SMUTS, D - 216315669 by jacques_23

Fig 0.1: Transition through the art of tailoring [Author, 2021]

The design of a contemporary rites of passage tailoring facility for at-risk boys in the Pretoria CBD

2021

S E [C U RE ] I N G BOYS TO MEN:

Fig 0.2: Close-up drone photograph of Huis Potgieter [Author, 2021]

By DEAN SMUTS Submitted in partial fulfilment of the requirements for the degree MASTER OF ARCHITECTURE [STRUCTURED]

In the Faculty of Engineering and the Built Environment At the Tshwane University of Technology

Department of Architecture and Industrial Design Supervisor: Dr MJ Stander Design Supervisor: Mr MJV Mokaba

December 2021

iii

Fig 0.3: Top view drone photograph of Huis Potgieter [Author, 2021]

DECLARATION CONTENTS

I hereby declare that the dissertation submitted for the degree MArch: Master of Architecture MPAR18 (Structured) at Tshwane University of Technology is my own original work and has not been submitted to any other institution. I have not used any student’s past work to submit as my own. I have not allowed and will not allow anyone to copy my work with the intention of passing it off as their own work. I am aware of the University’s policy regarding plagiarism, and therefore I declare that all sourced material cited or quoted is acknowledged in a comprehensive list of references.

Dean Smuts

Fig 0.4: Drone photograph of Huis Potgieter

[Author, 2021]

ACKNOWLEDGEMENTS

THANK YOU.

I owe my utmost gratitude to my parents Wikus and Charlene for always believing in me, for your unconditional love, continuous encouragement, and endless support. Without you, none of this would be possible.

A special thank you to Matthew Pace for taking the time to speak to me at length about my project and for supporting me throughout the year. Your inexhaustible enthusiasm for architecture is a profound source of inspiration.

My fiancé JM, my biggest thanks goes out to you for being my refuge, my pillar of strength and my biggest supporter. Thank you for your enduring love, patience, time, and support. Thank you for believing in me and assuring me that I can do anything to which I set my mind. I am forever grateful.

To my friends and family, thank you for your understanding, assistance, and encouragement throughout this journey. Thank you for lending an ear and motivating me when times seemed hard.

To my supervisor Victor Mokaba, I am eternally grateful for your patience, support, and guidance. Thank you for investing your time in this project and allowing me to challenge myself. It was a privilege to work with you this year. A special thank you to Kyle Coulson for your guidance, advice, and motivation during this entire year. Thank you for always reminding me to trust the process, to take a break, and to sit back and draw.

Thank you to Tshwane University of Technology Department of Architecture, and to the lecturers for your invaluable contribution to my academic development. A special word of gratitude is extended to Professor Jacques Laubscher for your assiduous leadership during 2020 and 2021 without which our group would not have been able to reach this achievement. In addition, I would like to acknowledge the contribution and support of many who crossed my path during this thesis, especially to those who contributed in some way or another, those who invested time and effort and those who just listened. Thank you.

Liewe Heer, dankie vir die talent en gawe wat U aan my toevertrou het. Ek dank U vir die krag en seëning deur hierdie hoofstuk van my lewe. Ek wil elke dag van my lewensreis hierdie talent gebruik om U te verheerlik en U koninkryk uit te bou.

vii

Fig 0.5: Transition from boyhood to manhood [Author, 2021]

viii

ABSTRACT

“If we don’t harness the energy of boys, they’ll either become passive or destructive”. [Tim Wright, 2020]

ecent civil movements such as #MeToo and #MenEngage are indicative of ‘unhealthy’ men in society. By se(cure)ing at-risk boys, a healthier society is secured. Boys lack clear markers and role models on their journey to becoming men. This project focuses on at-risk boys and emphasises the importance of a guided and tailored transition from boyhood to manhood. This project addresses the lack of institutional structures for at-risk boys and recommends a tailoring facility in the Pretoria CBD. Arnold Van Gennep’s rites of passage theory and Victor Turner’s theory on liminality are developed to present an architectural typology tailored for at-risk boys for transitioning from boyhood to manhood. The concepts of adaptive re-use and the art of tailoring are applied to Huis Potgieter, an abandoned and underutilised building on the Unisa Sunnyside Campus. An appropriate

contemporary architectural response will be applied and developed using the concept of transition through the art of tailoring. This architectural intervention includes the process of tailoring the architecture to tailor the at-risk boy, which in turn will result in the tailored man. The objective of the proposed design is to provide a structural and functional facility that facilitates the rites of passage or transitioning process from boyhood to manhood by implementing the artisan methods of teaching the art of tailoring. The tailored architecture and the incorporated tailoring programmes will function as a rite of passage mechanism to transform, upskill, develop, support, heal, and later reintroduce the se(cured) tailored man back into society. Keywords: Transition, boy to man, se(cured) boys, healthier society, adaptive re-use, art of tailoring, rites of passage, tailored man.

PREFACE

The research topic is grounded in the humanities and the social aspects of designing for a healthier society. The personal experience of observing a family member becoming a mentor to an eightyear-old at-risk boy (see Figure 0.6) during the 2020 COVID-19 ‘hard’ lockdown informed the project context and brought about awareness of the existence of at-risk boys in society. I became a first-hand witness of a neglected but legitimate societal problem.

Fig 0.6: Eight-year-old at-risk boy [Author, 2021]

KEY TERMS

‘Unhealthy’ society:

Transition:

The term refers to factors that adversely affect society’s well-being and render society unsound, not whole or unwell. The term is used to describe a state of society in the literal and figurative sense.

The term speaks to both the metaphorical transition of at-risk boys to se(cured) men and the physical spatial transition intended in the proposed design.

‘Unhealthy’ man: The definitive concept introduced to identify targeted subjects who contribute to an ‘unhealthy’ society. The term ‘unhealthy’ conceptualises numerous factors that address both the cause and symptom of a man who, given his role in society, contributes to the ‘unhealthy’ society.

At-risk boy:

Abbreviations:

The term is used to describe persons who form the focal point of this project, boys and young men who are at-risk by application of various factors.

CBD:

Cure:

Rites of passage

Contextually describes the objective sought to alleviate society from being ‘unhealthy’.

Se(cure):

Central business district

ROP: SA: The Republic of South Africa Unisa: University of South Africa

A newly introduced term that is contextually used with a dual meaning. Firstly, to act as an antonym of ‘unhealthy’ when describing either society or the man, and secondly to express the literal meaning of making safe.

Tailored man: The term is used figuratively in referring to the desired outcome of a man that is ‘healthy’ or se(cured) after having been tailored by an appropriate rites of passage ritual. In a literal sense, the project seeks to produce a man that is equipped with tailoring skills.

CONTENTS

Declaration Acknowledgements Abstract Preface Key Terms

1 .1 1.2 1.3 1.4 1.5 1.6 1.7 1.8

_ p.V

xii

RATIONALE p.01 Introduction Project context Research objective Research question Research methodology Study contribution Delimitations Concept

CONTENTS

2.1 2.2 2.3 2.4

Introduction Rites of passage Contemporary rites of passage The art of tailoring Case studies 2.5 Tailoring as rites of passage mechanism 2.6 Findings

3.1 Theoretical studies Adaptive re-use Theory of liminality Theory of inspired ritual Tailoring as expressive therapy Tailoring and architecture 3.2 Precedent studies

4.1 4.2 4.3 4.4 4.5 4.6 4.7

5.1 5.2 5.3 5.4

6.1 6.2 6.3 6.4

7.1 7.2 7.3 7.4 7.5 7.6

THEORETICAL CONTEXT EXPLORATION p.33 p.79

CLIENT, USERS, PROGRAMME & ACCOMMODATION p.141 Client Users Programme Accommodation schedule

DESIGN MATRIX & DESIGN DEVELOPMENT p.149 Introduction Design matrix Concept development Design development

CONTEXT & SITE p.103 Introduction Site location Site selection Urban analysis Site analysis Huis Potgieter analysis Site development

DESIGN RESOLUTION p.167 Plans Section Elevations 3D Views Details Models

8.1 Building system component 8.2 Specifications 8.3 Construction drawings

9.1 Conclusion 9.2 List of figures 9.3 List of references

10.1 Appendix A: Project exhibition photos 10.2 Appendix B: Research article

TECHNICAL RESOLUTION p.181

CONCLUSION p.205

APPENDIX p.217

xiii

chapter 01_

01 RATIONALE

1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8

Introduction Project context Research objective Research question Research methodology Study contribution Delimitations Concept

“Healthier men contribute to healthier and more equitable families, communities and societies”. [Ragonese et al., 2019:13]

INTRODUCTION

INTRODUCTION.

SE[CURE]ING BOYS TO MEN_

[1.1]

The dissertation entails the design of a contemporary rite of passage tailoring facility for at-risk boys. The proposed site is located at the southern gateway of the Pretoria CBD within the boundary of the Unisa Sunnyside campus. The abandoned building, Huis Potgieter, is proposed to form a part of the new contemporary rites of passage tailoring facility by applying the concept of adaptive re-use and transition through the art of tailoring to re-purpose the existing underutilised structure.

Gennep’s (1960) rites of passage theory. The art of tailoring can be shaped to transmit cultural morals, values, and knowledge to individuals through the process of passing tailoring skills and knowledge from master to apprentice.

The envisaged design addresses the current need for institutional structures tailored for at-risk boys and young men to improve their development and health outcomes. It is suggested that a se(cured) society can be achieved by addressing the issue of at-risk boys and young men from an early age and emphasising the need to work with boys ‘as well’.

The following matters are investigated to arrive at an appropriate design resolution and architectural response:

The objective of the proposed design is to provide a structural and functional facility that facilitates the rites of passage or transitioning process from boyhood to manhood by applying and implementing the artisan methods of teaching the art of tailoring. The art of tailoring is framed as a rite of passage mechanism because of the structural and social similarities between the art of tailoring and Van

The facility aims to become a suitable, accessible-to-the-public place for teaching, guidance, mentorship, development, healing, growth, celebration, and collaboration for atrisk boys.

1. ‘Unhealthy’ society; 2. ‘Unhealthy’ man in society; 3. ‘At-risk’ boys; 4. Misinformed masculine norms; 5. Fatherhood and father abandonment; 6. Rites of passage theory; 7. Contemporary rites of passage; 8. Art of tailoring; 9. Tailoring as a rite of passage mechanism; 10. Adaptive re-use; 11. Theory on liminality; 12. Theory on inspired ritual; 13. Tailoring as expressive therapy; and 14. Parallels between tailoring and architecture.

“We are losing our young men. Now more than ever, emerging men between 16 and 35 find themselves stuck in limbo between adolescence and adulthood. Addictions, anxieties, egos and overwhelming expectations leave them trapped in childhood and frustrated with their lives”. [Koufacos, 2020]

Fig 1.0: Illustration emphasising the importance of a guided transition from boyhood to manhood

[Author, 2021]

PROJECT CONTEXT

BACKROUND.

[1.2]

The vital period between adolescence and adulthood has gone from a stage of emergence to a state of emergency for too many young men. Today, boys lack clear markers on their journey to becoming men (Neasman, 2019:15).

Van Gennep’s (1960) rites of passage theory and Turner’s (1967) approach on liminality provide a theoretical and contextual understanding of transformations during a person’s life, specifically the transformation from boyhood to manhood. Rites of passage from boyhood to manhood function as a facilitator for the transitioning from boy to a man through teaching and inheritance of morals, values, and norms that produce healthier men in communities (Rubinstein, 2007).

It is imperative that structural and functional contemporary rites of passage processes are introduced in society to assist children, and in this case boys, in guiding their transition through adolescence to becoming ‘healthy’ adults or men in society. Rites of passage processes have caught the attention of psychologists and educators seeking better methods of youth development, teaching approaches, and community empowerment (Bell, 2003:41). Since Van Gennep (1960) coined the term rites of passage, anthropologists have been able to observe his social conception of this phenomenon throughout all cultures. Van Gennep (1960:11) eloquently defined rites of passage as a three-phase system of social transformation mediating role changes in a community that transmits cultural morals, values, and knowledge to individuals.

The lack of clearly established rites of passage in contemporary society is partly due to the ambiguous messages regarding an appropriate time for adolescents to enter adulthood. Developmental psychology literature provides considerable evidence that adolescents desperately seek public markers or community-based rituals for transitioning to adulthood. In the absence of these rituals, boys will create their own marked events that may be individually and communally destructive (Blumenkrantz & Goldstein, 2010:43).

PROJECT CONTEXT

[1.2]

Koufacos (2020) contends that boys feel overwhelmed by societal expectations of what a man should be due to misinformed masculine norms. Ragonese, Shand, and Barker (2019:15) propose that masculine norms are rules and expectations constructed on the pillars of social, cultural, and contextual beliefs. These norms are collectively referred to as the ‘Man Box’. Misinformed masculine norms result in at-risk boys and young men. Instead of boys finding their identity through rites of passage or transitioning processes, societal expectations or what the Man Box deems normal in defining masculinities, construct their identity. Transitioning from boyhood to manhood may be facilitated by fathers, father figures, role models, or mentors. According to Statistics South Africa (2017), South Africa has one of the highest rates of fatherlessness in the world: most (61.8%) children below the age of 18 live without their fathers (Maluleke, 2018). Boys are left in limbo between childhood and adulthood because they lack adequate fathers, father figures, role models, mentors, or institutional structures for actualising transitioning processes. As a result, many boys cannot deal with the pressures of adult life and struggle to cope with societal expectations (Moore & Gillette, 1990:7). Figure 1.3 provides statistics for school dropout, unemployment, homelessness, and

fatherlessness amongst boys and young men that undoubtedly indicate that boys are atrisk. Various studies reveal that in South Africa, just over half (57%) of high school dropouts are boys, nearly a third (31%) of men are unemployed, and most (88%) of the homeless are men (Statista, 2021). The compounded effect of the above may result in mental, physical, and spiritual health deficiencies, an impoverished life, violent behaviour, substance abuse, male suicide, and human trafficking amongst boys and young men (Rice, Purcell & McGorry: 2018:9). Literature studies show that the root causes of boys and young men with crippled social norms and attitudes are father abandonment and boys trapped within a gender-based violence cycle, as they are prone to be led by example (Van der Gaag, 2011). Van der Gaag (2011) argues that these risks for boys need to be considered and addressed. Literature studies based on projects and programmes for girls and young women with successful outcomes show that there needs to be an investment in at-risk boys. This will positively impact women and girls in society and impact boys’ lives as they grow into men (Van der Gaag, 2011).

UNHEALTHY SOCIETY

‘UNHEALTHY’ SOCIETY.

[1.2.1]

Introduction The Cambridge English Dictionary defines unhealthy as not good for your health (Dictionary.Cambridge.org, 2021). When used to describe society, ‘unhealthy’ refers to circumstances and factors that adversely affect the well-being of society and renders society as unsound, not whole, or unwell. The term is used to describe a state of society in the literal and figurative sense (see Figure 1.1). There are well-known societal indicators that cause a society to be regarded unhealthy. These include obesity, smoking, and consumption of alcohol (Meintjes & Hall, 2010). This study introduces ‘unhealthy’ as an abstract concept giving rise to an ‘unhealthy’ society.

Fig 1.1: ‘Unhealthy’ in the literal and figurative sense [Author, 2021]

Abstract concept of ‘unhealthy’ society Current factors that contribute to the abstract concept of an ‘unhealthy’ society are gender-based violence, school dropout, unemployment, and human trafficking, amongst others (Meintjes & Hall, 2010). These phenomena are both the cause and effect of an unhealthy society, and as such have a repetitive circular effect on society (see Figure 1.2). This study focuses on the concept of an unhealthy society whilst considering the effect of boys and men on society’s ‘health’.

Fig 1.2: The concept of ‘unhealthy’ society and its repetitive circular effect [Author, 2021]

PROJECT CONTEXT

Statistics showing that boys are at-risk: Fig 1.3: Statistics of societal problems showing that boys are at-risk [Author, 2021]

UNHEALTHY SOCIETY

‘Unhealthy’ society relative to the project context. The previous-mentioned societal phenomena (see Section 1.2.1) were investigated in relation to boys and men and the effect of the phenomena on society’s ‘health’. The statistical rates (see Figure 1.3) unequivocally show that society is unsound, unwell, and in need of a curative intervention. Relative to the project context, the cause of an ‘unhealthy’ society can be attributed to boys and men, as some boys are shown to be at-risk because of ‘unhealthy’ men. It is suggested that a se(cured) society can be achieved by addressing the issue of at-risk boys and young men from an early age and emphasising the need to work with boys ‘as well’.

Conclusion The symptoms that give rise to society being ‘unhealthy’ may be attributed to the impact of ‘unhealthy’ men and at-risk boys. It is proposed that a se(cured) society is achievable or should be strived towards in the present context by addressing the needs of at-risk boys and young men. It is, however, imperative that this study introduces and defines the concepts of ‘unhealthy’ men and at-risk boys. This will assist in their identification, and therefore the identification of the symptoms that give rise to an ‘unhealthy’ society, which are cardinal to the project context.

010

Fig 1.4: ‘Unhealthy’ men in society [Author, 2021]

UNHEALTHY MAN

THE ‘UNHEALTHY’ MAN IN SOCIETY.

