø stainless steel hand rail.

1

5

CONTRACT DOCUMENTATION Name

Kyle Posthumus

Student number

4/8

164

600

600mm x 600mm x 6mm thick plywood book shelves built to manufacturers specifications

4700

5 000

3425

Line of concrete beam above

7

110

600

220

220

220

1145

1145

300

8

fall 1:60

Polished Cemcrete 103 230

valley

LIBRARY OFFICE

Polished Cemcrete 103 230

fall 1:60

CERAMICS LIBRARY

Line of mild steel I- Beam above

fall 1:60

220

fall 1:60

4375

fall 1:60

545

valley

220

fall 1:60

1150

fall 1:60

220

1145

4920

fall 1:60

220

W13

W13

1150

W13

2405

1145 2405

W13

W13

300

220

1145 2405

5 000

9

110mm Ø Stainless steel fullbore with 110mm Ø uPVC downpipe cast into concrete column with outlet on ground floor

40mm thick MODEK flush opal 50% polycarbonate panels fixed to 50mm thick aluminium frame W13

300

A

fall 1:60

1255

4/8

220

214768747

A

Project description

220

1255

2505

1215

1215

2505

1255

220

7480

1620

220 1910 220

1170

15720

4990

8745

6825

15720

4990

8745

6825

Community Crafts Centre in Pretoria CBD

300

FIRST FLOOR PLAN

10580

12580

SCALE 1:100 59440 5 140

7 740

5 140

5 140

5 140

5 140

5 140

5 140

5 140

5 140

5 140

Drawing number & description

FIRST FLOOR PLAN

N

A

B

C

D

E

F

G

H

J

K

L

M

Date OUT

10/08/2021 Scale:

SCALE 1:100

GSEducationalVersion GSPublisherVersion 1204.0.13.100

Fig 167: First floor plan sheet (By author, 2021)

Date IN

Sheet No./No.

22/09/2021

3/8

9

8

7

5 000

1130

3

5 000

160

2

5 000

1

5 000

5 000

KILN NOTE: Gas-reduction Kiln built to specialist drawings. Kiln to have layers of 110mm thick facebrick interior and 110mm insulated exterior brick face with a fibre blanket layer between brick layers.

CONCRETE ROOF NOTE: 255mm concrete roof slab with 25mm thick cement screed to fall 1:60 with Derbigum SP4 waterproofing membrane to be tourched on fusion on top screed with 50mm end laps and 25mm side laps. 50mm thick gravel protection layer ontop of waterproof membrane

150mm wide concrete gutter with two coats of bituminous waterproofing paint on external surface.

Fall towards rainwater downpipe

SD1 5/8

W15

ROOF APEX 2 106 715

540

590

45 degree

5660

40mm thick MODEK flush opal 50% polycarbonate panels fixed to 50mm thick aluminium frame to manufacturers specifications

Stainless steel crowl placement with charcoal filter to manufacturers specification

Sloped 255mm thick x 340mm high concrete upstand beam with two coats bituminous waterproofing aluminium paint on external surface

2645

340

D2 7/8 3075

2645

line of 150mm deep rain water chute connected to a 110mmØ sheet metal rain water downpipe outlet to concrete roof below

590

4

5 000

ROOF APEX 3 109 350

254mm x 146mm x 6mm galvanised mild steel IBeam with 110mm x 75mm x 220mm Satin brick infill 0.6mm glashing installed underneath I-Beam

ROOF APEX 2 106 715

5

5 000

STAIR NOTE: Pre- Cast reinforced concrete stairs with a tread of 250mm and riser of 170mm in total 19 steps. Landings to have an 85mm extrusion where the concrete step can lie. Pre drilled holes to attach stair and landing with 12mm Ø steel rod with fill.

1100mm concrete upstands with 50mm Ø stainless steel handrail

D1 7/8

ROOF APEX 3 109 350

6

5 000

LIBRARY OFFICE

340

595

PORCH Satin FB

85mm step

880

Line of 900mm x 900mm x 250mm thick reinforced concrete pad foundations to engineers specification

2975 50mm Ø stainless steel handrail cast into 1100mm high concrete retaining wall to SANS 10400 PART M

2580

85mm step

CUT NEW NGL

380

0.35mm thick gunplas USB green DPM on compated filling in layers of 150mm

170mm thick reinforced concrete surface bed with 25mm thick screed ontop

85mm thick concrete apron with 25mm screed fall towards brick pavers

85mm thick concrete podium with 110mm thick concrete toe

800mm x 440mm x 250mm thick reinforced concrete strip foundation with 450mm high concrete foundation wall

100mm thick compacted gravel of 5mm Ø gravel stones. Stones to be recycled from excavated areas

475mm x 255mm thick concrete thickening

220mm x 52mm x 50mm ONYX brick pavers with polymeric sand infill at joints 110mm Ø uPVC perforated storm water pipe wrapped in geotextile cloth at a fall of 1:60 to stormwater connection point BRICK PAVING NOTE: 220mm x 52mm x 50mm ONYX brick pavers in a staight flat paving layout. joints to be filled with polymeric sand. 50mm thick binding sand layer underneath brick pavers. 100mm thick compacted gravel of 5mm Ø max gravel stones uderneath binding sand with the 035mm DPM ontop

50mm thick binding sand underneath brick pavers

SECTION A-A

GROUND UFFL 100 000

NGL

1480

475

3230

D9

D11

aluminium louvres

Off shutter concrete finish. Concrete upstands to act as balustrades at 1100mm high 150mm x 370mm wide x 85mm thick pre-cast concrete stormwater trench with galvanised mild steel mentis grid ontop. Trench fall 1:60 towards storm water connection

FIRST UFFL 103 230

340mm high Satin Terracota brick parapet wall with190mm Satin Terracota soild coping brick block ontop

1100

1510

1615

255

505 310

Insulated Brick 1090

505

680 595 85mm step

85mm step

110mm Ø stainless steel full bore outlet connected to a 75mm Ø galvanised sheet metal rain water downpipe

595

3535 D16

275

200

170

2295

1772

170mm step

254mm x 146mm x 6mm galvanised mild steel T- Section to be used as a masonary shelf for brick work above

220

1

D11

W11

170

2

D11

590

3

D12

680

4

Satin FB

KILN D18

D12 5

Satin FB

430

Satin FB

FIRING

170

6

540

7

1300

255 770

Satin FB

1787

8

255

15

9

DRYING / DISPLAY

1105

14

10

103 060

W10

13

19

18

1100

255

12

11

D13

17

170mm step

450

NGL

Satin FB

whb

16

25

FILL

MALE BTH

Satin FB whb

2975

1100

NEW NGL

FEMALE BTH

170

GROUND UFFL 100 000

940

3230

50mm Ø uPVC weephole pipe with non enclosed end covers stuffed with geotextile cloth internally.

Pipe placement at a height of 300mm max from stormwater trench 1500mm max horizontally spaced

2975

255

0.6mm galvanised steel sheet metal flashing tucked into brick work mortar joint

106 205 ROOF APEX 1

D3 7/8

W15

190 degree

340

FIRST UFFL 103 230

W15

2695

DOUBLE VOLUME

W13

595

W13

3835

2720

2975

255

595

Satin FB

106 205 ROOF APEX 1

SCALE 1:100

RETAINING WALL NOTE: 220mm thick concrete retaining wall with a 0.35mm hyperlastic orange layer applied to manufacturers specification. 110mm thick NFB wall to be built on heel of concrete retaining wall.