[1.2.2]

Introduction When used to describe men, the term ‘unhealthy’ is used in a similar way in relation to society. ‘Unhealthy’ is introduced conceptually to propound factors that identify the man who, because of these factors, may be viewed as ‘unhealthy’. The term is used to describe a figurative state of ‘unhealthy’ and is not intended to juxtapose the actual health of men. The term points to something that offends the societal equilibrium and poses a risk to society and the man himself. This societal defect contributes to the ‘unhealthy’ society and indicates a need to be se(cured).

What is an ‘unhealthy’ man? The ‘unhealthy’ man is a definitive concept introduced to identify targeted subjects who contribute to an ‘unhealthy’ society. If left unattended, ‘unhealthy’ men will likely exacerbate the ‘unhealthy’ state of society. The term ‘unhealthy’ identifies the causes and symptoms that conceptualise the man as ‘unhealthy’ (see Figure 1.4). Why conceptualise ‘unhealthy’ men? By conceptualising the ‘unhealthy’ man, at-risk boys can be identified with greater certainty. It is proposed that one can address the factors that give rise to ‘unhealthy’ men from an early age, so that boys, adolescents, and young men are not left to their own devices to configure their path from boyhood to adulthood. This may result in the early intervention of the victims of ‘unhealthy’ men, and for the purpose

of this study, specifically boys who may break the repetitive cycle of growing into ‘unhealthy’ men.

How does one identify an ‘unhealthy’ man in society? The following factors may assist in identifying an ‘unhealthy’ man in society: - Men who exhibit lower mental, emotional, and behavioural well-being; - Men who may engage in risk practices, such as drug and substance abuse; - Men who experience mental health problems; - Men who show violent behaviour; - Men who live in poverty; - Men who do not contribute to society (homeless or jobless); and - Men who may have previously been categorised as at-risk boys (see Section 1.2.3). What impact do ‘unhealthy’ men have on society? Introducing ‘unhealthy’ men in society may result in the following: - Inequality; - Lack of economic participation; - Male suicide; - At-risk boys; - Children growing up without their biological fathers; and - Women and children affected by violent behaviour, commonly known as gender-based violence.

PROJECT CONTEXT

‘AT-RISK’ BOYS.

[1.2.3]

Introduction The Cambridge English Dictionary defines ‘atrisk’ as an adjective meaning in danger of being harmed, damaged, or failing (Dictionary. Cambridge.org, 2021). The focal point of this project is at-risk boys and thus boys who are in danger of being harmed, damaged, or failing.

What is an at-risk boy? Defining at-risk boys allows for the identification of boys who require intervention. At-risk boys are boys who, by virtue of their personal circumstances, pose a risk to society, as they may become ‘unhealthy’ men. At-risk youth (and relative to the context of the project, at-risk boys) may not have a successful passage into adulthood because of circumstantial challenges in their lives (Smith, 2021). An unsuccessful passage into adulthood could adversely affect the boys’ academic success, job readiness, and ability to become contributing members of society (Smith, 2021). Young adults, and specifically boys, need a guided transition to adulthood to avoid a life of crime, violence, or substance abuse.

Why focus on at-risk boys? Adolescence is a critical transition period for boys and girls. Adolescence is the time when boys learn what it means to be a man, or at least they should. This period may be when negative attitudes towards girls and women are reinforced and when boys may feel pressured to behave in stereotypical male ways (Van der Gaag, 2011).

At-risk boys are relevant to an ‘unhealthy’ society on two levels. At-risk boys are at-risk because of their exposure to ‘unhealthy’ men or because they are left unattended to transition to manhood. In turn, these boys are prone to lead by example, explains Sikweyiya et al. (2016:1). In either instance, it is imperative to identify at-risk boys and address the circumstances that give rise to their at-risk status. If left unattended, at-risk boys will inadvertently contribute to an ‘unhealthy’ society. What are the circumstances by which a boy is defined as being at-risk? The status of at-risk is determinable with regards to the personal circumstances in which boys find themselves. At-risk boys can be identified using the following defining criteria (Van der Gaag, 2012): (See Figure 1.5) - - - - - - - -

Boys who grow up in poverty; Boys who are rebellious; Boys who become disinterested in family and school life; Boys who drop-out of school; Boys who are trapped in a gender-based violence cycle; Boys who conform to masculine norms defined by tradition, culture or misinformed societal conceptions; Boys who are fatherless, parentless or lack appropriate father figures; and Boys who experience abandonment by their fathers.

At-RISK BOYS

What is the result of being an atrisk boy? Because at-risk boys are not afforded the opportunity to transition from boyhood to manhood appropriately, at-risk boys will often grow into ‘unhealthy’ men. At-risk boys, if left unattended, are prone to the following future risks: - - - - - -

Living a life in poverty; Living with mental health illness; Substance abuse; Violent behaviour; Failure to launch syndrome (not contributing to society); and Exhibit lower mental, emotional, and behavioural well-being.

Many of these risks coincide with those used to identify the ‘unhealthy’ man that directly correlates at-risk boys and ‘unhealthy’ men, and in turn directly correlates at-risk boys with an ‘unhealthy’ society.

At-risk boys’ interventions

Fig 1.5: Circumstances by which a boy is defined as being at-risk [Author, 2021]

Because at-risk boys are less likely to transition to se(cured) men, the intervention required for atrisk boys needs to be interposed at a young age to circumvent the adverse effects of being at-risk. Successful initiatives for girls and young women provide holistic programmes, such as the Girls Advisory Council (GAC), Dream Girls Academy South Africa, and UNICEF She Conquers. The initiatives are offered through mentorship

PROJECT CONTEXT

programmes, support, and encouragement from caring adults providing guidance, protection, and nurturing environments. These programmes are essential, as adolescence is a critical period of mental, physical, social, and educational development (UNICEF.org, 2017). The risks for boys and young men should be considered and addressed ‘as well’. Intervention initiatives should aim at facilitating, guiding, and supporting boys’ transition from adolescence to adulthood, or in this case, from boyhood to manhood. It is suggested that intervening through facilitating, guiding and supporting the transition from boyhood to manhood will assist in eradicating the at-risk status, which will se(cure) boys into healthy men.

The proposed interventions are as follows (see Figure 1.6): - Mentorship; - Supportive guidance from boyhood to manhood; - Skills transfer; - Engaging boys and young men to address possible mental health illnesses; - Providing boys with a sense of purpose; and - Ensuring boys feel a sense of responsibility.

Fig 1.6: Proposed interventions and initiatives for at-risk boys [Author, 2021]

014

MISINFORMED MASCULINE NORMS

MISINFORMED MASCULINE NORMS.

[1.2.4]

What are misinformed masculine norms?

How to resolve misinformed masculine norms?

In an article on the Boys to Men Conference held at the University of the Western Cape, Ratele et al. (2007:3) explain that boys and men’s particular vulnerabilities have been ignored or obscured in the dominant view of ‘men as perpetrators’. Ratele et al. (2007:3) explain that critical studies on masculinity’s key principles focus on undeniable pressures on boys and young men to conform to the prevailing dominant mode of masculinity illustrated by fearlessness and risk-taking.

Van der Gaag (2011) argues that if projects and programmes for girls and young women are to have positive desired outcomes, then there needs to be such an investment in boys as well (not instead of). Boys and young men need to learn new ways of being and understand that there is more than one way of being a man. Programmes dedicated to boys and young men will impact boys’ lives as they grow into men and positively impact women and girls’ lives (Van der Gaag, 2011).

What are the effects of misinformed masculine norms?

The focus of the research does not seek to address violence against women. However, the research emphasises the unequivocal need to work with boys as well, and the need to address at-risk boys and young men in society. Thus, it is proposed that society be se(cured) by alleviating society of ‘unhealthy’ men and eradicating the factors that give rise to society being ‘unhealthy’.

Misinformed masculine norms (Man Box pillars) place pressure on boys and men to think and behave in specific ways (see Figure 1.7). Misinformed masculine norms such as the perception that men are tough (and therefore do not need to seek help) or self-appointed household breadwinners result in ‘lost’ or ‘missing’ men. Lostness affects the health and safety of boys, young men, and vulnerable groups within society (Ragonese, 2019:11-15).

How do misinformed masculine norms contribute to an ‘unhealthy’ society? Attitudes and social norms are shaped at an early age. Van der Gaag (2011) expresses that stereotypical misinformed masculine norms have societal repercussions ranging from violent behaviour, abuse, loss of identity, mental illness, male suicide, and lack of a sense of self and belonging. These symptoms give rise to at-risk boys, and as such, show that boys who are subjected to misinformed masculine norms may be at-risk.

Fig 1.7: Man Box pillars, a set of beliefs in society that place pressure on men to be a certain way [Author, 2021]

PROJECT CONTEXT

Approximately

4 million

children are estimated to be either maternal, paternal or double orphans. Of these, approximately

859 000

are double orphans;

624 000

maternal orphans;and

2 468 000

paternal orphans.

1 in 3

Only children live with both biological parents. The average child is increasingly and most likely to be raised

single

by a mother.

Fig 1.8: Drawing representing fatherhood [Author, 2021]

016

FATHERHOOD AND FATHERLESSNESS

FATHERHOOD AND FATHERLESSNESS.

[1.2.5]

Introduction

What are the effects of fatherlessness?

The absence of biological fathers in South Africa has been constructed as a problem for children of both sexes and more so for boy children, explains Ratele (2012:553), a South African psychologist and men and masculinities scholar.

Ratele (2012:554) refers to studies that indicate the importance of a father’s involvement to achieve positive social, psychological, psychiatric, and behavioural outcomes in childhood and adulthood in contrast to children in single-parent families with absent fathers. Ratele (2012:554) explains that the outcomes reported in these studies express the positive influence of the present father. These include lower psychological distress for sons, reduced likelihood of engagement in risk practices during adolescence, better performance at school, better psychological adjustment and wellbeing, less antisocial behaviour, more successful intimate relationships, positive intellectual development, higher levels of social competence, and the ability to empathise.

What is fatherlessness? Fatherlessness is a self-explanatory term, which for the purpose of this study, includes boys transitioning to manhood in the absence of appropriate father figures. According to Meintjes and Hall (2010), approximately four million children are estimated to be either maternal, paternal or double orphans (see Figure 1.8). Of these, approximately 859 000 are double orphans, 624 000 maternal orphans, and 2 468 000 paternal orphans. Only one in three children live with both biological parents, and a quarter lives with neither of their biological parents (Meintjes & Hall, 2010). Thus, the average child is increasingly and most likely to be raised by a single mother. Ratele (2012:557) clarifies the importance of the experience of fatherhood as ‘being there’, which he relates to the quality of time and relationship between child and father rather than physical time together. What is evident is that not only biological fathers can ‘be there’ for their sons, but also social fathers, other significant male role models, and mentors. This includes father figures who step in at various times in a participant’s life when biological fathers are unavailable for whatever reason.

In contrast, when the father is absent, children generally tend to exhibit lower mental, emotional, and behavioural well-being. Therefore, there is an increased likelihood of negative outcomes (Ratele, 2012:554). It is thus apparent that fatherlessness may have the polar opposite effect, and when considered, fatherlessness may thus result in atrisk boys.

Conclusion Fatherlessness has the potential to affect young boys adversely in their transition from boyhood to manhood. Fatherlessness may result in at-risk boys that contribute to an ‘unhealthy’ society when considering the context of this dissertation.

OVERVIEW

PROPOSED RESOLUTION.

[1.2.6]

It is proposed that at-risk boys and the challenges they face can be addressed by introducing an appropriate architectural typology dedicated to at-risk boys that consist of:

A custom-made building tailored for atrisk boys;

Various custom-made programmes; and

A building that is suitable for the proposed interventions required to facilitate, guide, and support the rites of passage or transitioning from boyhood to manhood.

The proposed design will allow diverse at-risk boys to define their identity informatively by providing an adequate contemporary rites of passage tailoring facility tailored for at-risk boys to transition from boyhood to manhood with the requisite guidance and support.

OVERVIEW DIAGRAM. The diagram provides an overview of the project background and involves the understanding and reasoning behind the societal problem identified for the project (see Figure 1.9).

018

[1.2.7]

SCHOOL DROPOUT RATES:

GBV RATES:

UNEMPLOYMENT RATES

HOMELESSNESS RATES

HUMAN TRAFFICKING

[RITES OF PASSAGE]

Fig 1.9: Diagram overview of the project context [Author, 2021]

OBJECTIVE & QUESTION

MAIN RESEARCH OBJECTIVE.

[1.3]

This dissertation attempts to determine if architecture can be tailored to inform an appropriate contemporary rite of passage tailoring facility that facilitates the transition process from boyhood to manhood for at-risk boys and young men in the Pretoria CBD.

MAIN RESEARCH QUESTION.

Can architecture be tailored to inform an appropriate contemporary architectural typology to facilitate the rites of passage or transition from boyhood to manhood for at-risk boys and young men?

020

[1.4]

OBJECTIVE & QUESTION

Sub-questions

CORRESPONDING OBJECTIVES.

[1] SUB-QUESTION.

OBJECTIVE.

What are the implications of the lack of adequate

Investigate the implications of the lack of adequate

fathers, father figures, role models, mentors,

fathers, father figures, role models, mentors, and

and

actualising

institutional structures for actualising transitioning

transitioning processes for at-risk boys and

institutional

structures

processes for at-risk boys and young men using

young men?

literature studies and statistical analysis.

[2] SUB-QUESTION.

OBJECTIVE.

How can an in-depth investigation of rites of

Determine

passage inform an appropriate contemporary

passage theory and appropriate architectural

architectural

typologies

typology

for

actualising

the

relationship

for

between

transitioning

rites

processes

from

transition process from boyhood to manhood for

boyhood to manhood using a literature study,

at-risk boys and young men?

experimental drawings, and model building.

[3] SUB-QUESTION.

OBJECTIVE.

How can the art of tailoring function as a rite of

Determine and investigate how the art of tailoring

passage mechanism for at-risk boys and young

can function as a rite of passage mechanism using

men in the Pretoria CBD?

a literature study, case studies, and architectural precedent studies.

[4] SUB-QUESTION.

OBJECTIVE.

Can an in-depth investigation between the

Determine how the parallels between tailoring

parallels of tailoring and architecture inform

and

architectural

contemporary typology for at-risk boys and young

typology for at-risk boys and young men in the

men through a material investigation, architectural

Pretoria CBD?

drawings, experimental models, literature studies,

appropriate

contemporary

architecture

can

inform

appropriate

and precedent studies.

021

RESEARCH METHODOLOGY

[1.5]

[1.5.1] RESEARCH DESIGN.

The following section is formulated to provide insight into the context of the project, specifically the researcher’s paradigm (set of shared beliefs that guide action) (Kuhn, 1970). The research topic is grounded in the humanities and the social aspects of designing for a healthier society. In Architecture: Form, space and order , Francis DK Ching (1943:ix) explains that “the act of creating architecture is a problem-solving or design process”. This process requires the documenting of existing conditions of a predefined problem, defining its context, and collecting relevant data to be assimilated and analysed. This can be achieved through the application of research (Ching, 1943:ix). According to Creswell (2009), research design is a process of collecting and analysing information to increase the understanding and knowledge of a topic issue and involves philosophy, strategies of inquiry, and specific methods.

Fig 1.10: Diagram showing the design process followed [Author, 2021]

022

A design process based on a decision-making sequence of events is followed, including identification, analysis, synthesis, and evaluation. The presupposition of the design process is that the process will result in the creation of appropriate architecture informed by research. The decision-making sequence adopted is not linear. Rather, the sequence is a rigorous form of idea iteration in a circular manner (see Figure 1.10).

RESEARCH METHODOLOGY [1.5.2] RESEARCH PARADIGM.

The philosophical worldview that underpins the study is constructivist (see Figure 1.11). Constructivism is best applied within the humanistic approach to architectural design and is mainly inductive, thus allowing the researcher to generate meaning from the data collected. In The Foundations of Social Research, Michael Crotty (1998) explains that humans construct meaning by their interpretation of the world with which they engage. They make sense of the world based on their historical and social perspectives. The approach is mainly subjective and predominantly premised on multiple personal views, thus allowing the researcher to generate theories and meaning.

[1.5.3] RESEARCH APPROACH.

Fig 1.11: Constructivist worldview and qualitative approach to research [Author, 2021]

The researcher employs the qualitative approach to research and seeks to conceptualise, understand, and interact with what is being researched through an inductive process and reasoning, including analysis, documentation, and observation (Creswell, 2009). Meaning and a more precise understanding of the problem will be generated from the data collected in the field of study, including rites of passage from boyhood to manhood, the art of tailoring as a rite of passage or transitioning mechanism, and the art of tailoring as expressive therapy. The approach consisted of the collection of data that was organised and compiled for analysis. Once the data was organised information was examined and analysed to obtain general understanding of the content. Issues were identified and prominent themes were established. The themes established allowed for the development of a conceptual approach to an architectural response and further investigations (see Figure 1.12).

023

RESEARCH METHODOLOGY

024

Fig 1.12: The research approach and research methods applied [Author, 2021]

RESEARCH METHODOLOGY

RESEARCH METHODS.