165

A

B

C

5 140

D

5 140

E

F

5 140

7 740

G

5 140

H

5 140

PD 1 6/8 60mm x 30mm x 2mm thick galvanised mild steel c-channels fixed to masonary roof with 4mm Ø anchor bolts. See detail 2 page. 7/8

ROOF APEX 3 109 350

254mm x 146mm x 6mm galvanised mild steel IBeam with 110mm x 75mm x 220mm Satin brick infill 0.6mm glashing installed underneath I-Beam

50mm ISOBOARD insulation panels rested on 2440mm x 1220mm x 12mm thick plywood panels

540

3117

1000mm high x 110mm thick concrete upstand with a 50mm Ø stainless steel handrail cast into concrete to SANS 10400 PART M

ROOF APEX 2 106 715

ROOF APEX 2 106 715

W12

NGL

220

610

170mm step

W10

W10

W10

W10

D12

W12

170mm step

170mm step

Department of Architecture

340 1020

D9

Satin FB

D11

D12

M. Arch

GROUND UFFL 100 000

170mm step

475

5

CONTRACT DOCUMENTATION Name

NGL

Kyle Posthumus

Student number

214768747

250 0.35mm thick gunplas USB green DPM on compated filling in layers of 150mm

FIRST UFFL 103 230 255

85 W10

3150

W10

Satin FB

D9

2210

D12

W10

Satin FB

EXHIBITION STUDIO

170

D12

W10

opening behind

340mm high Satin Terracota brick parapet wall with190mm Satin Terracota soild coping brick block ontop

Rammed Earth

85 D12

D2

2865 1640

Rammed Earth

opening behind

106 205 ROOF APEX 1

110mm Ø stainless steel full bore outlet connected to a 75mm Ø galvanised sheet metal rain water downpipe

W15

Aluminium drip

DRYING AND DISPLAY

Rammed Earth

85mm thick concrete lintol

Satin Facebrick Barrel vault roof

Perforated wall: 220mm x 110mm x 75mm Satin Terracota non-load bearing brick wall.

Brick overlaps of 50mm with flush joints 230

DRYING AND DISPLAY

2210

D8

170

610

170

Satin Facebrick Barrel vault roof

3230

Satin FB

D4

250 800mm x 440mm x 250mm thick reinforced concrete strip foundation with 450mm high concrete foundation wall

Satin Facebrick Barrel vault roof

Aluminium drip 1640

510

Concrete off-shutter

170mm step

Line of 900mm x 900mm x 250mm thick reinforced concrete pad foundations to engineers specification

Satin Facebrick Barrel vault roof

2210

W15

3625

D12

2865

D12

595

300mm thick non load bearing rammed earth wall to engineer's specification

220

220 BIC

170mm step

170

ROOF APEX 3 109 350

Cut through key stone of masonary barrel vault roof

Satin FB

1860

D12

Manuel pivot door

2975

2975

BIC D9

NGL NGL

M 5 140

CONCRETE ROOF NOTE: 255mm concrete roof slab with 25mm thick cement screed to fall 1:60 with Derbigum SP4 waterproofing membrane to be tourched on fusion on top screed with 50mm end laps and 25mm side laps. 50mm thick gravel protection layer ontop of waterproof membrane

Satin FB

510

595 W13

255 510 765

MIXING AND SPINNING ROOM 3

2210

GROUND UFFL 100 000

L 5 140

MASONARY ROOF NOTE: 220mm x 110mm x 75mm Satin facebrick masonary barrel vault roof with a soldier bond course with mortar flush joint finish.

10mm thick mortar joint on internal leaf with a 20mm mortar joint on external leaf. Masonary brick mortar joints to include Sikalite powdered waterproofing mortar admixture when mixing

Line of 150mm deep rain water chute connected to a 110mmØ sheet metal rain water downpipe outlet to concrete roof below

Satin FB

Satin Facebrick Retaining wall behind

K 5 140

40mm thick MODEK flush opal 50% polycarbonate panels fixed to 50mm thick aluminium frame to manufacturers specifications W15

425

W5

W13

103 230 170

1000 170

103 145

Satin Facebrick

1860

595

595

255

MULTIMEDIA STUDIO

W13 D2

FIRST UFFL 103 230

5 140

45 degree

1490

106 205 ROOF APEX 1

J

5 140

Project description

100mm thick compacted gravel of 5mm Ø gravel stones. Stones to be recycled from excavated areas

475mm x 255mm thick concrete thickening

50mm thick binding sand underneath brick pavers

170mm thick reinforced concrete surface bed with 25mm thick screed ontop

BRICK PAVING NOTE: 220mm x 52mm x 50mm ONYX brick pavers in a staight flat paving layout. joints to be filled with polymeric sand. 50mm thick binding sand layer underneath brick pavers. 100mm thick compacted gravel of 5mm Ø max gravel stones uderneath binding sand with the 0.35mm DPM ontop

150mm x 370mm wide x 85mm thick pre-cast concrete stormwater trench with galvanised mild steel mentis grid ontop. Trench fall 1:60 towards storm water connection

Community Crafts Centre in Pretoria CBD

Drawing number & description

SECTION B-B

SECTION A AND SECTION B Date OUT

SCALE 1:100

10/08/2021 Scale:

SCALE 1:100

GSEducationalVersion GSPublisherVersion 1204.0.13.100

Fig 168: Sections AA and BB (By author, 2021)

Date IN

Sheet No./No.

22/09/2021

4/8

6

5

6

5 000

230

ROOF APEX 2 106 715

220mm x 110mm x 75mm key stone

80

106 205 ROOF APEX 1

ROOF APEX 2 106 715

220mm x 110mm x 75mm Satin facebrick masonary barrel vault roof with a soldier bond course. 10mm thick mortar joint on internal leaf with a 20mm mortar joint on external leaf.

Masonary brick mortar joints to include Sikalite powdered waterproofing mortar admixture when mixing

106 205 ROOF APEX 1

0.6mm galvanised mild steel flashing tucked in second brick course mortar joint with 0.6mm galvanised mild steel counter flashing Silicon caulk sealant INTERIOR

R=3

600m m

1590

EXTERIOR

254mm x 146mm x 6mm galvanised mild steel T- Section to be used as a masonary shelf for brick work above

2185

R

W15

D4 5/8

460

150mm wide pre cast concrete gutter with two coats of bituminous waterproofing paint on external surface. Fall towards rainwater downpipe

340

190mm x 190mm x 190mm brick coping with bitumous waterprrofing paint underneath FIRST UFFL 103 230

PORCH Satin Facebrick

INTERIOR

EXTERIOR

INTERIOR

254mm x 146mm x 6mm galvanised mild steel T- Section to be used as a masonary shelf for brick work above

110mm Ø galvanised sheet metal downpipe fixed to concrete column with 30mm stainless steel off-pipe bracket

10mm flush mortar joint with 2.8mm x 100mm galvanised brick force every 5th brick course

275

0.6mm galvanised mild steel counter flashing and 0.6mm flashing tucked in mortar joint

GROUND UFFL 100 000

75

150mm wide pre cast concrete gutter with two coats of bituminous waterproofing paint on external surface. Fall towards rainwater downpipe

110

595 250

170

595

190mm x 190mm x 190mm brick coping with one bituminous waterproofing paint underneath

75

170mm step

250

190

220mm x 52mm x 50mm onyx brick pavers with polymeric sand infill at joints

170

170

W11

510

1020 170

Silicon caulk sealant

Perforated window: 220mm x 110mm x 75mm Satin Terracota window design. Brick overlaps of 50mm with flush joints

D 12

movement joint

Compacted filling layers of 150mm

450mm x 110mm thick pre cast concrete lintol

75

BRICK PAVING NOTE: 220mm x 52mm x 50mm onyx brick pavers in a staight flat paving layout. joints to be filled with polymeric sand. 50mm thick binding sand layer underneath brick pavers. 100mm thick compacted gravel of 5mm Ø max gravel stones uderneath binding sand with the 0.35mm DPM ontop

FLOOR NOTE: 25mm thick Cemcrete ontop of 170mm thick reinforced concrete surface bed. 0.35mm thick gunplas USB green DPM underneath concrete surface bed. Compacted soil filling in layers of 150mm beneath DPM layer

movement joint

340

230

1,700 D 12

2155

W10

170mm step

200

5

line of 150mm deep rain water chute oulet for concrete gutter connected to rain water downpipe

595 Perforated wall: 220mm x 110mm x 75mm Satin Terracota non-load bearing brick wall. Brick overlaps of 50mm with flush joints

1200

INTERIOR

EXTERIOR

8mm thick laminated saftey glass top hung aluminium window frame with galvanized mild steel box frame infill

150mm x 300mm wide x 85mm thick precast concrete stormwater trench with fall 1:60 towards storm water connection

110

SCALE 1:10

750mm x 110mm thick reinforced slab to stretch from column c.c with a 0.25mm DPC above and 20mm x20mm weather drip 50mm from edge

DRYING / DISPLAY Satin Facebrick

12mm thick plywood board protection layer for DPC

50mm x 50mm opening galvanised mild steel mentis grid ontop. Mentis grid to rest on angle cleats with lugs cast into concrete stormwater trench

DETAIL 4

110

10mm thick galvanised mild steel box frame to house window component with black powder coated finish

Concrete thickening with 200mm x 200mm x 10mm thick galvanised mild steel baseplate ontop connected to conrete thickening with 6mm Ø bolts

Line of 300mm x 300mm concrete column

EXTERIOR

595

765

400mm x 150mm thick reinforced concrete lintol above rammed earth wall

Pipe drip

110

110

255

170

340

340 255

Line of exposed concrete beam behind

Protection layer of 50mm thick cleaned 25mm Ø crushed stone

170

80

460

0.6mm galvanised mild steel flashing tucked in second brick course mortar joint

400mm thick load bearing rammed earth wall to engineer's specification

GROUND UFFL 100 000

Sloped 255mm thick x 340mm high concrete upstand beam with two coats bituminous waterproofing aluminium paint on external surface

3 600

FIRST UFFL 103 230

300mm x 300mm x 100mm high clay spanish style tile fixed to 1.2mm Ø steel cables with custom made plastic clips. Steel cables to run in an diagonal pattern see detail 5 page. 7 / 8

10mm thick mortar joint on internal leaf with a 20mm mortar joint on external leaf.