[1.5.4]

The proposed research methods include the following to develop an appropriate architectural response.

Literature Review

Site Analysis

Literature studies primarily inform the researcher’s subjective knowledge base of Van Gennep’s (1960) rites of passage theory and Turner’s (1967) theory on liminality. These theories will be extrapolated to contribute to an adequate architectural typology. Further literature studies on the rites of passage from boyhood to manhood, misinformed masculine norms, factors that give rise to at-risk boys, the art of tailoring, and tailoring as expressive therapy will express the research paradigm.

Site analysis in an immediate and urban context will assist the researcher in identifying the current conditions that give rise to a predetermined problem. The existing conditions will be identified and documented through an urban analysis of the Pretoria CBD. This analysis includes the mapping and documenting of underutilised structures, vacant sites, educational facilities, non-governmental organisations (NGOs), religious entities, health clinics for men, tailoring facilities, and the existing conditions of the site. These will assist in formulating the pre-defined problem.

Data Collection Statistics will underscore the importance of the research, whilst observation will contribute to the theory and meaning generated by the researcher. Statistics from secondary sources will be gathered on school dropout rates, homelessness, unemployment, and fatherlessness amongst boys and young men in South Africa to illustrate the latter’s societal vulnerability. The researcher will observe the activities of boys and young men in proximity to the site and boys practising the art of tailoring at workshops held in the Pretoria CBD as a form of skills development and expressive therapy.

Precedent Studies This study identifies and analyses precedents of appropriate architectural typologies, programmes, and concepts that will contribute to conceptualising a subjective understanding of existing solutions used to resolve similar pre-defined problems identified through design research. This will include precedent studies that fall under type, form, location, and design.

025

STUDY CONTRIBUTION

[1.6] Literature studies show that successful projects and programmes for girls and young women amplify the need for similar investments for at-risk boys and young men. Research on the topic at hand brought about an awareness of the existence of at-risk boys in society and unmasked a legitimate and underemphasised societal gap.

The upskilling, development, and support of atrisk boys and young men through the application of a rites of passage or transitioning process in a microcosm of society can be extrapolated to the larger society as a whole to address larger societal challenges.

026

Outdated rites of passage or transition processes can be rethought and achieved by utilising alternative expressive mechanisms; and

Emphasis on rites of passage or transition processes for at-risk boys and young men can directly contribute to the well-being of society;

The project will contribute to the existing knowledge by showing that:

DELIMITATIONS

The proposed design will not function as an alternative or replacement for existing passage rituals but rather as an appropriate contemporary typology that facilitates the transition or rites of passage from boyhood to manhood for at-risk boys and young men. The project will focus on at-risk boys and young men in the Pretoria CBD and surrounding communities.

b. c.

The design will focus specifically on the positive principles of rites of passage from boyhood to manhood, based on Van Gennep’s (1960) theory of rites of passage and Turner’s (1967) theory of liminality.

The specific referral to boys and young men does not implicitly or explicitly exclude other genders. The research will be conducted from a female perspective, thus limiting personal knowledge and experience relating to the complex subject matter, supplemented by analysis, critical reviews, and theories of masculinity and manhood.

[1.7]

CONCEPT

028

Fig 1.13: Drawing representing the project concept [Author, 2021]

CONCEPT

CONCEPT. TRANSITION THROUGH THE ART OF TAILORING.

The concept of transition through the art of

[1.8]

PARTI DIAGRAMS:

tailoring as a rite of passage or transitioning mechanism is applied (see Figure 1.13) to develop an

appropriate

contemporary

architectural

response. This includes the process of tailoring the architecture to tailor the at-risk boy for society, which will in turn result in the ‘tailored man’.

The concept will be applied accross three

Fig 1.14: Parti diagram highlighting transitioning and passages [Author, 2021]

spheres: the architecture, the programme, and the at-risk boy.

Tailoring the architecture for at-risk

boys; 2.

Tailoring the programme of the

proposed design for at-risk boys; and

Tailoring the at-risk boy (see Section

1.8.1).

Fig 1.15: Parti diagram highlighting transitioning and tailoring [Author, 2021]

CONCEPT

[1.8.1] TRANSITION THROUGH THE ART OF TAILORING PRINCIPLES:

1. Tailoring the architecture for at-risk boys.

-Architecture implies the creation of functional spaces suited for its user. -These spaces will be tailored to function as literal and figurative passages for the functional and appropriate separation, transition, and re-incorporation of at-risk boys. -This will be done by applying adaptive reuse, where an abandoned and underutilised building previously used as a residence will be tailored to realise its full potential as a functional transitioning space.

Fig 1.16: Tailoring the architecture for the atrisk boy [Author, 2021]

CONCEPT

2. Tailoring the programme of the proposed design for at-risk boys.

3. Tailoring the at-risk boy.

-Tailoring will be used to inspire both a physical and metaphorical transition.

-The tailored architecture in conjunction with the tailored programme will embody a rite of passage mechanism, facilitating a guided and structured transition from boyhood to manhood.

-The proposed programme will be tailored to facilitate the guided transitioning of at-risk boys. -The programme boasts a curriculum utilising the practical process of tailoring combined with the artisan methods of teaching tailoring to allow for a guided and mentored transition.

-The proposed tailored architecture will facilitate the tailored programmes and will transition the at-risk boy from unskilled to skilled, at-risk to se(cured) and ‘unhealthy’ to ‘tailored’.

-The transition of raw or second-hand material from one phase to another during the teaching process embodies the actual transition of the at-risk boy who participates in the tailored programmes. -The physical/actual transition of raw or secondhand material to finished products symbolises the at-risk boy who is se(cured). Fig 1.17: Tailoring the programme of the proposed design [Author, 2021]

Fig 1.18: Tailoring the at-risk boy [Author, 2021]

chapter 02_

02 THEORETICAL CONTEXT

2.1 2.2 2.3 2.4 2.5 2.6

Introduction Rites of passage Contemporary ROP The art of tailoring Case studies Tailoring as ROP mechanism Findings

033

THEORETICAL CONTEXT

[2.1] INTRODUCTION. This chapter will explain the theoretical context of the project. It invovles the reasoning informing the problem identified and the architectural response. The research addresses the following: (See Figure 2.1) 2.2 Rites of passage theory; 2.3 Contemporary rites of passage theory; 2.4 The art of tailoring; 2.5 Tailoring as rites of passage mechanism; and 2.6 The findings.

2.2

RITES OF PASSAGE THEORY

2.3

CONTEMPORARY ROP THEORY

2.4

THE ART OF TAILORING

2.5

TAILORING AS ROP MECHANISM

Fig 2.1: Diagram showing the theoretical context addressed in chapter 02 [Author, 2021]

034

INTRODUCTION

SUMMARY OF FINDINGS.

2.6 FINDINGS

The concept and theory of rites of passage is deconstructed to understand transformation, specifically the transformation or transition from boyhood to manhood that is commonly referred to as ‘coming of age’. The researcher will investigate Van Gennep’s (1960) rites of passage theory, which is an integrative theory in anthropology, philosophy, architecture and the arts. The aim of the research is to define the principles and reasoning informing the significance of these transitions whilst explaining their relevance and necessity in the context of present-day boys and young men. The application of these principles will then be extrapolated to inform a contemporary architectural typology to facilitate the transitioning processes of diverse at-risk boys and young men for se(cure)ing at-risk boys, and in turn se(cure)ing a healthier society. A critical reflection of the research conducted in this chapter unambiguously shows that a structural, functional, and contemporary rites of passage process is imperative to achieve an appropriately informed social transformation from boyhood to manhood. Although there are programmes that attempt to function as a contemporary rite of passage, these are left wanting for various reasons (Blumenkrantz & Goldstein, 2010:42). The researcher proposes the art of tailoring as a mechanism to achieve structural, functional, and contemporary rites of passage for atrisk boys. The researcher deconstructed and analysed the art of tailoring and how tailoring skills are transferred from master to apprentice to determine whether tailoring can act as a contemporary rites of passage mechanism.

THEORETICAL CONTEXT

Fig 2.2: ROP from boyhood to manhood [Author, 2021]

RITES OF PASSAGE THEORY.

Rites of passage are coordinated ritual events marking significant junctures that help guide and affirm a transition from one life status to another through celebrations and ceremonies that include birth, coming of age, marriage, and death, among others (Golomski, 2012:3). One of the most critical transitions is from childhood to adulthood or boyhood to manhood, a passage familiarly known as ‘coming of age’ (see Figure 2.2).

036

[2.2]

RITES OF PASSAGE

IMPORTANCE OF RITES OF PASSAGE FROM BOYHOOD TO MANHOOD.

[2.2.1]

According to Blumenkrantz and Goldstein (2010:42) rites of passage rituals have been present, in many manifestations, in all cultures for thousands of years. This indicates the strong evolutionary validity of these processes that have remained an important part of community and cultural health promotion during significant transitions, such as from boyhood to manhood (Blumenkrantz & Goldstein, 2010:42). It is imperative that structural and functional contemporary rites of passage processes are introduced in society to assist children, and in this case, to assist boys in their transition through adolescence to becoming healthy men in society.

Rites of passage from boyhood to manhood function as a facilitation for the transition of boy to man through a teaching and inheritance of morals, values, norms, and responsibilities that inform healthy men in society (Rubinstein, 2007).

PROBLEM IDENTIFIED. For thousands of years, men’s lives have been structured by rituals that helped mark significant events, make sense of the world, and facilitate the transitioning process from one phase of life to the next. Boys require appropriately informed rituals marking their passage from boyhood to manhood (Ayot, 2019). If society does not promote rites of passage in communities, then boys will be stuck in the transition period between boyhood and manhood, or they will inevitably invent their own transition (Blumenkrantz & Goldstein, 2010:43).

In his podcast A Man’s Need for Ritual, William Ayot (2019) explains that in the contemporary age, societies are mainly devoid of rituals and are worse off for it. Boys cannot cope with the adulthood pressures and societal expectations regarding manhood because of a lack of defined ritual markers. Boy-to-man rites of passage rituals prepare young men to be responsible men in society, and it is recognised that the future of communities require healthy men as opposed to overgrown boys (Rubinstein, 2007). Rites of passage are imperative for a social transformation. Embedded in this transformation is the social change from one status, a boy, to another, a man. The literature demonstrates that this transformation must not be left to the devices of self and requires supervision to attain the desired outcome of men who are tailored with those morals, values and norms which result in men who are versed with an appropriate understanding of their societal role, the ‘healthy man’.

This may have prejudicial consequences for young adult men and society as a whole, as boys will be left to their own devices or those misinformed by society when inventing their transition to manhood.

038

Fig 2.3: Traditional Xhosa initiate (Safodien, 2021)

RITES OF PASSAGE

[2.2.3]

TRADITIONAL EXAMPLES.

There are various rites of passage ceremonies or rituals for the transition from boyhood to manhood found throughout many world cultures. Examples of some South African rites of passage ceremonies include the Jewish bar mitzvah (see Figure 2.4), initiation of African males practised by Xhosa people (see Figure 2.3 & 2.5), Basotho people, and Tsonga people (amongst other African ethnic groups), the Afrikaans traditional Veldskool, and the street gang Brotherhoods (that show the adverse effect of misplaced transitions) (see Figure 2.6). Many societies mark a boy’s transition to manhood through instructional encampments, apprenticeships, travel, and circumcision (Golomski, 2012).

a. Fig 2.4: Boy reading the Torah at his Jewish Bar Mitzvah [Author, 2021]

b. Fig 2.5: Xhosa initiation ritual [Author, 2021] c. Fig 2.6: Drawing of the brotherhoods street gangs in Cape Town [Author, 2021]

MAP OF RITES OF PASSAGE RITUALS ACROSS THE WORLD

040

041 Fig 2.7: Haisam Hussein’s map of ROP rituals across the world [Author, 2021]

042

Fig 2.8: Ulwaluko Xhosa boys’ coming of age initiation [Stirton, 2021]

RITES OF PASSAGE

[2.2.4] KEY PURPOSE AND PRINCIPLES OF RITES OF PASSAGE.

The term ‘rites of passage’ was coined in 1909 in Les rites de passage (1960) by French anthropologist Arnold Van Gennep. He observed patterns of behaviour in various ceremonies and explained that the ceremonies function as a mechanism for assisting individuals through the difficulties of a social transition (see Figure 2.9). Van Gennep (1960:11) described a rite of passage as a community-created and communitydirected experience that:

Transmits and teaches:

Cultural values, individuals;

ethics,

and

knowledge

Guides:

Expectations for behaviours essential to transition from one status or role to another through intentional activities; and

Celebrates: Celebrates the transition and reaffirm the community values of the new status or social role using a transparent community event.

Fig 2.9: Diagram highlighting the purpose and principles of ROP [Author, 2021]

RITES OF PASSAGE

[2.2.5] VAN GENNEP’S RITE OF PASSAGE THEORY & THREE-PHASE SYSTEM.

Van Gennep (1960:11) held that rites of passage consist of three distinguishable and consecutive phases (see Figure 2.10). The three-phase system of social transformation begins when a person matures to a state of readiness for making a role change in their community. The three distinguishable and consecutive phases required for the social transformation are separation, transition (liminality), and reincorporation (see Figure 2.11) (Van Gennep, 1960:11).

044

Fig 2.10: The three phases of ROP

[Author, 2021]

Van Gennep’s three-phase system

RITES OF PASSAGE

[1]

[2]

[3]

The first phase separation :

The second phase transition (liminal): is the

The third phase reincorporation:

separates, detaches, or cuts

period between states, lasting from a day to

occurs during the final phase.

away

from

several months, depending on local practice

The individual returns to the

their former self or current

and the nature of the ritual. In this phase, an

community and is ready to

community

Separation

individual may experience a symbolic death and

embrace their new role and

the

individual role.

symbolical,

rebirth. Some African societies are marked by

responsibilities associated with

physical, or emotional form.

physical alterations, such as circumcision, body

their newfound social status. In

During a coming-of-age rite,

decoration, or moderate weight gain, the latter

the previously used examples,

for

individual

suggesting health and well-being (Bell, 2015:42).

the individual is introduced as

may be removed from the

This liminal phase is what anthropologist

an adult. The reincorporation is

community both physically and

Turner (1967:93) described as being “betwixt

typically facilitated by way of a

psychologically and taken to a

and between” a former role and future status.

celebration. Performance with

special enclosure where rituals

This phase accommodates the individual’s

music and dance and the display

are held. The separation marks

transformation in a period of becoming and

of the individual’s artworks allow

the end of the individual’s

moving towards the new role. During the

family and community members

former role, in this case the

transformation, the individual presented with

to recognise the achievements

role of a boy. The individual is

challenges adopts cultural norms through

and new skills of the individual

thrust into an in-between stage

teachings and communications and learns

whilst enforcing the boundaries

where they are not an adult yet

new skills required to integrate into their new

of their new role (Bell, 2015:43)

no longer a child (Bell, 2015:42).

community role (Turner, 1967:93).

(see Figure 2.11.1).

can

embody

example,

the

Fig 2.11: The ritual process and van Gennep’s (1960) threephase system of ROP [Author, 2021]

046

Fig 2.11.1: Reincorporation, Ndebele boys’ homecoming celebration [031 News.co.za, 2019]

RITES OF PASSAGE

VAN GENNEP’S CLASSIC MODEL OF RITES PASSAGE.

[2.2.6]

Van Gennep’s classic model of the three phases is illustrated in Figure 2.12, which demonstrates a role change with external forces (the community) supporting the second and newfound role. The diagram shows the individual in their original role represented by a box. The circle demonstrates the transformation from one role to another, leaving the box and taking on more fluid boundaries. After passing through the liminal or transition phase, the individual is welcomed back into the

community through a ceremonial event. Lastly, the community acts to reinforce and maintain role pressure, enforcing the boundaries of the new role (Bell, 2015:43). Imperative in the classic rites of passage model is the individual’s defined role determined at inception, eliminating the need to search for or determine their own role.

Fig 2.12: Van Gennep’s classic ROP model showing a defined role change [Author, 2021]

THEORETICAL CONTEXT

CONTEMPORARY RITES OF PASSAGE.

048

Fig 2.13: Contemporary ROP journey to responsible adulthood [Author, 2021]

[2.3]

CONTEMPORARY RITES OF PASSAGE

A modern-day rite of passage is achieved when the community creates and participates in experiences that are perceived to be transformative by youth. The rite offers youth increased status within the community and facilitates their healthy transition through adolescence (see Figure 2.13). Thus, contemporary rites of passage are still community created as initially envisaged by Van Gennep.

[2.3.1] EXAMPLES OF CONTEMPORARY RITES OF PASSAGE PROGRAMMES. In many communities, contemporary rites of passage programmes are conducted by community-based organisations. These include ROPE (a youth and community development centre); Outward Bound (offering outdoor adventure education programmes); Parivartan’s Coaching Boys into Men (works with boys through sport, teaching healthy relationship skills); and Instituto Promundo (engages young men in their Program H training to encourage critical reflection about the ridged norms related to manhood) (Van der Gaag, 2011).

South African examples: In South Africa, Sonke Gender Justice runs the One Man Can campaign to encourage boys and men to support gender equality and prevent genderbased violence (Van der Gaag, 2011). Jo Black’s Be That Guy is a social awareness campaign that promotes integrity, respect, honour, and

leadership by promoting positivity amongst boys and providing techniques on how to deal with everyday challenges (BTGEverydayHeroes.co.za, 2017). The South African Etiquette Academy offers courses to young gentlemen who aspire to use contemporary manners and be gentlemen in the twenty-first century (Conradie, 2019) (see Figure 2.14).

[2.3.2] RELEVANCE TODAY? Creating modern-day rites of passage for boys is imperative. Rites of passage processes caught the attention of psychologists and educators seeking better youth development methods, teaching approaches, and community empowerment. Throughout all cultures, anthropologists have observed individuals using Van Gennep’s (1960) social conception of rites of passage, mediating role changes in communities that transmit cultural morals, values, and knowledge.

THEORETICAL CONTEXT

Fig 2.14: Contemporary ROP programmes in South Africa [Author, 2021]

050

CONTEMPORARY RITES OF PASSAGE

[2.3.3]

PROBLEM IDENTIFIED: Although several outdoor and youth development programmes use the rites of passage model as coming of age rites, the youth often return to an environment lacking the formal social mechanisms for maintaining the newfound status. This is because contemporary rituals attempt to ascend to a rite of passage mechanism but lack important structural and functional components required to achieve the desired result.

[2.3.4]

CONTEMPORARY RITES OF PASSAGE MODEL. Figure 2.15 illustrates the contemporary rites of passage model, showing deficiencies in the contemporary model in two specific areas after the liminal phase. These are the lack of community support and a defined role at inception, elements which are imperative to a rite of passage as envisaged by Van Gennep (1960). As illustrated below, there is no defined box for the participant and no group to keep the participant in the box. This creates an ineffective rite of passage, which may not achieve the desired result.

Fig 2.15: Contemporary ROP model (Author, 2021)

THEORETICAL CONTEXT

20 ELEMENTS FOR A CONTEMPORARY RITE OF PASSAGE. [2.3.5]

Blumenkrantz and Goldstein (2010:43) identified 20 elements and key characteristics that provide a framework for communities to develop more functional, structural, and contemporary community-based rites of passage programmes to develop the youth and community (see Figure 2.16).

CONTEMPORARY RITES OF PASSAGE

Fig 2.16: Blumenkrantz and Goldstein’s 20 elements for a contemporary ROP [Author, 2021]

FRAMEWORK FOR A CONTEMPORARY RITES OF PASSAGE. In The Four Stages of Manhood , Marq Neasman (2019:17) emphasises that creating modern-day rites for boys is imperative. Blumenkrantz and Goldstein (2010) are founders of the Center for the Advancement of Youth, Family & Community Services and Rite of Passage Experience (ROPE), a non-profit institute focused on promoting positive youth development and assisting children during their transition through adolescence. These elements and key characteristics may be utilised to inform the methodology to design an architectural typology and create spaces to facilitate rites of passage programmes. The elements are (see Figure 2.17). -

Paradigm shift; Community values and ethics; Relationships (connections); Spaces that foster learning and training; Programmes must happen in the home community; Rituals; Spaces that challenge the individual emotionally or physically; - Silence (quiet spaces); - Stories, myths and legends (building as narrative); - Connections with nature; - Time alone for reflection; - Connection with ancestral roots; - Play; - Spaces that foster growth (journey); - Non-ordinary states of reality; - Service to the community; - Change of status or role (symbolic space); - Opportunities for participants to showcase and demonstrate their new skills; and - Celebration of status.

CONTEMPORARY RITES OF PASSAGE

20 ELEMENTS. Fig 2.17: Illustrations exploring Blumenkrantz and Goldstein’s 20 elements for a contemporary ROP [Author, 2021]

054

055

THEORETICAL CONTEXT

THE ART OF TAILORING.

The word tailor (v.) or tailoring means to make, create, prepare, or design something to suit specific needs while following particular instructions (Dictionary.Cambridge.org, 2021). The Latin term for tailor is sartor , meaning patcher or mender (Almond, 2011:3) (see Figure 2.18).

056

[2.4]

THE ART OF TAILORING

Fig 2.18: Drawing representing the art of tailoring [Author, 2021]

[2.4.1]

THE TAILOR.

A tailor is a person who makes, repairs, or alters clothing. A bespoke tailor could be compared to a sculptor who sculpts, moulds, and shapes cloth that frames and accentuates the human body. Tailoring is the art and craft of designing, cutting, fitting, fabricating, and finishing garments to precision. Tailoring can conceal or improve the human form using various technical skills (Almond, 2011:4).

[2.4.2]

BACKGROUND.

The art of tailoring began in the thirteenth century. Some of the earliest tailors were linen armourers by trade, meaning they created custom, padded linen garments worn under heavy armour to protect the wearer’s skin. Before this time, garments were created for the sole purpose of covering or concealing the body. Once personal style began to emerge, and people started desiring custom-made clothing in specific styles, unique patterns, and various body types, the demand for skilled tailors developed. Clothes became more than just a covering or concealing and expressed the wearer’s identity and status.

THEORETICAL CONTEXT

TRADITIONAL ARTISAN METHODS. TRADITIONAL ARTISAN METHODS OF TEACHING TAILORING.

[2.4.3]

The tailoring trade has always been somewhat secretive. The tailoring trade has been protected by the people working in it and organised into guilds and brotherhoods, who pass on and safeguard knowledge very carefully ( Style Salvage, 2009). The process wherein knowledge of tailoring is transferred is thus malleable. This allows for the art of tailoring to be adapted to achieve defined outcomes; in this case, to act as a rite of passage mechanism (see Figure 2.19).

can be safeguarded and transmitted by investing in educating future generations ( Alabama Chanin Journal , 2016). The aim of master tailors today is to teach manual skills and imbue the artisanal and ethical values that they hold dear to their hearts, as they believe a future comes from championing their heritage and sharing their knowledge and skills (Brioni.com, 2021).

The trade of tailoring was historically taught in an apprenticeship where a master tailor would instruct an aspiring tailor via practical experience. Boys started an apprenticeship at a young age, and the duration of the course was undefined. The traditional artisanal teaching and training methods were formulated by the particular mentality and habits of the master artisan, who dedicated passion and skill in transmitting tailoring skills and knowledge to apprentices. Apprentices were trained using a ‘look and listen’ or ‘lived experience’ approach (Almond, 2011:6).

The knowledge-transfer process in tailoring implicitly acts as a mechanism where morals, values, and norms can be transferred from an authoritative figure to an apprentice, thus allowing the guided transition envisaged by Van Gennep (1960) (see Figure 2.20).

Tailoring is a gift of knowledge, a cultural legacy passed from master to apprentice through families and communities in a continuous process. Apprenticeship programmes in tailoring provide exclusive skills and contribute to the knowledge of participants (Brioni.com, 2021). Because of this apprentice-style of teaching, which implies an informal skills transfer process, no written manuals for tailoring existed for hundreds of years after the occupation’s establishment; therefore, master tailors believe that this artisanal tradition

058

Fig 2.19: Boy practicing the art of tailoring [Author, 2021]

THE ART OF TAILORING

TRADITIONAL ARTISAN METHODS OF TEACHING TAILORING:

Involves the transfer of skills and Was historically knowledge from master taught by tailor (authoritative apprenticeship. figure) to apprentice.

Master tailors believe that this artisanal method can be safeguarded and transmitted by investing in educating future generations.

Is a guided learning process consisting of practical experience, a ‘look and listen’ approach or ‘lived experience’.

The teaching method implicitly acts as a mechanism to transfer morals, values and norms.

Fig 2.20: Drawing showing the transfer of knowledge and skills from master tailor to apprentice [Author, 2021]

THEORETICAL CONTEXT

PROCESS OF TAILORING. THE PROCESS. Figure 2.21 illustrates the process of tailoring from the initial consultation to the final tailored garment.

060

[2.4.4]

Fig 2.21: Drawing showing the process of tailoring [Author, 2021]

THE ART OF TAILORING

061

062

Fig 2.22: Pattern-making [Miroshnichenko, 2021]

THE ART OF TAILORING

CASE STUDY. [2.4.5] INTRODUCTION.

Desktop study: African tailors co-learning workshop

In order to gain insight into the art of tailoring in Africa and specifically South Africa, firstly a desktop study was done on the result of a field trip workshop described in African tailors empowerment: An approach on co-learning in Mozambique by Sofia Vilarinho (2013), and secondly two local tailors were visited in the Pretoria CBD to gain first-hand experience of the art of tailoring as practiced in South Africa.

During a fieldwork session in Maputo, Vilarinho (2013) had the opportunity to observe Mozambican tailors during a workshop she organised for her ongoing study focused on a co-learning approach to pattern cutting. Vilarinho (2013) explains that being a tailor in Africa means to preserve traditional knowledge where experience and creativity meet to create a unique garment. During an apprenticeship, tailors start training during boyhood. Knowledge is transferred from the master to the boy (apprentice) through a lived experience that includes speaking, seeing, and listening. She further explains that the local tailors work with second-hand clothing and are responsible for the deconstruction, customisation, and rearrangement of garments. Tailors are critical social agents in the integral development of African society, aesthetics, and economy. Their process allows for their own uniqueness and cultural expression based on their beliefs, dreams, and the meaning of their personal story (Vilarinho, 2013). In order to develop knowledge and skills among those African tailors and promote their apprenticeship experience as the basis, Vilarinho developed a co-learning programme and vocational training centre. The centre is dedicated to promoting better financial conditions for tailors and the social approach of knowledge sharing among African people who have such a strong cultural background (Vilarinho, 2013).

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Fig 2.23: Photo of a local tailoring studio in the Pretoria CBD [Author, 2021]

THE ART OF TAILORING

CASE STUDY. Local case study: Local tailors in Pretoria CBD.

Two local master tailors at a tailoring studio in the Pretoria CBD (see Figure 2.23) were visited and observed on 28 May 2021 (see Figure 2.24). Participant observation as a technique was used to gather contextual data regarding what the art of tailoring consists of, how the tailoring art and craft is taught, what and how tailoring apprentices learn, and who shows interest in tailoring workshops and apprenticeship programmes in a local context. The study established that the art of tailoring consists of the teaching and transfer of skills and knowledge from a master tailor to an apprentice. Apprentices demonstrate knowledge by mastering the whole process from initial consultation, taking measurements, moulding cloth to shape an individual’s body, drafting patterns, cutting fabric, stitching, making adjustments, and finally ironing their masterpiece to create the tailored garment (see Figure 2.21). Apprentices would eventually be allowed to add their own aesthetical elements to their creative works. Tailoring programmes significantly contribute to enhanced technical knowledge and skills development, improved communication skills, discipline, commitment, and provide the opportunity for economic participation.

Fig 2.24: Drawing of local tailor visited on 28 May 2021 [Author, 2021]

Fig 2.25: Photo of a local master tailor during a visit in the Pretoria CBD [Author, 2021]

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THE ART OF TAILORING

CASE STUDY. FINDINGS.

The study findings revealed that participants who show interest in tailoring workshops, programmes, and apprenticeships are school dropouts. The dropouts are individuals who do not or cannot proceed to tertiary education and grow up in poverty, learning basic skills from their mother or father. Some individuals want to become master tailors or teach their skills to new children entering the programme. The study concludes that master tailors or more experienced tailors in the studio fulfil a mentorship and teacher role for participants, many of whom are children participating in longterm and short-term courses. The master tailor in the Pretoria CBD (see Figure 2.25) explains that by seeing and experiencing tailoring, more children gain interest and join the programme. The master tailor expressed his desire for focused creative programmes such as tailoring, sewing, and embroidery, as these programmes help keep children off the streets by providing skills and fostering relationships.

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Fig 2.26: Image showing the transfer of skills and knowledge from an elder to youth [Cottonbro, 2020]

THE ART OF TAILORING

ARGUMENT. RELATIONSHIP TO VAN GENNEP’S RITES OF PASSAGE THEORY.

[2.4.6]

The definitive elements of tailoring coincide with Van Gennep’s (1960) rites of passage theory envisaged for transitioning an individual from one social state to another. If these definitive elements can be applied to conceptually constitute a rite of passage, then the art of tailoring can be utilised as a rite of passage mechanism to repair, sculpt, mould, and shape at-risk boys and reintroduce them as healthy men in society.

Fig 2.26.1: Diagram showing that the definitive elements coincide with Van Gennep’s ROP theory for transitioning an individual from one social state to another [Author, 2021]

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THEORETICAL CONTEXT

TAILORING AS RITES OF PASSAGE MECHANISM.

Fig 2.27: Drawing representing tailoring as a ROP mechanism [Author, 2021]

Figure 2.27 emphasises that the “art of tailoring” is framed as a rites of passage mechanism because of the structural and social similarities between the art of tailoring and Van Gennep’s (1960) rites of passage theory. The art of tailoring can be shaped to transmit cultural morals, values and knowledge to individuals through the process of transferring tailoring skills and knowledge from master to apprentice.

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[2.5]

TAILORING AS RITES OF PASSAGE MECHANISM

[2.5.1] INTRODUCTION. The following section explores whether the art of tailoring can function as a contemporary community-based rites of passage mechanism that facilitates the transition from boyhood to manhood. The section explores whether the mechanism articulates the symbiotic relationship and similarities between the art of tailoring and Van Gennep’s three-phase system and constitutes a structural, functional, and contemporary community-based rites of passage programme.

[2.5.2] Can tailoring function as a contemporary rite of passage mechanism? As may be deduced from the earlier exploration of the art of tailoring, tailoring implicitly allows an informed rites of passage process. The principles that comprise the art of tailoring and the process wherein skills are transferred from master tailor

[2.5.3] THE ART OF TAILORING MODEL COMPARED TO: VAN GENNEP’S CLASSIC RITES OF PASSAGE MODEL.

to apprentice allow an adaptation to empower participants explicitly whilst implicitly embodying a rite of passage. This will be demonstrated below, and the conclusion is drawn that the art of tailoring can indeed function as a rites of passage mechanism for at-risk boys and young men. Upon reflection of the key principles of rites of passage, and in comparison to the art of tailoring, it is evident that during the process of tailoring, a master, who in this case, will be a role model, mentor or teacher, can simultaneously (1) transmit and teach cultural values, ethics, traditions, norms and knowledge; (2) guide expectations of the behaviours essential to transition from boyhood to manhood by overseeing the important change of status from boyhood to manhood or unskilled to skilled and lastly, allow for a (3) celebration of the transitioned boy by providing a platform for the self-expression of the transitioned individual to showcase their learned skills through various forms of economic participation, such as markets, fashion shows, and graduation, among others.

Figure 2.28 illustrates the similarities between the art of tailoring as rites of passage mechanism and its commonalities with Van Gennep’s (1960) rites of passage model.

Fig 2.28: Art of tailoring compared to the classic ROP model [Author, 2021]

THEORETICAL CONTEXT

[2.5.4] THE THREE-PHASE SYSTEM OF THE ART OF TAILORING. The art of tailoring and the skills transfer process in teaching the art of tailoring is a malleable process and can be moulded and shaped to conform to the three-phase system defined by Van Gennep’s rites of passage theory.

[1] Phase one: Separation In any process where skills are transferred from one person to another, a separation from the community is required to facilitate the desired outcome better. This is supported by tertiary education institutions that separate scholars from their community for predefined periods of the day dedicated to the passing of knowledge from master to scholar. The separation becomes increasingly apparent where various subject fields are taught in dedicated spaces. To allow for a comprehensive transfer of tailoring skills, it is proposed that the art of tailoring be taught in various forms of educational programmes ranging from workshops, short courses, diploma courses, and possibly degrees. This allows for the apprentice (and in this case the at-risk boy), to be separated for defined periods of the day, and furthermore over defined durations of either weeks, months or years. The separation embodies a literal form through the apprentice being physically separated from his community and usual routine, and a figurative form through the apprentice being psychologically separated from his former self, the state from which the apprentice seeks to transition. Through facilitating this separation, even if intermittent at times, tailoring can act as the separation mechanism required to fulfil Van Gennep’s first phase of rites of passage.

TAILORING AS RITES OF PASSAGE MECHANISM

Van Gennep’s three-phase system

[2]

[3]

Phase two: Transition

Phase three: Reincorporation

It is implied that transferring tailoring skills from master to apprentice (at-risk boy) will embody a transition from unskilled to skilled. This is the explicit transition expected from participation in learning the art of tailoring.

The completion of educational programmes is signalled by a graduation, a ceremonial event characterised by a formal celebration bestowing proof of achievement on participants. This process reincorporates the now-skilled individual in their community equipped with the ability to contribute economically and grow within their chosen field of speciality.