Masonary brick mortar joints to include Sikalite powdered waterproofing mortar admixture when mixing

300

Line of Perforated wall: 220mm x 110mm x 75mm Satin Terracota non-load bearing brick wall. Brick overlaps of 50mm with flush joint

Setting out line

Sloped 255mm thick x 340mm high concrete upstand beam with two coats bituminous waterproofing aluminium paint on external surface

127mm x 146mm x 6mm galvanised mild steel T- Section beam fixed to concrete upstand with 6mmØ anchor bolts 127mm x 146mm x 6mm galvanised mild steel T- Section column connected to a 10mm thick steel baseplate with 6mmØ bolt

50mm screed to fall 1:60 to 110mm Ø stainless steel full bore outlet connected to a 75mm Ø galvanised sheet metal rain water downpipe

254mm x 146mm x 6mm galvanised mild steel T- Section to be used as a masonary shelf for brick work above

D5 5/8

110mm Ø stainless steel full bore outlet connected to a 75mm Ø uPVC rain water downpipe chute to drip over stormwater channel

166

m 0m 80

220mm x 110mm x 75mm Satin facebrick masonary barrel vault roof with a soldier bond course with mortar flush joint finish

190

Protection layer of 50mm thick cleaned 25mm Ø crushed stone

=3

0.6mm galvanised mild steel flashing tucked in second brick course mortar joint

255

3,835

80

Jointex expansion joint

Standard aluminium window frame installment to manufacturers specification

800mm x 440mm x 250mm thick reinforced concrete strip foundation with 450mm high concrete foundation wall

25mm Concrete fill

50

750mm x 110mm thick reinforced slab to stretch from column c.c with a 0.25mm DPC above Weather drip 50mm from edge

Line of 85mm thick x 470mm wide concrete thickening underneath perforated wall line of 150mm deep rain water chute oulet for concrete gutter connected to rain water downpipe

Line of 900mm x 900mm x 250mm thick reinforced concrete pad foundations to engineers specification

110mm Ø galvanised sheet metal downpipe fixed to concrete column with 30mm stainless steel off-pipe bracket

Department of Architecture

M. Arch

5

CONTRACT DOCUMENTATION Name

Kyle Posthumus

SECTION DETAIL 1

DETAIL 5

SCALE 1:25

SCALE 1:10

Student number

214768747 Project description

Community Crafts Centre in Pretoria CBD

Drawing number & description

SECTION DETAIL 1 AND DETAILS Date OUT

10/08/2021

Date IN

SCALE 1:25 AND 1:10

GSEducationalVersion GSPublisherVersion 1204.0.13.100

Fig 169: Sectional detail and detail sheet 1 (By author, 2021)

Sheet No./No.

22/09/2021

Scale:

5/8

E

G

146 150

150

150

150

150

150

150

150

127mm x 146mm x 6mm galvanised mild steel T- Section beam fixed to concrete upstand with 6mmØ anchor bolts

220mm x 110mm x 75mm Satin facebrick masonary barrel vault roof with a soldier bond course. 10mm thick mortar joint on internal leaf with a 20mm mortar joint on external leaf. Masonary brick mortar joints to include Sikalite powdered waterproofing mortar admixture when mixing Silicon caulk sealant along edge

2mm Ø drilled holes spaced at 150mm c.c.

All holes to be drilled before galvanised process

254mm x 146mm x 6mm galvanised mild steel TSection to be used as a masonary shelf for brick work above

Jointex expansion joint

0.6mm galvanised mild steel flashing tucked in second brick course mortar joint with 0.6mm galvanised mild steel counter flashing

1.2mm Ø steel cable fixed ti bolt and nut through 2mm Ø drilled hole. Cables to be wedged between nut and bolt 5mm Ø plastic clip-on cable grips

75

150

Protection layer of 50mm thick cleaned 25mm Ø crushed stone 0.6mm galvanised mild steel flashing tucked in second brick course mortar joint

Sloped 255mm thick x 340mm high concrete upstand beam with two coats bituminous waterproofing aluminium paint on external surface

150

STEEL FINISH NOTE: 127mm x 146mm x 6mm galvanised mild steel T- Section column and beam to be pre drilled according to documentation with all scratch and dye marks removed. Steel to be galanised and dinished with black powder coating. All welded areas to have one coat zinc JENOLITE black paint applied 300

100

127mm x 146mm x 6mm galvanised mild steel T- Section column welded to baseplate. Welds to be polished and clean

50mm screed to fall 1:60 to 110mm Ø stainless steel full bore outlet connected to a 75mm Ø galvanised sheet metal rain water downpipe Line of 300mm x 300mm concrete column

200mm x 200mm x 10mm thick galvanised mild steel base platewith 50mm thick bedding space. Baseplate connected to conrete thickening with 6mm Ø anchor bolts

Line of 150mm x 300mm wide x 85mm thick pre-cast concrete stormwater trench with fall 1:60 towards storm water connection

60

200

150

75

Line of top of 220mm x 52mm x 50mm onyx brick pavers with polymeric sand infill at joints

DETAIL 4.1 EXPLODED AXONOMETRIC VIEW

SCREEN ELEVATION DETAIL 6

SCALE 1:15

167

Line of concrete thickening with 200mm x 200mm x 10mm thick galvanised mild steel baseplate ontop connected to conrete thickening with 6mm Ø bolts

SCALE 1:20

220mm x 110mm x 75mm Satin facebrick masonary barrel vault roof with a soldier bond course. 10mm thick mortar joint on internal leaf with a 20mm mortar joint on external leaf. Masonary brick mortar joints to include Sikalite powdered waterproofing mortar admixture when mixing 254mm x 146mm x 6mm galvanised mild steel TSection to be used as a masonary shelf for brick work above

400mm thick load bearing rammed earth wall to engineer's specification

2mm Ø bolt and nut through 2mm Ø drilled hole. Cables to be wedged between nut and bolt 127mm x 146mm x 6mm galvanised mild steel T- Section column welded to T- Section column. Welds to be polished and clean

Silicon caulk sealant along edge

12mm thick plywood board protection layer for DPC 800mm x 440mm x 250mm thick reinforced concrete strip foundation with 450mm high concrete foundation wall

220mm x 52mm x 50mm onyx brick pavers with polymeric sand infill at joints

Compacted filling layers of 150mm 50mm x 50mm opening galvanised mild steel mentis grid ontop. Mentis grid to rest on angle cleats with lugs cast into concrete stormwater trench

10mm flush mortar joint with 2.8mm x 100mm galvanised brick force every 5th brick course 0.6mm galvanised mild steel counter flashing and 0.6mm flashing tucked in mortar joint

750mm x 110mm thick reinforced slab to stretch from column c.c with a 0.25mm DPC above

Weather drip 50mm from edge

150mm deep rain water chute oulet for concrete gutter connected to rain water downpipe

190mm x 190mm x 190mm brick coping with one bituminous waterproofing paint underneath

110mm Ø galvanised sheet metal downpipe fixed to concrete column with 30mm stainless steel off-pipe bracket

150mm x 300mm wide x 85mm thick precast concrete stormwater trench with fall 1:60 towards storm water connection

Department of Architecture

M. Arch

0.35mm thick gunplas USB green DPM on compated filling in layers of 150mm

5

CONTRACT DOCUMENTATION

Concrete thickening with 200mm x 200mm x 10mm thick galvanised mild steel baseplate ontop connected to conrete thickening with 6mm Ø bolts

Name

1.2mm Ø steel cable wedged between bolt and nut through 2mm Ø drilled hole.

300mm x 300mm x 100mm high clay spanish style tile fixed to 1.2mm Ø steel cables with custom made plastic clips. Steel cables to run in an diagonal pattern

Kyle Posthumus

Student number

214768747 Project description

Community Crafts Centre in Pretoria CBD

Drawing number & description

DETAIL 5.1 EXPLODED AXONOMETRIC VIEW

DETAIL 6.1 EXPLODED AXONOMETRIC

SCALE 1:15

SCALE 1:200

AXONOMETRIC DETAILS AND DETAILS Date OUT

10/08/2021

Date IN

SCALE 1:20 AND 1:10

GSEducationalVersion GSPublisherVersion 1204.0.13.100

Fig 170: Detail and 3D detail sheet (By author, 2021)

Sheet No./No.

22/09/2021

Scale:

6/8

9 225mm x 1310mm wide in-situ concrete gutter cast between Mild steel I- Beams. I -Beams to have welded lugs protruding as connection to concrete gutter

In-situ cast concrete beam infill with steel lugs as connection to steel I- beam. 10mm Ø x 50mm deep holes drilled spaced at 1000mm c.c

160

155mm x 160mm x 75mm birck coping block connections to be filled with caulk sealant Line of brick coping behind

120mm x 60mm x 5mm galvanised mild steel cchannel placed over brick work. Brick work to have 10mm Ø rod through openings and fixed to c channel with nut

50mm screed to fall 1:60 to 150mm deep rain water chute connected to a 110mmØ sheet metal rain water downpipe outlet to concrete roof below.

Screed to have two coats bituminous waterproofing aluminium paint on external surface

155

150mm x 150mm x 10mm thick galvanised mild steel eqaul angle fixed to concrete beam with 10mm Ø anchor bolts

50mm screed fall

0.25mm brick DPC underneath brick coping 10

220 Engineering brick holes to be filled with mortar with each layered brick before panel is assembled to roof connection

55

10mm Ø steel rod protrusion from brick work fixed to pre drilled holes with nut and washer to create tension in brick work to engineers specification

0.6mm galvanised mild steel counter flashing and 0.6mm flashing tucked in mortar joint

In-situ cast concrete beam infill with steel lugs as connection to steel I- beam. 10mm Ø x 50mm deep holes drilled spaced at 1000mm c.c

10mm flush mortar joint with 2.8mm x 100mm galvanised brick force 50

10mm flush mortar joint

Protection layer of 50mm thick cleaned 25mm Ø crushed stone

255

220

10mm Ø steel threaded rod placed through perforated engineering brick connected to cchannels with rubber washer and nut

220mm x 110mm x 75mm Satin brick infill into flanges of I- Beam

Line of 120mm x 60mm x 5mm galvanised mild steel c- channel placed over brick work above.

Brick work to have 10mm Ø rod through openings and fixed to c channel with rubber washer and nut

40mm thick MODEK flush opal 50% polycarbonate panels fixed to 50mm thick aluminium frame to manufacturers specifications

DETAIL 1.2 PORTIONAL PLAN

DETAIL 1

SCALE 1:10

SCALE 1:5

SCALE 1:10

45 degrees 50mm x 50mm x 5mm thick galvanised mild steel angle cleat welded to I- Beam for window frame connection to manufacturers specification

220mm x 110mm x 75mm SATIN Facebrick reveal behind

DETAIL 1.1 PORTIONAL ELEVATION

steel lugs

50

Window drip 220mm x 110mm x 75mm SATIN perforated engineering brick

150mm x 150mm x 10mm thick galvanised mild steel eqaul angle fixed to concrete beam with 10mm Ø anchor bolts 175

254mm x 146mm x 6mm galvanised mild steel IBeam

75

220mm x 110mm x 75mm SATIN perforated engineering brick

120

Concrete beam

12mm thick plywood board support to rest in flanges of mild steel I- Beam with a 0.25mm DPC membrane above line of 150mm deep rain water chute connected to a 110mmØ sheet metal rain water downpipe outlet to concrete roof below

146

120mm x 60mm x 5mm galvanised mild steel cchannel placed over brick work. Brick work to have 10mm Ø rod through openings and fixed to c channel with nut 10mm Ø steel rod protrusion from brick work fixed to pre drilled holes with nut and washer to create tension in brick work to engineers specification

8

Line of brick coping behind

155mm x 160mm x 75mm birck coping block connections to be filled with caulk sealant

60mm x 30mm x 2mm thick galvanised mild steel c-channels fixed to masonary roof with 4mm Ø anchor bolts.

ROOF APEX 3 109 350

40mm thick MODEK flush opal 50% polycarbonate panels fixed to 50mm thick aluminium frame to manufacturers specifications

Line of 300mm x 300mm concrete column behind

Satin Facebrick

0.25mm DPC with v-joint in 10mm thick mortar joint

Line of 10mm Ø steel rod protrusion from brick cast into concrete upstand beam

300mm x 510mm reinforced concrete beam with 20mm chamfered corners at 45 degrees

510

510

Aluminium weather drip installed with window frame to manufacturers installation 10mm flush mortar joint with 2.8mm x 100mm galvanised brick force every 5th brick course

CONCRETE ROOF NOTE: 255mm concrete roof slab with 25mm thick cement screed to fall 1:60 with Derbigum SP4 waterproofing membrane to be tourched on fusion on top screed with 50mm end laps and 25mm side laps. 50mm thick gravel protection layer ontop of waterproof membrane

DETAIL 2

Aluminium weather drip installed with window frame to manufacturers installation

40mm thick MODEK flush opal 50% polycarbonate panels fixed to 50mm thick aluminium frame to manufacturers specifications FIRST UFFL 103 230

10mm flush mortar joint with 2.8mm x 100mm galvanised brick force

10mm thick galvanised mild steel baseplate fixed to concrete upstand with 6mm Ø anchor bolts

Satin brick reveal behind W 13

0.6mm galvanised mild steel counter flashing tucked in mortar joint

galvanised mild steel wedge plate welded to baseplate and c-channel

340mm reinforced concrete downstand beam

50mm x 50mm hollow square tubing support frame fixed to alumium winow frames with bolt and nut

190mm x 190mm x 190mm brick coping with one bituminous waterproofing paint underneath DPC

50mm screed fall towards full bore outlet 50mm ISOBOARD insulation panels rested on 2440mm x 1220mm x 12mm thick plywood panels

ROOF APEX 1 106 205

510

MULTI-MEDIA STUDIO

Protection layer of 50mm thick cleaned 25mm Ø crushed stone

255

168

254mm x 146mm x 6mm galvanised mild steel I- Beam Aluminium weather drip installed with window frame to manufacturers installation

W 15

12mm thick plywood board support to rest in flanges of mild steel I- Beam with a 0.25mm DPC membrane above ROOF APEX 1 106 205

50mm screed to fall 1:60 to 110mm Ø full bore outlet with 110mm Ø galvanised sheet metal downpipe fixed to brick wall with 30mm stainless steel off-pipe bracket

40

255

175

225mm x 1310mm wide in-situ concrete gutter cast between Mild steel I- Beams. I -Beams to have welded lugs protruding as connection to concrete gutter

190

120mm x 60mm x 5mm galvanised mild steel cchannel placed over brick work. Brick work to have 10mm Ø rod through openings and cast into concrete upstand beam

50

255

ROOF APEX 3 109 350

200

50mm screed to fall 1:60 to 150mm deep rain water chute connected to a 110mmØ sheet metal rain water downpipe outlet to concrete roof below. Screed to have two coats bituminous waterproofing aluminium paint on external surface

155

C

SCALE 1:10

300

20mm x 20mm weather drip 50mm from edge

110mm Ø galvanised sheet metal downpipe fixed to brick wall with 30mm stainless steel off-pipe bracket

Jointex expansion joint FIRST UFFL 103 230

170

255

255

0.25mm DPC layer underneath brick courses with V mortar joint

25mm thick cemcrete ontop of 255mm thick reinforced concrete floor slab 450mm Ø galvanised mild steel grooved pulley wheel welded to galvanised mild steel door frame

340mm x 300mm reinforced concrete downstand beam 20mm x 20mm weather drip 50mm from concrete downstand edge

50mm Ø galvanised mild steel axle bearing rod fixed to steel door frame.