Education programmes require curricula to transfer knowledge and/or skills effectively from teacher to apprentice. It is proposed that the envisaged curriculum, which is currently undefined and malleable, be compiled to ensure the adequate transfer of tailoring skills whilst incorporating teachings of values, morals, ethics, and traditions. These teachings can be informed by either the role model, teacher, or mentor’s own cultural legacy. This should be appropriately defined by their own coming of age or lived experience. They should be free from misinformed masculine norms and societal expectations of manhood and be guided by principles and standards expected by a healthy society. In compiling the curricula, a multifaceted defined role will be determined for participants, and in doing so, directly address a defect in the contemporary rites of passage identified (Bell, 2003:45). The first facet of the defined role (the explicit) is the transition to a skilled individual who will be reintroduced in society as a master tailor ready to participate in the economy and ascend to the role of teacher, mentor, or role model for at-risk boys. The second facet of the defined role (the implicit) is the transition to the ‘healthy man’ who has transitioned from boyhood to manhood through a guided and informed rites of passage process. Thus, by explicitly transitioning from a state of unskilled to skilled through participating in the tailoring process, the apprentice will implicitly transition from boyhood to manhood through a process that is purposefully designed and tailor-made to attract at-risk boys and transition them to responsible men of the community.

The art of tailoring as a rites of passage mechanism encompasses a trilateral reincorporation that presents itself after the apprentices have completed their curriculum. Firstly, the symbolic reincorporation: The now-skilled tailor undergoes a celebratory ceremony wherein an achievement is bestowed upon the tailor. The celebratory ceremony, which may take the form of a graduation, allows the tailor to be clothed in an academic gown, robe, and cap that symbolises a status of an educated or skilled individual. The ceremony publicises the apprentices newly found status as the ‘tailored man’ and is recognised by the community as a whole. Secondly, the physical reincorporation: The tailor now possesses the ability to participate either economically or academically, in both instances contributing to their community and society as a whole. Their physical appearance, which is accompanied by traditional tailoring apparel, boasts their tailoring capabilities. Lastly, the psychological reincorporation: The erstwhile at-risk boy is reincorporated in society as the ‘tailored man’ whose societal designation and sense of self is now defined by appropriate norms and expectations. The envisaged reincorporation addresses the second defect in contemporary rites of passage processes identified by Bell (2003:45) and Blumenkrantz and Goldstein (2010:43). By publicly bestowing an achievement on participants at the end of their curriculum, communities can identify the individual who now fulfils their defined role as tailor and ‘tailored man’. The reincorporated ‘tailored man’ can contribute to his community by becoming a mentor or role model for atrisk boys or identifying potential participants for the tailoring programme, amongst other contributions.

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SUMMARY

OF THE SYMBIOTIC RELATIONSHIP TAILORING AND RITES OF PASSAGE.

BETWEEN

Fig 2.29: Summary diagram of the symbiotic relationship between the art of tailoring and ROP [Author, 2021]

THEORETICAL CONTEXT

FINDINGS. [2.6] The conceptual evaluation of rites of passage and tailoring revealed an unintentional symbiotic relationship between these concepts (see Figure 2.29). The art of tailoring implicitly allows for a guided transformation from one social state to another, a transmission of knowledge, values, and norms. Lastly, the art of tailoring allows a celebration of the individual’s newfound status, fulfilling the key principles and purpose of rites of passage. The informal, undocumented, and personal manner in which tailoring skills are transferred from master to apprentice lends itself to adaptively conforming to Van Gennep’s (1960) three-phase system of separation, transition, and reincorporation. Through fusing the process of transferring tailoring skills and knowledge with enriched values, norms and principles, and allowing these to be transmitted to individuals who have appropriately informed definitions of masculinity, the desired outcome can be achieved of a structured, functional and contemporary rites of passage tailoring facility in the Pretoria CBD (see Figure 2.30) where at-risk boys can be transitioned to ‘healthy’ men ready for society. The art of tailoring thus fills the void left by contemporary rites of passage processes by firstly defining a set outcome at the rites of passage inception and secondly ensuring an appropriate reincorporation where the community is able to identify the tailor, and hold him accountable to his newfound status. The art of tailoring is thus perfectly suited to act as a contemporary rites of passage mechanism.

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TAILORING AS RITES OF PASSAGE MECHANISM

Fig 2.30: Proposed ROP tailoring facility for at-risk boys in the Pretoria CBD [Author, 2021]

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chapter 03_

03 EXPLORATION

3.1

3.2

Theoretical studies Adaptive re-use Theory of liminality Theory of inspired ritual Tailoring as expressive therapy Tailoring and architecture Precedent studies

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EXPLORATION

EXPLORATION. INTRODUCTION.

An appropriate architectural typology will be informed by a theoretical exploration of adaptive re-use, theory of liminality, theory of inspired ritual, tailoring as expressive therapy, and the parallels between tailoring and architecture. The principles extrapolated from this exploration, if applied correctly, will define the framework within which a functional and structural contemporary rites of passage ritual could function.

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[3.1]

THEORETICAL STUDIES

ADAPTIVE RE-USE.

[3.1.1]

“I have always loved old buildings. An old building is not an obstacle but instead a foundation for continued action. Designing with them is an exhilarating enterprise; adding to them, grafting, inserting, knitting new pieces into the existing

The project proposes the adaptive re-use of an abandoned building in the Pretoria CBD to a new contemporary rites of passage tailoring facility that uses existing infrastructure, structures, economic activity, and transportation networks. A new building that integrates with the old, whilst respecting the existing, is proposed as part of the adaptive re-use. Successful adaptive re-use approaches have a clear contrast between the old and the new. Frampton (2018) opines that the best design occurs at the intersection of the old and the new (the in-between). The juxtaposition between the old and the new is of great importance. A successful new architectural response is not only determined by the degree of technical resolution but by the well-conceived old design (Bloszies, 2012:14). In Old Buildings, New Forms , architect Francoise Bollack (2013) divides adaptive re-use projects into five categories and illustrates each with a diagram. These five categories: wraps, weaving, juxtapositions, parasites, and insertions, are diagrammatically explored and will be applied in the development process to enunciate the appropriate methods to respond to the existing building (see Figure 3.1).

[wrap]

[weaving]

[juxtaposition]

[parasite]

Fig 3.1: Francoise Bollack’s adaptive re-use categories [Author, 2021]

built fabric is endlessly stimulating” (Francoise Bollack, 2013).

[insertion]

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EXPLORATION

THEORY OF LIMINALITY. Liminality is an integrative theory adopted into various fields since the term first emerged in Les Rites de Passage (1960) by Arnold Van Gennep. ‘Liminal’ is derived from the Latin term limen and is defined as the transitional threshold between two fixed states in rites of passage or between two spaces in architecture (Pentikainen, 1979:155). The characteristics that define a liminal space include layering, blurring, and ambiguity that can transform the occupant of that space as they move through (Zimmerman, 2008:2) (see Figure 3.2). Liminality was rediscovered in 1967 by philosopher Victor Turner who introduced the concept of liminal space to understand rituals of the Zambian Ndembu tribes as a space of transformation between phases of separation and reincorporation. Turner (1967) argued that liminality is identified as the in-between state and serves as awareness to understand people’s response to liminal experience (Ng & Lim, 2018:77). Dutch architect Herman Hertzberger defines liminality as a state of in-betweenness (Ng & Lim, 2018:81). The doorstep and thresholds provide a transit link and connect functional spaces, creating instances for interaction and gathering between people (Ng & Lim, 2018:81). In Atmospheres (2006), Swiss architect Zumpthor expresses his fascination with how architects

[3.1] [3.1.2]

create a space where there is suddenly a blurred instance of interior and exterior. He describes this space as a threshold, crossing, and transitioning between inside and outside, public and private, which gives a sense of place (Zumpthor, 2006:46). Liminality was approached in urban terms where Zukin (1991:39) describes liminal space as the blurring of boundaries such as the public and private realm and the blurring of distinctions between categories of space and time. Liminality in architecture is inter-related to ideas of liminality in anthropology, philosophy, urban design, and art, whereby liminality is a transdisciplinary concept that alludes to ideas of thresholds, transitions, and the in-between. The liminal act surrounding spatial experience brings moments of life into buildings (Ng & Lim, 2018:89).

The author deems the theory of liminality valuable in this project development. The proposed facility’s spatial development will be based on the concept transition, emphasising passages as transitional spaces that blur the interior and exterior whilst allowing for moments of interaction and contemplation. The proposed spatial design’s objective is that the in-between spaces, the liminal or transitioning spaces, become primary spaces of the programme. This will be where interaction and activity occur and where public and private spaces are blurred.

‘Liminal’ is derived from the Latin term limen and is defined as the transitional threshold between two fixed states in rites of passage or between two spaces in architecture (Pentikainen, 1979:155).

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THEORETICAL STUDIES LIMINAL SPACE (TRANSITION/THRESHOLD CHARACTERISTICS

Layering

Blurring

Ambiguity

Fig 3.2.1: Athenian Acropolis( Author, 2021)

Fig 3.2.1: Mill Owners’ Association, Le Corbusier (Author, 2021)

Fig 3.2.1: Diagram of an arcade as liminal space (Author, 2021)

The entrance to the Athenian Acropolis via the Propylaea allows for a transformative transition between the city and the temple precinct. The space is transitional as the occupant moves through a series of thresholds or layers to ascend to the sacred space (Zimmerman, 2008:6). The layering of the Propylaea illustrates each of the three stages integral to rites of passage.

An example of the concept of blurring occurs in the Mill Owners’ Association Building. The occupants constantly questions whether they are inside or outside due to the brise soleil on the eastern and western facades of the building. This creates ambiguity in a space which is a key characteristic of the liminal. The porous elements can be experienced as both open or closed at times (Zimmerman, 2008:18).

The liminal stage in architecture is one in which there is an ambiguity of clear definition. It is a transitional space or space between fixed constants. According to Boettger (2014:30) an arcade is a threshold space as it contains ambiguity. An arcade is a connection between two street spaces having its own atmosphere of in-betweenness.

EXPLORATION OF LIMINAL (TRANSITIONAL) SPACE FOR PROPOSED DESIGN 1. Approach

2. Entrance

2. ‘Passage’ Sequence

Fig 3.2: Drawings exploring liminality extrapolated from DK Ching’s principles (Author, 2021)

EXPLORATION

THEORY OF INSPIRED RITUAL.

The drawing The Room (1971) by Louis Kahn (see Figure 3.3) inspired the theory of inspired ritual and the six key principles of ritual space. The theory and principles will be used as a generator to inform spaces designed around ritual or defined actions for the proposed contemporary rites of passage tailoring facility.

[3.1.3]

Kahn’s The Room (1971) depicts the common ritual of a conversation between two people within an interior space. This space is a room that derives its shape from ancient Roman buildings. The two people are seated beside a fireplace and window. The fire contained by the hearth is a symbol of human gathering and interaction (Kohane, 2001:87) in recognition of historian Frank Brown’s argument that the Romans constructed architectural spaces according to rituals practiced therein (Kohane, 2001:88). The theory illustrates the importance of spatial construct, or the space within, and emphasises that a space’s physical construction is secondary to its purpose and is primarily informed by an exercised ritual.

Fig 3.3: A depiction of Louis Kahn’s drawing ‘The Room’ [Author, 2021]

The following six key principles (see Figure 3.43.10) of ritual space defined by Kahn and Brown are architecturally significant when designing a ritual or spiritual space.

Generators for the spatial construct for the proposed design - The theory of ‘Inspired Ritual’ and Architectural Space by Louis Kahn and the six key elements of ritual space.

THEORETICAL STUDIES

1.’Man at the centre’, ‘sheltered within a space’

2.’A world within a world’

3.’Assembly or gathering space’

According to Kohane (2001:90) both Kahn and Brown described the Pantheon in terms of people who participate in a ritual and are sheltered within a space. The space created represented the cosmos with man at its centre. Brown noted the approach to the temple, movement along a deep porch that provided familiar ritual surroundings, and the way space contracted at the doorway and then opened and swelled into a new dimension. ----This principle will be applied when designing for the at-risk boys for the moment when they enter the large volume in the existing building (Huis Potgieter), moving along passages that stem from the main passage or axis. These spaces are designed considering the activities forming part of a guided rites of passage and holistic tailoring process. Spaces will be designed with the users (the boys and young men) at its centre.

Kohane (2001:90) explains that Kahn recognised the ‘pantheonic requirement of no religion, no set ritual, only inspired ritual’. He expressed the building as being ‘a world within a world’ and viewed it as a shelter for the ideal inspired ritual. ----The objective is to create ‘a world within a world’ by tailoring the interior spaces for at-risk boys based on the ‘inspired ritual’ of transitioning from boyhood to manhood and the artisan method of teaching tailoring. This will contribute to the design consideration. The design’s intended world within a world will be tailored by the rituals that inspire the building and interior spaces.

Kahn (Kohane, 2001:91) emphasises that assembly is of transcendent nature. Inspired rituals involved the gathering, assembly, and constructed interaction of participants, whether for worship, political reasons, or engagement in elevated discussion.

Fig 3.4: Man at the centre as principle [Author, 2021]

Fig 3.5: World within a world as principle [Author, 2021]

-----

Gatherings, interaction, important discussions, and celebrations are integral to the third stage of rites of passage. The proposed design will facilitate the assembly, community gathering, and celebration spaces for the users and the public, and in this case, the boys’ family and mentors, and fellow apprentices themselves.

Fig 3.6: Assembly or gathering space as principle [Author, 2021]

EXPLORATION

Fig 3.7: A ritual is a movement in space, a ‘passage’, comprising of a series of events [Author, 2021]

Ritual is: A passage; A movement in space An act; A celebration; and Tradition. (Quinlan, 2013:vii).

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THEORETICAL STUDIES

4.’Movement along a path comprising a series of spatial events’

5.’Ritual as a passage’

6.’Space and light’

Kohane (2001:92) explains that Kahn and Brown envisage a ritual involving an action, a space where people can sit and converse, as depicted in The Room, or move along a path comprising a series of events. Kohane (2001:92) explains that the Pantheon was treated in a similar manner where participants rise by interconnected ramps, terraces, and stairs to their destination. According to Kohane (2001:92) Kahn designed buildings cognisant of human action, informing the basis for ‘orchestrating discrete spaces’. Kohane (2001:92), elaborated on Brown’s writings, explaining “ritual is an art of action, but to the Romans it implied an art of another sort, architecture”. ----The proposed design should have spaces designed along a series of events from public to private, ranging from contemplation space, healing space, interaction space, and makers space, among others. The purposeful movement along a series of spatial events emphasises the process of tailoring and the transitioning process from boyhood to manhood.

According to Kohane (2001:92) Kahn’s thinking about ritual as a passage later crystallised. Kohane (2001:92) explains that Kahn saw “ritual as a passage” and believed that spatial order was derived from ritual. ----The principle of ritual as passage will be applied by allowing the ritual of transition and the art of tailoring to inform the spatial order of the proposed design. Physical passages will be informed by actions or rituals, whether it be a passage for contemplation, mentorship, healing, or practising the art of tailoring.

Light is emphasised as relative to space. Kahn (Kohane, 2001:93) believed that daylight has a spiritual significance. He gives an example of a library where two facets of an inspired ritual are emphasised, how light illuminates both the book and the mind of the reader, the movement of the participant towards the light, and the act of reading in the light’s presence. According to Kohane (2001:93), Kahn declared that: “a man with a book goes to the light” and “[a] library begins this way”. ----Light will be explored using materials ranging from lightweight to heavy-weight perforated material, allowing light to filter and intentionally creating various atmospheres and a sense of place. These materials will include perforated sheet metal, polycarbonate sheeting and perforated gabion basket walls.

Fig 3.8: Movement along a path as principle [Author, 2021]

Fig 3.9: Ritual as passage principle [Author, 2021]

Fig 3.10: Space as light principle [Author, 2021]

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EXPLORATION

TAILORING AS EXPRESSIVE THERAPY. Expressive therapies, also known as creative art therapies, use creative arts to facilitate growth, development, and healing (Hannigan, Grima-Farrel & Wardman, 2019) (see Figure 3.11). The two key theories in art therapy are derived from Freudian psychoanalytic ideas and methods. The first is psychotherapy that employs art mainly as a method of non-verbal communications of symbolic speech. The other originates from Edith Kramer’s notion that the creative process itself is healing (Hannigan et al ., 2019:760).

[3.1.4] EXPRESSIVE ART THERAPIES CAN BE USED TO:

Educational and community programmes benefit from therapeutic interventions by facilitating greater inclusivity and accessibility. Expressive therapists believe that one can examine a body’s feelings, emotions, and thought processes through creative expression and awakening the imagination (Hannigan et al ., 2019:761). Expressive therapies can assist mental health, physical and psychological developmental needs, self-expression, and substance abuse (see Figure 3.12). Fig 3.11: Different expressive art therapies for mental and emotional health [Author, 2021]

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Fig 3.12: Applications of art therapy [Author, 2021]

THEORETICAL STUDIES

Creative art therapies are a valuable treatment option allowing individuals to experience and express themselves through the arts and diverse group interactions that foster exploration of creativity and resilience in a supportive environment anchored by therapeutic relationships. These interactions offer encouragement, reassurance, potential to adapt, cope, flourish, and help build and strengthen resilience (Hannigan et al ., 2019:756). Expressive therapies include visual arts, language arts, dramatic arts, movement and sound, and ritual (see Figure 3.13). Much of the literature examining the therapeutic use of textile arts show that embroidery workshops and using stitching art therapies for refugees provide a platform to express trauma, build community, explore meaning, and promote economic empowerment (Potter, 2019:19).