3

Line of 300mm x 300mm concrete column behind

MIXING AND SPINNING ROOM 3 Satin Facebrick

300

6mm Ø ROSTAN stainless steel structural cable looped within pulley system

230

2975 Counter weights

SCALE 1:25

800mm x 440mm x 250mm thick reinforced concrete strip foundation with 450mm high concrete foundation wall Line of 900mm x 900mm x 250mm thick reinforced concrete pad foundations to engineers specification

GSEducationalVersion GSPublisherVersion 1204.0.13.100

Fig 171: Detail sheet 2 (By author, 2021)

20

340

INTERIOR

5

CONTRACT DOCUMENTATION Name

Kyle Posthumus

214768747

202

SCALE 1:10

M. Arch

Student number

Chute inlet behind

50mm thick screed with fall 1:60 with two coats bituminous waterproofing aluminium paint on external surface line of 150mm deep rain water chute connected to a 110mmØ sheet metal rain water downpipe outlet to concrete gutter see roof plan page. 3 / 8

DETAIL 3

Department of Architecture

Project description

255

100mm thick compacted gravel of 5mm Ø gravel stones. Stones to be recycled from excavated areas

250

220

INTERIOR 610

50mm thick binding sand underneath brick pavers

800

Jointex expansion joint 0.6mm galvanised mild steel counter flashing and 0.6mm flashing tucked in mortar joint

340mm concrete upstand beam with 50mm chamfer corners

170

170mm step

PERIMETER DETAIL

0.25mm DPC membrane to wrap around 1 brick course above

GROUND UFFL 50mm x 50mm opening galvanised mild steel mentis grid ontop. Mentis grid to rest 100 000 on angle cleats with lugs cast into concrete stormwater trench

movement joint

BRICK PAVING NOTE: 220mm x 52mm x 50mm ONYX brick pavers in a staight flat paving layout. joints to be filled with polymeric sand. 50mm thick binding sand layer underneath brick pavers. 100mm thick compacted gravel of 5mm Ø max gravel stones uderneath binding sand with the 0.35mm DPM ontop

220mm x 110mm x 75mm satin brick wall with 10mm mortar joints flush finished

Line of concrete gutter behind

EXTERIOR

254mm x 146mm x 6mm galvanised mild steel T- Section to be used as a masonary shelf for brick work above

GROUND UFFL 100 000

0.35mm thick DPM layer underneath concrete surface bed

220

Pull handle

Line of 2500mm galvanised mild steel manual rotation door to mechanical engineer's specification. Toughened saftey glass of 10mm thick to be placed within aluminium frames

25mm thick Cemcrete ontop of 170mm thick reinforced concrete surface bed. 0.35mm thick gunplas USB green DPM underneath concrete surface bed. Compacted soil filling in layers of 150mm beneath DPM layer

230

220mm x 110mm x 75mm Satin facebrick masonary barrel vault roof with a soldier bond course. 10mm thick mortar joint on internal leaf with a 20mm mortar joint on external leaf.

Masonary brick mortar joints to include Sikalite powdered waterproofing mortar admixture when mixing

EXTERIOR

200mm Ø x 10mm thick galvanised mild steel custom pulley wheel connected to a 10mm thick galvanised mild steel gusset plate. Gusset plate welded to 5mm thick mild steel baseplate fixed to wall with 6mm Ø anchor bolts

D 1

Community Crafts Centre in Pretoria CBD

Drawing number & description

PERIMETER DETAIL AND DETAILS Date OUT

10/08/2021

Date IN

Sheet No./No.

22/09/2021

Scale:

SCALE 1:20 AND 1:10

7/8

9

8

7

5 000

6

5 000

5

5 000

4

5 000

3

5 000

2

5 000

1

5 000

5 000

ROOF APEX 3 109 350

ROOF APEX 3 109 350

Satin FB Satin FB ROOF APEX 2 106 715

ROOF APEX 2 106 715 Satin FB

Satin FB Satin FB

106 205 ROOF APEX 1

W13

106 205 ROOF APEX 1

line of 150mm deep rain water chute oulet for concrete gutter connected to110mm Ø galbanised sheet metal rain water downpipe

220mm x 110mm x 75mm satin brick extrusion W13

W13 D11

FIRST UFFL 103 230 Polished concrete Rammed earth

Polished concrete

Rammed earth

Line of sun screen component see detail 5 page. 6/7

D9

Satin FB

D9

NEW NGL

W3

Satin FB

Rammed earth

D9

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Kyle Posthumus

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Community Crafts Centre in Pretoria CBD

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CHAPTER

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NINE C O N C L U S I O N

The mini-dissertation aims to reconnect a derelict urban site in the Tshwane CBD to the bustling urban fabric. Derelict locations have risen in the twenty-first century and are frequently regarded as society’s “impure places,” resulting in isolated and disorganized environments. However, if revitalized, these sites and spaces have the potential to serve as a catalyst for growth. The proposed design offers a potential solution for an appropriate manner of regeneration by utilizing the historical strata of the site as the foundation of a new program that intends to benefit the local context on a social, cultural, and economic level. The proposed design allows the public to interact with a democratic environment that hosts programs ranging from skill development to recreational activities.

Furthermore, the site becomes a social nexus where existing ruins and leisure activities in the public park can be celebrated.

The proposed design simulators will serve as a blueprint for future adaptive reuse lenses that future generations may employ.

The community crafts centre and its accompanying amenities establish spaces that accommodate and enrich individuals’ social and skill-based values, ensuring a welcoming environment for the public to interact with. The initiative recognizes tactility and didactic principles as a form of human contact through the programs offered to increase or improve ceramic crafts and sports as a skill-based integration.

The mini-dissertation focuses on social sustainability, engagement, and public access as a method of regeneration to provide a facility for future generations to contribute to and participate in. The golden thread is dependent on the interaction between the audience and the programs provided and a dynamic and engaging architectural environment.

Derelict sites have the potential to be regenerated back into the urban fabric, primarily when the historical layers are utilised to inspire a new program as an adaptive reuse project. The suggested design aims to stimulate collaboration, creativity, entrepreneurship, and social sustainability, echoing previous site functions for the development of Berea Park, which might operate as a catalyst for the growth of the surrounding context and users to the site.

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INTRODUCTION This chapter serves to indicate sources for additional information relevant to the mini-dissertation research and outcomes thereof. Furthermore, this chapter provides the relevant references and figure list used in the document.

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CHAPTER A

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TEN P E N

D

I

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10.1 IMAGES 10.1.1 Site images of Berea Park in 2021.

10.2 REFERENCES

10.3 LIST OF FIGURES

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10.1 IMAGES 10.1.1 Site images of Berea Park in 2021.

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Fig 173: Compilation of the current development on Berea Park (Boogertman + Partners, 2021)

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Fig 174: Birds eye view of the current development on Berea Park (Boogertman + Partners, 2021)

10.2 REFERENCES

Abd El Gawad, N., Al-Hagla, K. and Nassar, D., 2019. Place making as an approach to revitalize Neglected Urban Open Spaces (NUOS): A case study on Rod El Farag Flyover in Shoubra, Cairo. Alexandria Engineering Journal, 58(3), p.967-976.

Allen, E., 2021. 12 Rad Recycling Centers That Go Green in Style. [online] Architectural Digest. Available at: <https:// www.architecturaldigest.com/gallery/recycling-center-design> [Accessed 1 April 2021].

ArchDaily. 2021. Anne Lacaton and Jean-Philippe Vassal Receive the 2021 Pritzker Architecture Prize. [online] Available at: <https://www.archdaily.com/958565/anne-lacaton-and-jean-philippe-vassal-receive-the-2021-pritzker-architectureprize> [Accessed 16 October 2021].

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Architizer. 2021. 012 Central by dhk. [online] Available at: <https://architizer.com/projects/012-central/> [Accessed 6 July 2021].

Biddau, G., Marotta, A. and Sanna, G., 2020. Abandoned landscape project design. City, Territory and Architecture, 7(1).

Borch, C., 2014. The Politics of Atmospheres: Architecture, Power, and the Senses. Architectural Atmospheres, pp.60-89.

Boogertman + Partners. (2021, December 8) Progress on site at the new Department of Land Affairs and Rural Development offices in Tshwane. [Online]. https://www.linkedin.com/posts/ boogertman-partners-architects_progress-on-site-at-the-new-department-of-activity-6874213236942635008-Ms1o Buser, M. and Koch, C. 2014. Tales of the Suburbs?—The Social Sustainability Agenda in Sweden through Literary Accounts. Sustainability, 6(2), pp.913-934.

Caolina, D., 2015. Before and after Cultural Center: Urban Recovery and Displacement in Bogotá. Colombian Journal of Anthropology, 51(1), p.1.

Couch, C., Fraser, C. and Percy, S., 2008. Urban Regeneration in Europe. Chichester: John Wiley & Sons.

Contemporary African Art. 2021. African Pottery. [online] Available at: <https://www.contemporary-african-art.com/ african-pottery.html> [Accessed 9 October 2021].

Coulleri, A., 2021. Ruesta Urban Center Rehabilitation / Sebastián Arquitectos. [online] ArchDaily. Available at: <https://www.archdaily.com/969119/ruesta-urban-center-rehabilitation-sebastian-arquitectos?ad_source=search&ad_ medium=projects_tab> [Accessed 9 September 2021].

Cpruscha.com. 2021. Carl Pruscha » 2018 – Present. [online] Available at: <http://cpruscha.com/category/2018/> [Accessed 6 July 2021].

Dauden, J., 2020. Clássicos da Arquitetura: SESC Pompéia / Lina Bo Bardi. [online] ArchDaily Brasil. Available at: <https://www.archdaily.com.br/br/01-153205/classicos-da-arquitetura-sesc-pompeia-slash-lina-bo-bardi> [Accessed 6 July 2021].

Dlamini, P., 2017. Heritage and cultural landscapes human settlements and urbanism. Post Graduate. University of Pretoria.

Futurearchitectureplatform.org. 2021. Architecture renewal in relationship to public space as a catalyst for urban regeneration. [online] Available at: <https://futurearchitectureplatform.org/projects/ec583d47-6fc6-4b10-a61bb439911befb5/> [Accessed 1 April 2021].

Fritzlan, J., 2021. An Introduction to Pottery | Homestead Pottery. [online] Homestead Pottery. Available at: <https:// www.homesteadpottery.com/articles-homestead-pottery/an-introduction-to-pottery/#return-note-63-1> [Accessed 8 April 2021].

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Graner, A., 2021. Integrating abandoned spaces in urban planning. [online] Urbanet. Available at: <https://www.urbanet.info/abandoned-urban-spaces/> [Accessed 1 April 2021].

Greg Daly, Glazes and Glazing Techniques: A Glaze Journey (East Roseville, Australia: Kangaroo Press, 1999), pp. 7-9 Greyvensteyn, P. (2019). ‘Cento Cultural Municipal Parque das Ruinas Santa Teresa, Rio de Janeiro Ernani Freira 1993’ [PowerPoint presentation]. (Accessed: 6 November 2021).

Hamilton, K. and Anderson, S., 2019. Don’t write off abandoned buildings – they can be an important resource for the community. [online] The Conversation. Available at: <https://theconversation.com/dont-write-off-abandoned-buildings-they-can-be-an-important-resource-for-the-community-116390> [Accessed 10 May 2021].

Hayden, D. 1995. The power of place. 1st ed. Cambridge, Mass.: The Mit Press, p.1.

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Holm. D. 1989, “Pretoria: Dreams and Deeds”, Architecture SA, vol. May/June, p. 17.

Inverse. 2021. Here’s a Creative Solution for Revitalising Abandoned Urban Spaces. [online] Available at: <https://www. inverse.com/article/7386-revitalizing-urban-spaces-solution> [Accessed 01 April 2021].

Kefayati, Z. and Moztarzadeh, H., 2015. Developing Effective Social Sustainability Indicators In Architecture. 4th ed. [ebook] Shiraz: Academy for Environment and Life Sciences, pp.40-56. Available at: <https://www.researchgate. net/profile/Hamed-Moztarzadeh/publication/276031166_Developing_Effective_Social_Sustainability_Indicators_In_ Architecture/links/554f161708ae739bdb8f3128/Developing-Effective-Social-Sustainability-Indicators-In-Architecture. pdf> [Accessed 16 May 2021].

Lewis-Back, M., 2021. [online] Available at: <https://methods.sagepub.com/reference/the-sage-encyclopedia-of-social-science-research-methods/n828.xml#:~:text=In%20philosophy%20of%20science%2C%20the,by%20their%20atomic%20or%20subatomic> [Accessed 4 July 2021].

Luis, L. and Thomas Panagopoulos. 2007. From Derelict Industrial Areas towards Multifunctional Landscapes and Urban Renaissance.

10(3), p.181.

McClung, K., 2021. Why Adaptive Reuse Matters: Repurposing Historic Gems. [online] Authentic FF. Available at: <https://authenticff.com/insights/repurposing-historic-gems-why-adaptive-reuse-matters> [Accessed 10 May 2021].

Muceniece, L., 2015. Historic ruins – an important landscape element. Scientific Journal of Latvia University of Agriculture Landscape Architecture and Art, 6(6), pp.5-6.

Muir, A., 2021. On small practice with. Architecture Australia, 109(4), pp.90-96.

National Heritage Council. s.a. About us. [Online] Available from: http://www.nhc.org. za/about-us/ [Accessed: 17 July 2021].

Ots, Enn. 2011. Decoding Theoryspeak. An illustrated guide to architectural theory. New York: Routledg, pp. 167-182.

Patel, N., 2015. Here’s a Creative Solution for Revitalizing Abandoned Urban Spaces. [online] Inverse. Available at: <https://www. inverse.com/article/7386-revitalizing-urban-spaces-solution> [Accessed 4 May 2021].

Taylor & Francis. 2021. Industrial Ecology for Sustainable Communities. [online] Available at: <https://www.tandfonline.com/doi/ abs/10.1080/09640569811353?journalCode=cjep20> [Accessed 2 April 2021].

Pawlyn, M., 2021. What is regenerative architecture. [online] Ribaj.com. Available at: <https://www.ribaj.com/intelligence/climate-change-emergency-regenerative-design-michael-pawlyn> [Accessed 3 April 2021].

Porter, Tom. 2004. Archispeak. An illustrated guide to architectural terms. London: Spon Press, pp.88-187.

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Prabhakar, N., 2021. The Taragaon Museum: one of Nepal’s first modern buildings - Round City. [online] Round City.

Available at: <https://round-city.com/the-taragaon-museum-one-of-nepals-first-modern-buildings/> [Accessed 6 July 2021].

Sadowniczyk, D. 2020. Conversing with Beauty. Unpublished March thesis. Roger Williams University. [online] Available from: https://issuu.com/dansadowniczyk/docs/final_book_8.24_reduce [Accessed: 20/03/2021].

Scholtz, P. 2017. Node, Sites and surroundings. Post Graduate. University of Pretoria.

Sowińska-Heim, J. 2020. Adaptive Reuse of Architectural Heritage and Its Role in the Post-Disaster Reconstruction of Urban Identity: Post-Communist Łódź. Sustainability, 12(19), p.2.

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Steup, Matthias and Ram Neta, “Epistemology”, The Stanford Encyclopedia of Philosophy (Fall 2020 Edition) WikiArquitectura. 2021. SESC Pompeia Factory - Data, Photos & Plans - WikiArquitectura. [online] Available at: <https:// en.wikiarquitectura.com/building/sesc-pompeia-factory/> [Accessed 6 July 2021].

Zahra, K. and Hamed Moztarzadeh. 2015. Developing Effective Social.

Zumthor, P., 2006. Peter Zumthor. 11th ed. Basel: Birkhäuser.

10.3 LIST OF FIGURES

Fig 0: Abandoned places become disconnected from the active urban fabric. (By author, 2021) Fig 1: Creating a new identity with historical layers. (By author, 2021) Fig 2: Loss of identity in the urban fabric. (By author, 2021) Fig 3: Intentions visual sketch. (By author, 2021) Fig 4: Exposing historical layers as a regeneration intervention. (By author, 2021) Fig 5: Exploded camera technification from speedspares, Diagram, N., 2021. NEX-5N / NEX-5ND / NEX-5NK / NEX-5NY Sony Camera Exploded Diagram. [online] Speedy Spares P/L. Available at: <https://www.speedyspares.com/shop/ sony-manuals/3102-nex-5n-nex-5nd-nex-5nk-nex-5ny-sony-camera-exploded-diagram.html> [Accessed 8 September 2021].

Fig 6: Perspective site sketch. (By author, 2021) Fig 7: Context outlines of locality locations. (By author, 2021) Fig 8: Context map. (By author, 2021) Fig 9: Perspective view of chosen site and surrounding context. Available at: www.googlearth.com [Accessed 8 September 2021].