Fig 3.13: Types of expressive art therapies [Author, 2021]

The process of tailoring allows for the artistic expression where materials are joined to form clothes and other garments. The manner in which it is proposed that tailoring knowledge be transferred from teacher to at-risk boy allows for the exploration of creativity and resilience in a supportive environment anchored by therapeutic relationships that provide a sense of belonging, healing, and development. These principles find application in the theoretic rhetoric of expressive therapies. The art of tailoring as expressive therapy will accordingly be applied in the tailored programme to se(cure) at-risk boys by providing a platform to learn, heal, and transition (see Figure 3.14).

Fig 3.14: Tailoring as expressive art therapies [Author, 2021]

EXPLORATION

THE PARALLELS BETWEEN TAILORING & ARCHITECTURE. The proposed design will present the parallels and connections between tailoring and architecture and suggest the crosscontamination of each discipline to create new and enticing ways for the body to occupy both public and private space.

[3.1.5]

functional and appropriate rites of passage. The at-risk boys will tailor material for a specified purpose, similar to how architecture was tailored for a specified purpose. This clearly illustrates the perfected synchronisation between tailoring and architecture.

Both clothing and architecture express personal, social, and cultural identities reflecting the user’s concerns. Historically, clothing and buildings echoed each other in form and appearance; their relationship is symbiotic (Museum of Contemporary Art, 2018:2). Both share the primary function of providing shelter and protection for the body and creating space and volume. Other shared principles include geometry, structural skin, identity, culture, and tectonics. The symbiosis is amplified in their shared techniques of pattern finding, wrapping, pleating, printing, folding, weaving, stitching, suspension, and cantilever. The parallels between clothing and architecture have become increasingly fascinating as advances in materials, technology, and computer software push the boundaries of each of these disciplines (Museum of Contemporary Art, 2018:2). Clothing and architecture enjoy a uniquely symbiotic relationship in the project context. Both are used physically and metaphorically to facilitate the separation, transition, and re-incorporation of at-risk boys to allow for

Fig 3.15: Relationship between tailoring and architecture [Author, 2021]

THEORETICAL STUDIES

Folding

Pattern-making (Plans)

Shelter/protection

Stitching (old and new)

Weaving

Structural skin

Fig 3.16: Drawings exploring the parallels between tailoring and architecture [Author, 2021]

EXPLORATION

PRECEDENT STUDIES. CRITERIA FOR ANALYSING THE PRECEDENTS.

The following section focuses on four precedent studies. They were selected to aid in the development of an appropriate and suitable design response.

Selected criteria: • Urban approach; • Design form; • Materiality; • Programme; and • Adaptive re-use.

Precedents: 3.2.1. Violence Prevention through Urban Upgrading (VPUU), Active Box, Cape Town; 3.2.2. Enric Miralles and Carme Pinos, Barcelona Olympic Archery Range, Barcelona; 3.2.3. Morphosis, US Federal Building, San Francisco; and 3.2.4. Local Studio, Hillbrow Counselling Centre, Johannesburg.

092

[3.2]

PRECEDENT STUDIES

3.2.1

Violence Prevention through Urban Upgrading (VPUU), Active Box, Cape Town.

3.2.2 3.2.3 3.2.4

Enric Miralles and Carme Pinos, Barcelona Olympic Archery Range, Barcelona.

Morphosis, US Federal Building, San Francisco.

Local Studio, Hillbrow Counselling Centre, Johannesburg.

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094

Fig 3.17: Photo of Active Box at Harare urban park [SUN Development, 2021]

PRECEDENT STUDIES

ACTIVE BOX_ VIOLENCE PREVENTION THROUGH URBAN UPGRADING (VPUU)

[3.2] [3.2.1]

Precedent:

URBAN APPROACH. VPUU promotes safer communities and neighbourhoods in Cape Town through the design of Active Boxes (see Figure 3.18). An Active Box is typically a three-storey building strategically placed along key pedestrian routes and in public open spaces such as squares, parks, and sports fields. The Active Box acts as a neighbourhood information point from which NGOs, government, and local groups offer services. These Active Boxes increase access to opportunities, as they are tailor-made to meet the community’s needs and therefore serve as a “beacon of hope” (VPUU, 2017). The precedent deems valuable as it showcases how urban interventions such as the Active Box can assist in creating safer communities and public spaces whilst allowing access to basic services and opportunities. The design of Active Boxes is directly informed by local knowledge and promotes community participation. The proposed design aims to serve as a beacon of hope or lantern in the city to bring awareness to a healthier society.

Fig 3.18: Drawings exploring the ‘Active box’ urban intervention [Author, 2021]

095

Fig 3.19: Olympic archery range floor plan [Miralles, 1991]

096

PRECEDENT STUDIES

BARCELONA OLYMPIC ARCHERY RANGE_ ENRIC MIRALLES AND CARME PINOS

[3.2.2]

Precedent:

The Barcelona Olympic Archery Range was completed in 1991 by Enric Miralles and Carme Pinos. The rhythmic complexity of the construction drawings brought fame to the 1992 Olympic event (Langdon, 2014). The plan (see Figure 3.19 & 3.20) was derived from extrapolations of the existing topographical environment and contours and included the programmatic demands for the athletes of changing rooms and movement routes (Langdon, 2014). The training building’s form was intended to express the movement of the athletes within. The roof slabs emerge from the hillside, like arrows from a quiver, with overhangs that project infinitely into the space beyond (Langdon, 2014) (see Figure 3.20). The proposed design will draw inspiration from the imaginative drawings of the floor plan, showing an overlay of organic curves and harmonious rectilinear shapes. The projected roof slabs intend to be evocative of the movement and activities of the individuals using the facility. The design concept should be extrapolated in both the floor and roof plan of the proposed design.

Fig 3.20: Drawings exploring the roof planes on elevation [Author, 2021]

Fig 3.19: Olympic archery range plan [Miralles, 1991]

DESIGN_FORM.

Fig 3.21: San Francisco Federal building [Morphosis, 2007]

098

PRECEDENT STUDIES

US FEDERAL BUILDING_ MORPHOSIS.

[3.2.3]

Precedent:

The San Francisco Federal Building is a slender eighteen-storey tower punctuating the skyline and was completed in 2007 (see Figure 3.21). The building is a model for civic sustainability that was developed around the following three objectives: the establishment of a benchmark for sustainable building design using natural energy sources; democratising the workplace enhancing health, comfort, creativity, productivity and user empowerment; and the creation of an urban landmark that engages with the community (Gonchar, 2007).

DESIGN_FORM & MATERIALITY.

Inspiration will be drawn from the vertical design approach of the tower-like building and the horizontal design approach that allow the integration of the horizontal elements into the façade to emphasise the juxtaposition between old and new (see Figure 3.22). In Architectural Record (2007), Gonchar explains that the perforated stainless-steel sunscreens that wrap the building like a veiled protective layer inspire the integration between old and new. The external facade treatment will be considered and explored as it is noteworthy how Morphosis carefully considered the northern and southern facades and treated them uniquely.

Fig 3.22: Section of the San Francisco Federal building [Morphosis, 2007]

099

Fig 3.23: Photo study of Hillbrow counselling centre [ArchDaily.com, 2017]

0100

PRECEDENT STUDIES

HILLBROW COUNSELLING CENTRE_ LOCAL STUDIO.

[3.2.4]

Precedent:

The project was designed by Local Studio, who sought to develop a new building to unite the existing counselling facilities scattered around the site. The facilities include consultation rooms, a meeting room, and workspaces. The proposed building includes a skybridge constructed from a recycled shipping container. The bridge connects the new design to an existing building on site that houses the Boitumelo Project, an NGO that focuses on women empowerment through sewing and embroidery (Abdel, 2020).

PROGRAMME & ADAPTIVE RE-USE.

What sets the new addition apart is the intention to create a strikingly attractive landmark in the area using near-transparent material (see Figure 3.23). As may be expected, the individuals undergoing counselling in the centre would not want to be exposed inside a transparent building (Abdel, 2020). The challenge was overcome by choosing mottled polycarbonate that exposes silhouettes in the interior without revealing faces or identities (Abdel, 2020).

Fig 3.24: Hillbrow counselling centre perspective and front elevation [Author, 2021]

This precedent showcases how programmes such as counselling centres can serve as a landmark, emphasising community, support and upliftment whilst allowing the user to feel safe and unexposed. The near-transparent material introduces the reticence of the individuals undergoing counselling. It is noteworthy how successfully architectural elements were extrapolated from the existing to inform the new, demonstrating the positive outcome of adaptive architecture (see Figure 3.24).

0101

chapter 04_

04 CONTEXT AND SITE ANALYSIS

4.1 4.2 4.3 4.4 4.5 4.6 4.7

Introduction Site location Site selection Urban analysis Site analysis Huis Potgieter analysis Site development

0103

CONTEXT AND SITE ANALYSIS

[4.1] INTRODUCTION.

The city of Pretoria was analysed in search of a suitable location for the proposed facility with the intention of tailoring a vacant, abandoned, or underutilised building to emphasise the concept of transition through the art of tailoring (see Figure 4.1). Figure 4.2 shows a variety of identified vacant, abandoned, and underutilised buildings and sites in and around the Pretoria CBD and includes the proposed site’s location. This chapter explains the analytical design process that involves the reasoning and understanding of site location, site selection, context, and the existing building, Huis Potgieter, which will be integrated into the proposed design.

[4.2] SITE LOCATION. The proposed site is located at the southern gateway to the Pretoria CBD within the boundary of the Unisa Sunnyside Campus.

Fig 4.1: Diagrams showing the site location [Author, 2021]

0104

INTRODUCTION Fig 4.2: A map showing the site location and vacant, abandoned, and underutilised building [Author, 2021]

0105

0106

CONTEXT AND SITE ANALYSIS

[4.3]

Fig 4.3: Drone photo of the Pretoria CBD [Author, 2021]

SITE SELECTION. The site is selected with the intention to tailor a vacant, underutilised, and abandoned building in the Pretoria CBD for its proposed use and proposed client, being a rites of passage tailoring facility for at-risk boys.

0107

[3.3]

0108

Fig 4.4: Drone photo of Huis Potgieter at Unisa Sunnyside campus, Pretoria [Author, 2021]

CONTEXT AND SITE ANALYSIS

SITE SELECTION. Huis Potgieter is a tall and prominent vacant, underutilised, and abandoned building situated at the southern gateway into the Pretoria CBD. The building was identified as capable of fulfilling the design intent. The site embodies a transition or threshold between the outer city and inner city of Pretoria. The proposed design will benefit

from exposure generated by the public entering and exiting the Pretoria CBD and surrounding neighbourhoods. This exposure will be amplified by the proposed design’s intention to become a landmark or ‘city lantern’ for at-risk boys, which will create a sense of curiosity for the public passing by.

0109

CONTEXT AND SITE ANALYSIS

[4.3]

URBAN ANALYSIS.

SITE SELECTION.

KEY ELEMENTS.

The selected site embodies the following characteristics to further motivate the location for the contemporary rite of passage tailoring facility for at-risk boys. 1. The site is an easily identifiable landmark in its context, this being a principle transitional threshold into the Pretoria CBD in a clearly visible multi-storey abandoned building. 2. The site forms a void in the city located between multiple suburbs that could stitch people from various communities together. 3. The site is located on the grounds of an educational facility within the boundary of the Unisa Sunnyside Campus and will therefore form part of the Unisa Sunnyside Campus. 4. The site’s location is easily accessible and consists of transport nodes and arterials that link the inner city to significant transport routes. 5. The site is surrounded by schools, educational facilities, the Unisa Eskia Mphahlele Building, the Unisa Law Clinic, and is near the Pretoria Train Station and Gautrain Pretoria Station.

110

The existing and surrounding conditions will be identified and documented by means of an urban analysis of the Pretoria CBD. The analysis includes the following key elements that will be investigated on an urban scale and mapped accordingly: 1. The site as transitional space and urban void; 2. Stitching surrounding communities; 3. Zoning and urban fabric; 4. Access, connections, and transportation node; 5. Educational facilities; 6. Religious entities; 7. Orphanages; 8. Health clinics for men; and 9. Tailoring community.

[4.4]

0111

Fig 4.5: Drone photo taken of Huis Potgieter towards the Pretoria CBD [Author, 2021]

112

Fig 4.6: Urban map showing the site as transitional space [Author, 2021]

URBAN ANALYSIS

114

Fig 4.7: Urban map stitching together surrounding communities [Author, 2021]

URBAN ANALYSIS

116

Fig 4.8: Urban map showing zoning [Author, 2021]

URBAN ANALYSIS

118

Fig 4.9: Urban map showing major transportation nodes [Author, 2021]

URBAN ANALYSIS

120

Fig 4.10: Urban map showing educational facilities [Author, 2021]

URBAN ANALYSIS

122

Fig 4.11: Urban map showing orphanages, NGOs and religious entities [Author, 2021]

URBAN ANALYSIS

124

Fig 4.12: Urban map showing men’s health clinics or support facilities [Author, 2021]

URBAN ANALYSIS

CONTEXT AND SITE ANALYSIS

[4.5]

SITE ANALYSIS

THE UNISA SUNNYSIDE

[4.5] [4.5.1]

CAMPUS. The proposed site, situated in the broader city context, is located in Muckleneuk, a suburb of Pretoria, on an academic campus known as the Unisa Sunnyside Campus (see Figure 4.13). The Unisa Sunnyside Campus is in close proximity to the Unisa Main Campus, Pretoria Train Station, Pretoria Gautrain Station, and Burgers Park. The proposed site is surrounded by various commercial activities, residential buildings, primary and secondary schools, and significant transportation nodes that provide easy access to public transportation, such as taxis, busses, Gautrain, and trains.

Fig 4.13: Site analysis mapping of Unisa Sunnyside campus [Author, 2021]

126

CONTEXT & SITE ANALYSIS

127

CONTEXT AND SITE ANALYSIS

THE UNISA SUNNYSIDE CAMPUS. The site is enclosed by Normaal Street to the east, Nelson Mandela Drive to the west, Piet Uys Street to the north, and Willow Road to the south. Huis Potgieter is located within the boundaries of the proposed site and is currently vacant, abandoned, and in an advanced state of neglect (see Figure 4.14).

HISTORY OF THE UNISA SUNNYSIDE CAMPUS. The site and infrastructure of the Unisa Sunnyside Campus represent a historic transformation dating back an estimated 170 years. The campus consists of a southern and northern land portion divided by Justice Mahommed Street. In 1992, Unisa bought both portions of land for development. The northern campus originally housed the Pretoriase Normaalkollege established in 1902, which later became the Pretoria College of Education and operated until the 1980s (Taylor, 2020). The southern campus formed part of the Sunnyside suburb and offered residential housing for staff. The blocks of flats on the site were for student accommodation. The residential housing and flats, which include Huis Potgieter, were abandoned around 2007 (Taylor, 2020).

THE TRANSITION. Historical Google Earth satellite images were studied and analysed to document the transition of the Unisa Sunnyside Campus and its immediate context. The images in the timeline capture the significant infrastructure transition and use of space over the years (see Figure 4.15). The images highlight and describe how the area transitioned from residential to educational and the transgression of inactivity over the past decade.

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Fig 4.14: Historical context map of Unisa Sunnyside campus [Author, 2021]

129

SITE ANALYSIS

130

CONTEXT & SITE ANALYSIS

Fig 4.15: Historical context timeline of Unisa Sunnyside campus [Author, 2021]

0131

SITE ANALYSIS

0132

CONTEXT & SITE ANALYSIS

133

Huis Potgieter ANALYSIS

[4.5.3]

HUIS POTGIETER ANALYSIS

HISTORY OF HUIS POTGIETER. Huis Potgieter, the selected abandoned building on the proposed site, was constructed between 1967 and 1968 and commissioned for use on 1 March 1968. The building was intended for use as a men’s residence for the Pretoriase Normaalkollege, where teachers were trained from 1902 to 1988 (Heydenrych, 2018:22). According to Oberholzer (1977:83), the Pretoriase Normaalkollege needed to expand student housing, as the existing residences could not handle the influx of students. Dr GJ Potgieter, a former headmaster of Pretoria Boys High and appointed rector of Pretoriase Normaalkollege, commissioned this men’s residence and a women’s residence to be built during his headship at the college before ending his term at the end of 1968. The Huis Potgieter building was named as a legacy honouring his contribution to the institution. It was used as police barracks around 1988 after the Onderwyskollege Pretoria (previously Pretoriase Normaalkollege) moved to its new grounds in Groenkloof. The timeline in Figure 4.16 illustrates the transition of Huis Potgieter and the Unisa Sunnyside Campus from 1902 (when the Pretoriase Normaalkollege was established) to the current state of Huis Potgieter as it stands abandoned and underutilised. The findings depict that the Unisa Sunnyside Campus was developed into an area focused on education and training. Fig 4.16: Historical timeline of Huis Potgieter [Author, 2021]

134

[3.5]

CONTEXT & SITE ANALYSIS

135

HUIS POTGIETER ANALYSIS

[4.6]

Huis Potgieter is a 1960s twelve-storey building that consisted of single-person rooms. The building is located at the southern portion of the Unisa Sunnyside Campus, close to feeder routes into the city alongside Normaal Street, which is devoid of fast-moving traffic and may potentially function as a safe, walkable street in future. The main axis of the building is oriented east-west, allowing successful northern and southern exposure.