Fig 10: Compilation symbols of site criteria. (By author, 2021) Fig 11: Camera Lens from cinegearpro. Available at: https://www.cinegearpro.co.uk/ [Accessed 8 September 2021].

Fig 12: Site Context, (by Author, 2021) Fig 13: Urban analysis of public transport. (By author, 2021) Fig 14: Site and connections. (By author, 2021) Fig 15: Ubran analysis Pedestrian opportunities. (By author, 2021) Fig 16: Activity along Rhodes Ave. (By author, 2021) Fig 17: Context along Lilian Ngoyi St. (By author, 2021)

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Fig 18: Justice Mahomed Street as a barrier. (By author,2021) Fig 19: Map orientation with street names. (By Author, 2021) Fig 20: Sunken river channel. Scholtz, 2017. Node, Sites and surroundings. Post Graduate. University of Pretoria.

Fig 21: Residential building 8-9 stories high. Scholtz, 2017. Node, Sites and surroundings. Post Graduate. University of Pretoria.

Fig 22: View from Scheiding St. Scholtz, 2017. Node, Sites and surroundings. Post Graduate. University of Pretoria.

Fig 23: View Justice Mahomed St close to river channel. Scholtz, 2017. Node, Sites and surroundings. Post Graduate.

University of Pretoria.

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Fig 24: Activity along Rhoes Ave. Scholtz, 2017. Node, Sites and surroundings. Post Graduate. University of Pretoria.

Fig 25: Medium density residential buildings along Lilian Ngoyi St. Scholtz, 2017. Node, Sites and surroundings. Post Graduate. University of Pretoria.

Fig 26: Context section from West to East. (By author, 2021) Fig 27: Context section from North to South. (By author, 2021) Fig 28: Cross sections edges around the chosen site. (By author, 2021) Fig 29: Old, existing clubhouse within Berea Park and background context. Dlamini, P., 2017. Heritage and cultural landscapes human settlements and urbanism. Post Graduate. University of Pretoria.

Fig 30: Remaining “ruins” of existing clubhouse. Dlamini, P., 2017. Heritage and cultural landscapes human settlements and urbanism. Post Graduate. University of Pretoria.

Fig 31: Site History diagram. (By author, 2021) Fig 32: Sketch of Pretoria development. Holm. D. 1989, “Pretoria: Dreams and Deeds”, Architecture SA, vol. May/June, p. 17.

Fig 33: View of clubhouse ruins on Lilian Ngoyi St. (By author, 2021) Fig 34: Site analysis through model building. (By author, 2021) Fig 35: Views from Berea Park sports fields towards the city. Scholtz, 2017. Node, Sites and surroundings. Post Graduate.

University of Pretoria.

Fig 36: Views from North of Berea Park towards the clubhouse. Scholtz, 2017. Node, Sites and surroundings. Post Graduate. University of Pretoria.

Fig 36: Site axonometric analysis showcasing the overview. (By author, 2021) Fig 37: Site axonometric analysis showcasing the functions. (By author, 2021) Fig 38: Site axonometric analysis showcasing climatic conditions. (By author, 2021) Fig 39: Site axonometric analysis showcasing various movements. (By author, 2021) Fig 40: Site axonometric analysis of context zoning. (By author, 2021) Fig 41: Site axonometric showcasing the brief site possibilities. (By author, 2021) Fig 42: Site axonometric layered site analysis with intercepting nodes. (By author, 2021) Fig 43: Materials on site and within as an architectural generator. (By author, 2021) Fig 44: Existing buildings, grounds and context thereof. (By author, 2021) Fig 45: Analysis of the existing buildings. (By author, 2021) Fig 46: Collage of Northern Clubhouse. Dlamini, P., 2017. Heritage and cultural landscapes human settlements and urbanism. Post Graduate. University of Pretoria.

Fig 47: Collage of Southern Clubhouse. Dlamini, P., 2017. Heritage and cultural landscapes human settlements and urbanism. Post Graduate. University of Pretoria.

Fig 48: Analysis of the existing buildings. (By author, 2021) Fig 49: Representation sketch of engaging architecture interpretation. (By author, 2021) Fig 50: Sketch of existing ruin with adaptive intervention to explore the identity of the structure. (By author, 2021) Fig 51: 19th century church adaptive reuse from Metal Architecture.

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Fig 52: Zeitz Mocca, Cape Town from The Spaces.

Fig 53: Representation of light and shadow from BluentCad. Available at: https:// www.bluentcad.com / [Accessed 8 September 2021].

Fig 54: Representation of form and object as a void by the Medium. Available at: https:// www.medium.com/ [Accessed 8 September 2021].

Fig 55: Concrete boarding finish as texture by Lughertexture. Available at: https:// www.lughertexture.com/ [Accessed 8 September 2021].

Fig 56: Church ambience as acoustics. Available at: https:// www.issuu.com/ [Accessed 8 September 2021].

Fig 57: Encapsulating air as transparency. Available at: https:// www.issuu.com/ [Accessed 8 September 2021].

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Fig 58: Collapse of a building through time. Muceniece, L., 2015. Historic ruins – an important landscape element.

Scientific Journal of Latvia University of Agriculture Landscape Architecture and Art, 6(6), pp.5-6.

Fig 60: Social intervention within the ruins from Archdaily. ArchDaily. 2021. Ruesta Urban Center Rehabilitation / Sebastián Arquitectos. [online] Available at: <https://www.archdaily.com/969119/ruesta-urban-center-rehabilitation-sebastian-arquitectos?ad_medium=gallery> [Accessed 8 July 2021].

Fig 61: Sketch of preservation process. (By author, 2021) Fig 62: Social intervention within the ruins as interaction from Archdaily. ArchDaily. 2021. Ruesta Urban Center Rehabilitation / Sebastián Arquitectos. [online] Available at: <https://www.archdaily.com/969119/ruesta-urban-center-rehabilitation-sebastian-arquitectos?ad_medium=gallery> [Accessed 8 July 2021].

Fig 63: Photo of Parque das Ruinas interior ruin with walkway. Greyvensteyn, P. (2019). ‘Cento Cultural Municipal Parque das Ruinas Santa Teresa, Rio de Janeiro Ernani Freira 1993’ [PowerPoint presentation]. (Accessed: 6 November 2021).

Fig 64: Diagram representation of walkways through the ruin leading to pockets of interaction. (By author, 2021) Fig 65: Photo of Parque das Ruinas interior ruin with walkway. Greyvensteyn, P. (2019). ‘Cento Cultural Municipal Parque das Ruinas Santa Teresa, Rio de Janeiro Ernani Freira 1993’ [PowerPoint presentation]. (Accessed: 6 November 2021).

Fig 66: Photo of courtyard with container bathrooms 012 central from Architizer. Available at: https://architizer.com/ projects/012-central/ [Accessed 8 September 2021].

Fig 67: Diagram representation of 012 central program. (By author, 2021) Fig 67: Diagram representation of 012 central program. (By author, 2021) Fig 68: Photo of renovated warehouse with light touch intervention as the container houses the function from Architizer.

Available at: https://architizer.com/projects/012-central/ [Accessed 8 September 2021].

Fig 69: Photo within the cultural building where class rooms house different skill development activities, from Archdaily.

ArchDaily. 2021. Lina Bo Bardi and the Generosity of the Streets. [online] Available at: <https://www.archdaily. com/941823/lina-bo-bardi-and-the-generosity-of-the-streets?ad_source=search&ad_medium=projects_tab&ad_ source=search&ad_medium=search_result_all> [Accessed 8 September 2021].

Fig 70: Diagram representation of 012 central program. (By author, 2021) Fig 71: Photo of SESC Pompeia board walk as a social connector, from Archdaily. ArchDaily. 2021. Lina Bo Bardi and the Generosity of the Streets. [online] Available at: <https://www.archdaily.com/941823/lina-bo-bardi-and-the-generosity-of-the-streets?ad_source=search&ad_medium=projects_tab&ad_source=search&ad_medium=search_result_all> [Accessed 8 September 2021].

Fig 72: Photo of Taragaon Museum. Prabhakar, N., 2021. The Taragaon Museum: one of Nepal’s first modern buildings - Round City. [online] Round City. Available at: <https://round-city.com/

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the-taragaon-museum-one-of-nepals-first-modern-buildings/> [Accessed 6 July 2021].

Fig 73: Site sketch of Taragaon Museum previously a hostel. Cpruscha.com. 2021. Carl Pruscha » 2018 – Present. [online] Available at: <http://cpruscha.com/category/2018/> [Accessed 6 July 2021].