CHARACTERISTICS.

[4.6.1]

Huis Potgieter is characterised by its rectilinear form, strong horizontal and vertical line, and repetitive elements with minimal decoration that are attributes of the International style (although there are many similarities to the 1960s modern style) (Heydenrych, 2018: 24). The building was wrecked deliberately to prevent illegal occupation. The building is thus characterised by its exposed concrete column and slab structure and the black brise soleil slab edging.

MATERIALS.

[4.6.2]

The structure of Huis Potgieter consists of reinforced and painted concrete columns, reinforced concrete floor slabs finished with linoleum glue-on tiles (Hedenrych, 2018:24), painted soffits, internal brick walls, and lastly brise soleil slab edging that appears to have a spray-on textured black finish. Fig 4.17: Photographs of Huis Potgieter capturing its characteristics [Author, 2021]

136

CONTEXT & SITE ANALYSIS

Fig 4.18: Three-dimensional model of Huis Potgieter with photographs of existing materials [Author, 2021]

137

HUIS POTGIETER ANALYSIS

SPATIAL LAYOUT. The diagram illustrates the initial spatial layout of Huis Potgieter. The lower ground level consisted of public functions such as parking, kitchen, communal eating hall, recreational space, and other service areas. The ground level housed the main pedestrian entrance with street-level access, reception area, games room, telephone booth, and lounge. The first level consisted of two large apartments for the housefather and his family and a second smaller apartment for another staff member. Levels three to twelve were dedicated to student rooms consisting of larger corner units, north-facing single rooms. On the southern side of these levels were the ablutions, circulation space, and fire escape. Typical floor plan

Ground floor plan

Fig 4.20: Floor plans of Huis Potgieter indicating its previous use [Author, 2021]

138

[4.6.3]

Fig 4.19: Southern elevation of Huis Potgieter indicating its previous use [Author, 2021]

CONTEXT & SITE ANALYSIS

Fig 4.21: Exploded drawing of Huis Potgieter [Author, 2021]

139

chapter 05_

05 CLIENT, USERS,PROGRAMME & ACCOMMODATION

5.1 5.2 5.3 5.4

Client Users Programme Accommodation schedule

0141

CLIENT

[5.0]

INTRODUCTION Chapter 05 introduces the client, the users, the programme, and the accommodation schedule for the proposed contemporary rites of passage tailoring facility.

PROPOSED CLIENTS

PRIMARY: 1. The University of South Africa (Unisa) Unisa is a leading tertiary education institution. The proposed building is situated within the Unisa Sunnyside Campus, and therefore could function as an extension of the established academic programmes offered by Unisa.

SECONDARY: The secondary client is government institutions specific to departments whose core function relates to the proposed users. 1. The Department of Education; 2. The Department of Social Development; and 3. Department of Health.

0142

[5.1]

USERS

. [5.2]

USER CLASSIFICATION. Although the project is intended to benefit all users, the primary objective is to provide a space for at-risk boys. Figure 5.1 depicts the users in a hierarchical format. The primary users are at-risk boys who are the tailoring apprentices; The secondary users are specialised staff who are the master tailors,

general tailors, educators, mentors, psychologists, and therapists; The tertiary users are community members, non-profit organisations, churches, single mothers, single fathers, families, clothing traders, and the public; and the quaternary user is the general staff of the facility, such as the cleaners, receptionists, librarians, and administrative staff, among others.

Fig 5.1: User classification diagram [Author, 2021]

143

PROGRAMME

The core programme is a tailoring facility for at-risk boys that facilitates the transitioning process from boyhood to manhood by applying the artisan teaching methods of tailoring. The programmatic informants include the needs of at-risk boys (see Section 1.2.3); the theoretical context (see Chapter 02); the theoretical exploration (see Chapter 03); and the study of appropriate precedents (see Chapter 03). The skills transfer process in teaching the art of tailoring is a malleable process and is moulded and shaped to conform to the threephase system defined by Van Gennep’s rites of passage theory. Therefore, the programme is divided into three main categories based on Van Gennep’s threephase system of rites of passage: separation, transition, and reincorporation (see Figure 5.2). The three phases of rites of passage and the art of tailoring are emphasised as an integrated ritual process defining the building’s core programme. The ritual process is experienced from the start of the boy’s educational curriculum until the completion signified by their graduation and the bestowment of a certificate, diploma, or degree. The tailored man would then possess the ability to participate economically or academically and contribute to their community and society.

0144

[5.3]

PROGRAMME

Fig 5.2: Diagram of the programme, emphasising the three categories or phases [Author, 2021]

145

PROGRAMME & ACCOMMODATION SCHEDULE

PROGRAMME

PRACTICAL TRANSITIONING DIAGRAM. [THE PRACTICAL TRANSITION PROCES]: Mastering the process of tailoring, and simultaneously being (1) taught cultural values, ethics, norms and knowledge (2) guided through/ during the process to later (3) celebrate the new skill and transitioning.

The programme facilitates the transitioning process from boyhood to manhood by applying the artisan teaching methods of tailoring. This includes mastering the practical process of the art of tailoring during a short course or four-module long course. Simultaneously, a master (who in this case will be a role model, mentor, or teacher) can:

1. Transmit and teach cultural values, ethics, traditions, norms, and knowledge;

2. Guide expectations of the behaviours essential to transition from boyhood to manhood by overseeing the important change of status from boyhood to manhood and unskilled to skilled; and

3. Allow a celebration of the transitioned boy by providing a platform for the selfexpression of the transitioned individual to showcase their learned skills through various forms, such as economic participation, markets, fashion shows, and graduation, among others.

Fig 5.3: Diagram of the practical transit

0146

PROGRAMME & ACCOMMODATION SCHEDULE

ACCOMMODATION. INFORMATION OFFICE.

TAILORING.

PUBLIC.

Reception Offices Medical room Transport node

Workshops Workshop passages Mentorship studio Business classes Auditorium Library Digital archive library Tailoring facility

Tailor’s lounge Apprentice induction area Tailor’s lockers Tailor’s library Material collection Material storage Material recycling Equipment storage Fitting/measurement lounge Fabric/textile library Pattern-making studio Print and embroidery studio Sewing and stitching studio Fabric dying studio Alteration’s studio Ironing and folding pocket Packaging pocket

Library (public access) Public gathering pocket Retail shop Tailoring/alterations pockets Laundry Counselling (public access) Cafe/tea garden Playscape Recreational Park Market (thrifting) Exhibition space Runway (fashion show)

THERAPY & DEVELOPMENT.

ACCOMMODATION.

Expressive therapy pocket (crafts and tailoring) Counselling pocket Group therapy pocket Therapy studio

Apprentice accommodation Communal kitchen Communal dining Staff accommodation Temporary accommodation (stay over)

EDUCATIONAL.

tioning process [Author, 2021]

0147

chapter 06_

DESIGN PRINCIPLES & DESIGN DEVELOPMENT

6.1 6.2 6.3 6.4

Introduction Design principles Concept development Design development

0149

DESIGN PRINCIPLES

DESIGN PRINCIPLES. FOR PROPOSED DESIGN.

1. S Y M B I O T I C

2.METAMORPHOSIS (Transition)

3.LIMINAL (THRESHOLD)

“Symbiotic relationship is the mutually beneficial relationship between different organisms, ideas and communities” (Porter, 2004:141). Porter (2004:141) explains that symbiosis in architecture is a process of combining dissimilar elements or concepts that assist one another to create a more meaningful whole. ----The symbiotic relationship between tailoring and architecture is explored and implemented to fuse the concept of tailoring with architecture physically and metaphorically. This includes the materials, functionality, process and elements of tailoring that will be extrapolated into the physical form, plans, sections and programme of the proposed design. Figure 6.1 is a concept model of the new roof planes representing the rolling out of cloth and the stitches.

“The term morphing is derived from ‘metamorphosis’, which describes a dramatic transition. It implies the transition of one form or state to another” (Porter, 2004:100). ----Metamorphosis will be put into effect by the transitioning or adaptive reuse of Huis Potgieter to a new tailoring facility for at-risk boys depicting the transition or metamorphosis from old to new. The site and Huis Potgieter will be morphed to its previously unachieved full potential, which is from an underused abandoned building to a structural and functional space that facilitates the transitioning process from boyhood to manhood for at-risk boys. Figure 6.2 is a concept model representing metamorphosis of Huis Potgieter.

“Thresholds mark boundaries and edges to create psychological transitions between conscious and unconscious, past and future, and physical transitions between inner and outer, public and private, and the difference between the sense of arriving and arrival” (Porter, 2004:13). The liminal space is defined as the transitional threshold between two fixed states or spaces in architecture (Pentikainen, 1979:155). ----The proposed facility’s spatial development will be based on a series of thresholds or transitional spaces with emphasis on passages that blur two states. These states include public and private, interior and exterior, communal and isolated, and the concept of architecture and tailoring.

Fig 6.2: Metamorphosis as design principle [Author, 2021]

Fig 6.3: Liminal as design principle [Author, 2021]

Fig 6.1: Symbiotic as design princple [Author, 2021]

150

DESIGN DEVELOPMENT

[6.2]

4 . P A S S A G ES

5.TRANSLUCENCY

A passage is the action or process of passing from one place, condition, or stage to another. In architecture a passage is a walkway, corridor or lobby giving access to different rooms or parts of a building (Mirriam-webster. com, 2021). ----Passages is applied physically and metaphorically. Physical passages will be designed to function as primary spaces where experiences take place. These passages may be in-between spaces, walkways, corridors and ramps that are cut into the ground, risen above ground or extruded to define a space. These passages will connect different spaces and programmes whilst functioning as a primary space in itself for gathering, contemplation or circulation. Metaphorical passages are amplified in the transition from boyhood to manhood.

“Translucency is the less distinct but discriminating version of ‘transparency’. While transparency removes all doubt and reveals the spectacle of display, translucency interposes enigma and ambiguity” (Porter, 2004:156). ----The proposed design will incorporate translucent and semi-transparent material such as translucent screens, perforated mesh or perforated gabion walls. This will allow shadowy movement to filter in and light transmission coupled with effective privacy. The aim is to create curiosity whilst showcasing the activity, experiences and functions of the building.

“Landmarks often work in conjunction with nodes as points of reference. They are usually simply defined objects, buildings or features that have been given great symbolic significance” (Porter, 2004:102). ----The proposed design is introduced as a significant landmark or ‘city lantern’ located at the southern gateway to the Pretoria CBD. The building may symbolise ‘guidance’ and the transition to a ‘healthier’ society, by fulfilling its purpose of functioning as a structural and functional rite of passage tailoring facility for at-risk boys.

Fig 6.4: Passages as design principle [Author, 2021]

Fig 6.5: Translucency as design principle [Author, 2021]

Fig 6.6: Landmark as design principle [Author, 2021]

(Transparency)

6.LANDMARK

151

DEVEL0PMENT SKETCHES

Fig 6.7: Early concept sketches, tailoring and architecture [Author, 2021]

0152

[May 2021]

DESIGN DEVELOPMENT

Fig 6.8: Early concept sketches, on section [Author, 2021]

[June 2021]

153

DEVEL0PMENT MODELS

Fig 6.9: Design generators [Author, 2021] 1. The new development will be situated north of Huis Potgieter due to orientation and shadows casted. 2. Design along Normaal Street.

154

3.A courtyard or opening connects old and new and allows light to filter in. 4. The proposed design spills out from Huis Potgieter to Agulhas flats.

5. Proposed design integrates into the existing natural environment (large trees). 6. Views towards existing sport field.

DESIGN DEVELOPMENT

Fig 6.10: Early model exploration [Author, 2021]

[Mid June 2021]

155

DEVEL0PMENT MODELS

Fig 6.11: Early model exploration and conceptual drawing [Author, 2021]

156

DESIGN DEVELOPMENT

Figure 6.12: Early tectonic exploration [Author, 2021]

157

Development sketches

Existing Huis Potgieter and proposed access points.

Placement of buildings and layout planning. Informed by the main axis of Huis Potgieter, the site contours and the street edge.

Placement of buildings and layout planning informed by passages and walkways.

Placement of buildings and layout planning informed by passages, walkways and the process of tailoring.

158

Fig 6.13: Plan development sketches [Author, 2021]

DESIGN DEVELOPMENT

Fig 6.14: First conceptual building layout plan [Author, 2021]

159

Development sketches

Fig 6.15: Initial concept sketch of fabric-like roof plane, August [Author, 2021]

Tailoring patterns

Passages as interactive spaces

160

Plan development

Cloth rolling out - roof planes

Fig 6.16: Initial concept drawings of final design [Author, 2021]

DESIGN DEVELOPMENT

Fig 6.17: Initial concept drawings of the final floor plan [Author, 2021]

161

Development sketches

Fig 6.18: Development of floor plan, passages define spaces [Author, 2021]

162

Fig 6.19: Development of floor plan, passage inform primary spaces [Author, 2021]

Fig 6.20: Section development sketch, emphasis on passages and integrated roof planes [Author, 2021]

DESIGN DEVELOPMENT

4 2 3

Access from street level to public facilities such as the main entrance, cafe, retail shop and public laundry. Apprentice entrance route. 1. Reception 2. Apprentice passage down to 3. Induction space 4. Tailoring/therapy/mentorship spaces. Reflective pond guiding the apprentices into the facility.

Fig 6.21: Plan development showing access and entrance route [Author, 2021]

163

Development sketches

Passages

HUIS POTGIETER

Street level

SECTION A-A Fig 6.22: Development sketch of section [Author, 2021] Public- Access from street. Semi-private/ Semi-public. Private.

164

DESIGN DEVELOPMENT

Fig 6.23: Development models of final concept, September [Author, 2021]

165

chapter 07_

07 DESIGN RESOLUTION

7.1 7.2 7.3 7.4 7.5 7.6

Plans Section Elevations 3D Views Details Models

0167

DESIGN RESOLUTION

DESIGN RESOLUTION. PLANS.

Site Plan | Scale 1:500 1. Existing ramp - vehicular entrance. 2. Main pedestrian entrance. 3. Street access to cafe, laundry and retail shop. 4. Existing Huis Potgieter. 5. Parking. 6. Apprentice induction area. 7. Courtyard (joining old and new). 8. New tailoring facility. 9. Community gathering space. 10. Remembrance wall. 11. Playscape. 12. Recreational park. 13. New walkways connecting to existing. 14. New secondary access gate.

0168

[7.1]

11. 10.

7. 6.

5. 1. 12. 13.

14.

SITE PLAN | SCALE 1:500 Rites of passage tailoring facility

0169

DESIGN RESOLUTION

Lower Ground Plan | Scale 1:200 1. Courtyard - enter from street level down to courtyard. 2. Entrance lobby. 3. Multi-use passage. 4. Communal dining. 5. Boy’s passage. 6. Apprentice induction area. 7. Apprentice lockers. 8. Reflective pond. 9. Garden passage. 10. Market/exhibition space. 11. Equipment storage. 12. Main passage. 13. Fabric library.

0170

14. Fitting and measurement lounge. 15. Pattern-making studio. 16. Pint & embroidery studio. 17. Sewing and stitching studio. 18. Exhibition passage. 19. Community meeting room. 20. Packaging. 21. Community gathering pocket. 22. Expressive therapy pocket. 23. Counselling pocket. 24. Garden. 25. Remembrance wall. 26. Playscape.

26. 25.

24.

23. 22. 21. 20.

18.

16.

17. 12. 15.

4. 6.

13.

14.

1. 10.

19.

11.

7. 2.

LOWER GROUND PLAN | SCALE 1:200 Rites of passage tailoring facility

0171

DESIGN RESOLUTION

SECTION.

172

[7.2]

DESIGN RESOLUTION

3D Views.

174

[7.4]

BIRDS EYE VIEW | VIEW 01 Rites of passage tailoring facility

DETAILS

Details.

0176

[7.5]

DESIGN RESOLUTION

177

DESIGN RESOLUTION

DETAILS

0178

DESIGN RESOLUTION

chapter 08_

08 TECHNICAL RESOLUTION

8.1 8.2 8.3

Building system component Specifications Construction drawings

0181

TECHNICAL RESOLUTION

[8.1]

PROJECT CONCEPT.

BUILDING SYSTEM COMPONENT.

This section explains the building system component’s technical development. The proposal’s theme and topic (see Figure 8.1) are presented schematically to determine the ‘visual tectonics’ (the way the building will be read visually) and the ‘technology tectonics’ (the materials and construction techniques that will be used) development.

Fig 8.1: Diagram of the project concept [Author, 2021]

COMPONENT CONCEPT. 1. Transition: Re-use, from old to new; 2. Transition: Journey, visual movement, passages and walkways; and 3. Transformational transition: Physical transformation and visual transformation through aging of materials, integration of nature (growth).

SYSTEM.