Fig 74: Photo of Taragaon Museum. Prabhakar, N., 2021. The Taragaon Museum: one of Nepal’s first modern buildings - Round City. [online] Round City. Available at: <https://round-city.com/the-taragaon-museum-one-of-nepals-first-modern-buildings/> [Accessed 6 July 2021].

Fig 75: World map overview of precedent locations. (By author,2021).

Fig 76: Summary of precedents and information gathered. (By author,2021).

Fig 77: South African National Heritage Council logo. Available at: http://www.nhc.org.za/about-us/ [Accessed 8 September 2021].

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Fig 78: Early programmatic layout of the architectural intervention focusing on engagement spaces, (By author, 2021).

Fig 79: Beer storage vessel Nkakusa, Tanzania from African pottery. Contemporary African Art. 2021. African Pottery. [online] Available at: <https://www.contemporary-african-art.com/african-pottery.html> [Accessed 9 October 2021].

Fig 80: Tutsi water pots, Rwanda from African pottery. Contemporary African Art. 2021. African Pottery. [online] Available at: <https://www.contemporary-african-art.com/african-pottery.html> [Accessed 9 October 2021].

Fig 81: Pot firing in Burkina Faso from African pottery. Contemporary African Art. 2021. African Pottery. [online] Available at: <https://www.contemporary-african-art.com/african-pottery.html> [Accessed 9 October 2021].

Fig 82: Pot making in Burkina Faso from African pottery. Contemporary African Art. 2021. African Pottery. [online] Available at: <https://www.contemporary-african-art.com/african-pottery.html> [Accessed 9 October 2021].

Fig 83: Decorated global vessel, everted lip, Igbo from African pottery. Contemporary African Art. 2021. African Pottery.

[online] Available at: <https://www.contemporary-african-art.com/african-pottery.html> [Accessed 9 October 2021].

Fig 84: Matakham, Chad, Douglas Dawson Gallery from African pottery. Contemporary African Art. 2021. African Pottery. [online] Available at: <https://www.contemporary-african-art.com/african-pottery.html> [Accessed 9 October Fig 85: Sketch of shovel and sand delivery truck, (By author, 2021)

Fig 96: Sketches of process and concept intertwined (By author, 2021)

Fig 86: Sketch of sieving process and wet sieving, (By author, 2021)

Fig 97: Sketch interpretation of clustered grid (By author, 2021)

Fig 87: Sketch of hand moulding and cast moulding, (By author, 2021)

Fig 98: Sketch of reciprocating existing forms and materials (By author, 2021)

Fig 88: Sketch of spinning and sculpting, (By author, 2021)

Fig 99: Sketch of symbiosis interpretation (By author, 2021)

Fig 89: Sketch of sculpting and carving, (By author, 2021)

Fig 100: Looking at the concept through various scales (By author, 2021)

Fig 90: Sketch of ceramic painting, (By author, 2021) Fig 91: Sketch of hand glazing, (By author, 2021) Fig 92: Sketch of firing process, (By author, 2021) Fig 93: Diagrammatic process flow, (By author, 2021) Fig 94: Concept generator sketch (By author, 2021) Fig 95: Diagrammatic representation of concept (By author, 2021)

Fig 101: Urban scale approach (By author, 2021) Fig 102: Site scale forming connections (By author, 2021) Fig 103: Programmatic and spatial connections (By author, 2021) Fig 104: Approach to design iterations (By author, 2021) Fig 105: Site and form exploration for iteration 1 (By author, 2021)

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2021].

Fig 106: Edge response size (By author, 2021) Fig 107: Organic grid (By author, 2021) Fig 108: Existing building response (By author, 2021) Fig 109: Iteration design two (By author, 2021) Fig 110: Iteration design two perspective view (By author, 2021) Fig 111: Building proximity to one another (By author, 2021)

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Fig 112: Linear movement (By author, 2021) Fig 113: Design access detouring (By author, 2021) Fig 114: Building hierarchy through vertical elevation (By author, 2021) Fig 115: Materiality choice variety (By author, 2021) Fig 116: Approach to tectonics (By author, 2021) Fig 117: Floor plan design of iteration 3 (By author, 2021) Fig 118: Perspective view of iteration 3 (By author, 2021) Fig 119: Section A-A of design iteration 3 (By author, 2021) Fig 120: Different access paths (By author, 2021) Fig 121: Foot print of iteration 3 (By author, 2021)

Fig 122: Suppressing the existing (By author, 2021) Fig 123: Excessive repetition (By author, 2021) Fig 121: Separation of industrial craft (By author, 2021) Fig 122: Ruins and intervention integration (By author, 2021) Fig 123: Axonometric view of iteration 4 (By author, 2021) Fig 124: Axonometric view of iteration 4 masterplan (By author, 2021) Fig 125: Brief floor plan of iteration 4 (By author, 2021) Fig 126: Section of iteration 4 (By author, 2021) Fig 127: Extension sketch (By author, 2021) Fig 128: Experimenting with parametric bricks (By author, 2021) Fig 129: Ruins and their walkways (By author, 2021) Fig 130: Render view from the east assembly yard (By author, 2021) Fig 131: Contextual axonometric view of site (By author, 2021) Fig 132: Exploded roof exploration axonometric view showcasing the interior (By author, 2021)

Fig 133: Site plan diagram (By author, 2021) Fig 134: Zoned functional plan diagram (By author, 2021)

Fig 147: Portion 2 ground floor plan B (By author, 2021) Fig 148: View inside ruins and guided walkway (By author, 2021)

Fig 135: Portion 1 ground floor plan (By author, 2021) Fig 136: Portion 1 First floor plan (By author, 2021) Fig 137: View from assembly yard on ground floor (By author, 2021)

Fig 149: Exterior ruin observation platform overlooking the sports fields (By author, 2021)

Fig 138: View from First floor towards the multi-functional studio below (By author, 2021) Fig 139: Section A-A (By author, 2021) Fig 140: Section B-B (By author, 2021) Fig 141: Section B-B extended (By author, 2021) Fig 142: View inside a mixing studio (By author, 2021) Fig 143: View of the exterior parametric brick wall and extended park (By author, 2021)

Fig 144: View of the exterior to artist’s studio courtyard and sport fields. (By author, 2021) Fig 145: View of the exterior assembly yard and sport mixing studio. (By author, 2021) Fig 146: Portion 2 ground floor plan A (By author, 2021)

Fig 150: Exploration of the rammed earth and tile screen (By author, 2021) Fig 151: Exploration Sketch (By author, 2021) Fig 152: Soil in glass jar (By author, 2021) Fig 153: Photographs of sieving (By author, 2021) Fig 154: Moulding exploration models and sketches (By author, 2021) Fig 155: Moulding models and outcomes (By author, 2021) Fig 156: Model and sketch exploration (By author, 2021) Fig 157: Model exploration and notes (By author, 2021) Fig 158: Section sketch exploration (By author, 2021) Fig 159: Exploration sketch (By author, 2021) Fig 160: Exploration model (By author, 2021)

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Fig 161: Exploration notes (By author, 2021) Fig 162: Development models and sketches (By author, 2021) Fig 163: Compilation of final models (By author, 2021) Fig 164: Axonometric view of component (By author, 2021) Fig 165: Site analysis and locality sheet (By author, 2021)

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Fig 166: Ground floor plan sheet(By author, 2021) Fig 167: First floor plan sheet (By author, 2021) Fig 168: Sections AA and BB (By author, 2021) Fig 169: Sectional detail and detail sheet 1 (By author, 2021) Fig 170: Detail and 3D detail sheet (By author, 2021) Fig 171: Detail sheet 2 (By author, 2021) Fig 172: Elevation sheet (By author, 2021)

Fig 173: Compilation of the current development on Berea Park (Boogertman + Partners, 2021) [Online] Boogertman + Partners. (2021, December 8) Progress on site at the new Department of Land Affairs and Rural Development offices in Tshwane. [Online]. https://www. linkedin.com/posts/boogertman-partners-architects_ progress-on-site-at-the-new-department-of-activity6874213236942635008-Ms1o Fig 174: Birds eye view of the current development on Berea Park (Boogertman + Partners, 2021) [Online] Boogertman + Partners. (2021, December 8) Progress on site at the new Department of Land Affairs and Rural Development offices in Tshwane. [Online]. https://www. linkedin.com/posts/boogertman-partners-architects_ progress-on-site-at-the-new-department-of-activity6874213236942635008-Ms1o