0182

The recycled-concrete gabion wall system is developed as the building system component for the passages and walkways of the proposed design.

BUILDING SYSTEM COMPONENT

Study of tailoring equipement

Passage as system

Passage and walkway exploration for system: Perforated wall or screen

183

TECHNICAL RESOLUTION

INITIAL IDEA EXPLORATION. 1. PASSAGE AS BUILDING SYSTEM.

[Passage as primary space]

[Seperated passage]

[Suspended, liminal]

[Submerged]

Fig 8.2: Drawing emphasising passage as building system [Author, 2021]

0184

[Thread through building]

Fig 8.3: Drawings exploring passage as building system [Author, 2021]

[Passage as system]

Fig 8.4: Photos of maquettes expressing growing roof planes and facades

[Author, 2021]

2. GROWING / UNFOLDING ROOF PLANES.

The roof plane represents transitioning, metamorphosis and the rolling out of cloth.

185

TECHNICAL RESOLUTION

PERFORATED MATERIAL EXPLORATION. During the material exploration, the following elements were explored: - Perforated light-weight materials such as mesh, and heavy-weight materials such as gabion walls constructed from recycled concrete found on site; - Materials that exhibit transition through light, such as light filtration due to seasonal growth or time of day, and - Materials that exhibit transition through physical movement, such as individuals transitioning from one space to another.

RECYCLED CONCRETE GABION WALL. The recycled-concrete gabion wall system was explored and developed for the proposed design’s passages. The concrete from the sites’ demolished structures could be re-used as the infill material for the gabion baskets. The following key points give reason to the system’s implementation: - The perforated wall system allows light to penetrate throughout various times of the day, therefore visually exhibiting the transition of time; - The perforated wall system allows for visual connection by exhibiting the visual transition of users moving from one space to another; - The recycled-concrete stones emphasise the transition from old to new by means of reused material and physical weathering of the material over time; and - The gabion wall system metaphorically represents being se(cured). Just as at-risk boys are se(cured) by the proposed design, similarly, the mesh baskets se(cure)ing the recycled stones.

0186

BUILDING SYSTEM COMPONENT

Textile-like facade or roof plane

Recycled concrete sourced on site

Punctured for activity pockets

Sewing into the facade/ existing

Stained on site by users

Perforated | Secured

Maquette exploration of perforated gabion walls for walkways and passages

187

TECHNICAL RESOLUTION

MODEL EXPLORATION.

Cross-sectional models illustrate the exploration and development of interactive passages that grow and change over time and seasons. Eco wire mesh was selected as perforated lightweight material and recycled-concrete gabion walls as heavy-weight perforated material. The concept of transition is translated through the weathering of materials and plant growth over time, the transition of inside-outside space, and the physical transition of users moving through the passages.

Figure 8.5: Eco-mesh green facade (Eco-mesh.com, 2021)

Fig 8.6: Perforated gabion wall [ECVV.com, 2021]

Fig 8.7: Section drawing of recycled concrete gabion basket wall [Author, 2021]

0188

SUMMER

AUTUMN

WINTER

Built models exploring interactive passages

189

TECHNICAL RESOLUTION

SPECIFICATIONS. RECYCLED CONCRETE GABION WALL SYSTEM.

SYSTEM OUTLINE RECYCLED CONCRETE GABION WALL SYSTEM WITH OPENINGS

1. i)

Recycled Concrete Gabion wall assembly Location: Walkways and passages as per Architect’s Design Drawings.

Gabion wall structural steel support

i) ii) iii) iv)

800 x 800mm reinforced concrete pad foundation for structural support member as per Engineer’s specification. 152 x 152mm galvanised mild steel Universal column bolted to galvanised mild steel base plate. Manufacturer: MACSTEEL. Tel: +27 (0)11 871 4600. Degree of accuracy II: SANS 50025

Gabion Wall Substructure

i) 800 x 200mm reinforced concrete strip foundation with 440mm high reinforced concrete foundation wall as per Engineer’s specification. ii) Crushed recycled concrete compacted filling in layers of 150mm as per Engineer’s specification. iii) 375 micron USB green Damp Proof Membrane. iv) 85mm thick cast-in-situ surface bed as per Engineer’s specification.

Gabion baskets

i) 1050 x 375 width x 450mm high GABION BASKETS wall. ii) Mesh: Square galvanised steel welded mesh basket with 75 x 75mm aperture. iii) Basket fixing: 3mm galvanised spiral steel laced as per manufacturer specification. iv) Bracing support: 50 x 50 x 3mm galvanised mild steel equal angle support bracing welded to support column. v) Coursing: Stacked bond as per Architects Design Drawing. vi) Bracing ties/cross-wires fixed side-to-side spaced 1/3 up each basket. vii) Manufacturer: GABION BASKETS. Tel: +27 (0)11 882 5788.

Recycled concrete infill material

i) Local on-site sourced material: Demolished concrete structures to be re-used. ii) Size: 200 to 300mm nominal size. iii) Coursing: To be assembled in layers as Architect’s Design Drawing. iv) Assembly method: Layered up to 1/3 of the GABION BASKET before placing the next basket. v) Finish: Stained concrete as per Architect’s Design Drawing and requirements.

Opening

i) ii) iii) iv) v)

Location: As per Architect’s Design Drawing 50mm x 50mm galvanised mild steel equal angle perimeter frame welded to bracing supports. 3mm thick square steel welded wire-mesh infill panel with 100 x 100mm aperture welded to support frame. Finish: Weathered steel wire-mesh. Vegetation: Creeping Boston Ivy, Ficus Pimula Creepers or an acceptable equivalent as per Landscape Architect.

0190

[8.2]

SPECIFICATIONS

Recycled concrete GABION wall system for walkways and passages

191

DYK

STR EET

REET LU ST

SISU 1335

ENUE

Campus Bo

undary north

ES AV

RHOD

Nelson Mandela Drive

UNISA Sunnyside Campus (north)

JOU

GER

BER T ST REE

ARD

1330

MOE R

TREE

ING S

ID SCHE

JUSTICE MA

HOMED ST

REET

UNISA Sunnyside Campus (south)

Campus Boundary east

133

IVE

PRELLER STREET

EET

LSO

PROPOSED DEVELOPMENT ERF 407

BEREA STREET

Existin greene

Erf 87

1340

et or or ia r ia a G ilwa au tra y lin 13 55 e in lin e

NORMAAL STREET

undary Campus Bo

er Apies riv

WILLO

W ROAD

1335

1332

Campus Boundary south 136

1333

WILLOW ROAD

A TH

ST RE

HU SE

E LL

136

Existing soccer field

IVE NDELA DR

T EE

R ST

OR T

TECHNICAL RESOLUTION / LOCALITY & SITE PLAN

STR

STEVE BIKO ROAD

UYS

JO UB

PIET

Berea Park

ER T

Apies

river

13 30

NELSON

Preto

ria G

Pretoria

autra

1380

in lin

railway

line 85

r Apies rive

Locality Plan N

192

GSEducationalVersion GSPublisherVersion 85.7.89.100 GSPublisherVersion 461.0.2.100

Scale 1:2000

Site Plan Scale 1:500

et tr e tS

Stree

Uys

Piet

Erf 1

Nelson Mandela Drive

/397

Erf R/397

Erf 396 Erf 398

Abandoned Agulhas flats

Erf 1/395

Erf 823

75m Boundary Line

Erf 821

1.5m high boundary wall

100m2

5 000

Line of roof over

Building C

6 000

8 860

Building A

120m2

83m2 10 200

New addition Pretoria Muckleneuk Erf 407 120m2

Building G 2

existing

Existing Huis Potgieter

50m Boundary Line

5m building line

1340

23 830 4 800

133 5 1336

3 13

30m Boundary Line

Scale 1:500

8 650

Existing Parking 99 830

Existing vehicular ramp

8 000

Erf R/169 Line of roof over

DATUM: UFFL Lower ground floor X 100 000

Site Plan

5 000

6 450

110mm Ø Soil pipe to municipal sewer connection min fall 1:40

New concrete walkway connecting to existing walkway

Existing heritage building

3 270

Setting out point

6 000

re ie re

3 510

74m

64 82

2 900

34 13

Existing soccer field

Berea Street Pedestrian entrance no obstruction 103 015

3 900

Reflection pond 15 300

Erf 390

5 850

2 695

Building F

7 050

Erf 391

Existing sidewalk parking

4 650

1333

70m2

145m2

6 300

1332

Building B

Building E

ie re

60m2

6 300

Focus Area 3/7

4 150 1 540 6 640

110mm Ø Soil pipe to municipal sewer connection min fall 1:40

5m building line

19 000

Community gathering space (grass block pavers)

Building D

10m building line

5 500

7 050

Erf 876

150m Boundary Line

Existing greenery

To municipal drainage connection

Erf 820

Normaal Street

9 750m2

119.9m Boundary Line

ERF 407 (Consolidated)

1335

1333 1334

1332

5m building line

Vehicle entrance no obstruction 102 930

Existing heritage building

Erf R/170 Department of Architecture

Erf 409

Erf 410

B. Arch

Existing heritage building

CONTRACT DOCUMENTATION Erf R/171 Name

Dean Smuts

Student number

216315669

24.8m Boundary Line

Project description

SE(CURE)ING BOYS TO MEN: The Design of a Contemporary Rites of Passage Tailoring Facility for at-risk boys in the Pretoria CBD Drawing number & description

Locality Plan & Site Plan Date OUT

Date IN

29/07/2021 Scale:

1:100 & 1:500 1:2000

30/09/2021

Sheet No./No.

2/7

E 6 300 2 980

To municipal drainage connection

3 160

230

200

Line of gutter

2 850 5 460

4 000

Focus Area 3/7

8 155 5 580

7 000

W11

Line of roof over

230

2 x 100mm dia. seamless black aluminium rainwater downpipe

ie 400x 460mm AVENG precast concrete stormwater channel with mentis grid cover connected to stormwater drain below

20 530

3 000

300

Outlet

3 13

Fall 1:60

6 300 5 770

110mm Ø Soil pipe to municipal sewer connection min fall 1:40

96 900

250

230

Lockers FLOWCRETE epoxy

99 000

4 545 5 000

Induction area FLOWCRETE epoxy

Line of roof over

Sink

W a

100 000

Epoxy

230

Access from inside

Aluminium ventilation louvres

Open to above

New concrete walkway connecting to existing walkway

Dry storage

85mm step

230

110mm Ø Soil pipe to municipal sewer connection min fall 1:40

Epoxy

2 800

230

230 2 445

20 775

3 150

Wet storage Line of roo

11 270

3 150

Prep area R

Polished concrete

f over

2 670

99 915

2 250

Outdoor seating

1 870

STAIR NOTE: reinforced concrete stairs tread: 270mm riser: 170mm

4 545

5 000

2 300

230

50x 50 x 1000mm high galvanised mild steel handrail balustrade with galvanised mild steel infill panel

230

895

895 1 270

375

98 830

landing

Polished concrete

6 820

Outdoor seating

1000mm high perforated powder coated aluminium sheet metal balustrade

250

9 420

375

3 225

C 6 300

4 690

250

2 975

3 150 3 150

1 270

Work station Outlet

Experience Passage below

Reflection pond

250

230

Fall 1:60

85 mm step

99 915

Balcony over

B 6 300

BIC Line of roof over

6 000

Patio Polished concrete

2 040

100 000 3°

8 ie

Epoxy

0 00 1

50x 50 x 1000mm high galvanised mild steel handrail balustrade with perforated galvanised mild steel infill panel

50x 50 x 1000mm high galvanised mild steel handrail balustrade with galvanised mild steel infill panel

pattern library R

TECHNICAL RESOLUTION / LOWER GROUND FLOOR PLAN

230

10 35

2 695 2 695

Line of gutter

Office Ceramic tiles

Polished concrete

D1 D1

Maintenance workshop

5 340

5 450

100 000

Office Ceramic tiles

Lower Ground Floor

230

Scale 1:100

525

12 465 6 740

194

230 1 490 6 475

6 300

A GSEducationalVersion GSPublisherVersion 85.7.89.100 GSPublisherVersion 461.0.2.100

100 000

1 490

6 300

230

2 105

230

4 000

3 770

110

2 190

230

2 335

6 300

4 800

H D3

6 300

37 950 3 780

6 350

230

300

Passage

Pattern-making studio

100 000

Reflection pond

220mm perforated facebrick wall

BIC

99 915 6 000

230

450mm high built in seating

50x 50 x 1000mm high galvanised mild steel handrail balustrade with galvanised mild steel infill panel

1 150 375

Open to below

100 000

Main passage

230

1 070

Fabric library

Measurement podium

230 4 330

7 000

7 630 3 660

3 000

230

FLOWCRETE epoxy 100 000

12 440

2100mm high aluminium curtain rail

Fitting & measurement lounge

230

Landing 100 715

Line of balcony over

p slop Ram 12 1:

7 055

Courtyard Concrete flagstone

2 410

Double volume

1 830

2 700

300

Line of gutter

FLOWCRETE epoxy

Concrete flagstone

Work station

85mm step

4 520

1 100

18 17 16 15 14 13 12 11 10

110

110mm Roan Satin nonload bearing perforated facebrick wall

FLOWCRETE epoxy

Line of roof over

Epoxy 100 000

Fitting room

6 000

720

BIC

6 665

Line of slab over

BIC

Storage

85mm step

5 840

1 600

100 000

99 915 85mm step

230

Walk in cupboard for pattern hangers

2 455

Epoxy

Concrete flagstone

7 050

10 11 12 13 14 15 16 17 18

Workshop passage

volu

Line of roof over

Kitchenette

BIC

99 915

BIC

uble

85mm step

Concrete flagstone

110

99 915

Self-reflection passage

50Ø x 1000mm high powder coated stainless steel circular hollow section handrail.

230

300 600 110

10°

Garden passage Grass block pavers

96 900

5 010

GAION BASKET wall as per Callout Detail Section A Light tower above (double volume)

Line of gutter

W11

Passage below

100 000

99 915

BIC

170mm high podium

230 2 170 455 110 720

Concrete flagstone

110mm Roan Satin nonload bearing perforated facebrick wall

100 000

FLOWCRETE epoxy

R 1580

Work station W3

FLOWCRETE epoxy

Print & Embroidery studio

Exhibition passage

1 240

100 000

Ironing pocket

FLOWCRETE epoxy

99 915

10 11 12 13 14 15 16 17 18

100 000

BIC

Sewing & stitching studio

220mm Roan Satin Terracota non-load bearing perforated facebrick wall

10 11 12 13 14 15 16 17 18

Work station

85mm step

Polished concrete

1 100

940 4

Materials passage

2 410

3 880

Concrete flagstone 1

230

W3 Line of roof over

96 900

450mm built-in shelving

1 970

2 240

STAIR NOTE: reinforced concrete stairs tread: 270mm riser: 170mm

Passage below

115

3 340

1 760

99 915

48 050

6 570

15 042

50x 50 x 1000mm high galvanised mild steel handrail balustrade with galvanised mild steel infill panel

4 000

18 290

7 380

6 300

16 795

Garden passage Concrete flagstone D7

FLOWCRETE epoxy

3 150

250 115

2 300

Planter

670 1 200 660

2 285

250

12 100

2 190

2 920

BIC

3 150

115 2 920

230

3 150

2 920 230 5 220

5 450

Ramp slope 1:12

230

85mm step

Name

Dean Smuts

Student number

216315669

Project description

landing

85mm step 5

110

6 310

230

2 920

22 400

00 1

D3 230

99 830

100 000

B. Arch

CONTRACT DOCUMENTATION

Graphite COROBRIK paver

Polished concrete

Department of Architecture

2 130

Existing stairs 1

Parking

Ramp slope 1:12 230

Laundry

100 000

5 450

2 920

Polished concrete

85mm step

FLOWCRETE epoxy

Refuse

Polished concrete 100 000

3 710

2 225 115 590

300

FHR water & fire duct

electrical duct

Escape

Drop off Brick paving

230

100 000

BIC

Storage

wm wm wm wm

mechanical vent duct

101 550 9

100 000

Existing lift shaft

2 800

Water supply to washing machines from duct

99 830

Fire door EXIT

Polished concrete

100 000

Tailor's lounge

Entrance lobby

Storage

Brick paving

FLOWCRETE epoxy

Epoxy 100 000

50 1

D9 Fire door EXIT

5 Garden

Existing fire stairs

New proposed lifts as per mechanical engineer

Lift 1 D1

D6 FHR

BIC

100 000

2 390

New fire lift shaft

230

Coffee station

Ramp slope 1:12

230

6 070 250

whb wc

New planter

whb

D1 D1

Polished concrete

whb

Service lift

Storage

100 000

whb

Epoxy whb

FLOWCRETE epoxy

85mm step

Epoxy

Fire door

Male

Ex. duct

2 050

Existing lift shaft

Oven

Fire door

Toilets

3 200

100 000

1000

Epoxy

Female

b over 85mm ste p

685 2 050 250

Kitchen

103 015

Line of sla

100 000

1 180

Main entrance above

BIC

FLOWCRETE epoxy

Stove

shelvi

movable wall

100 000

Service counter

case Show

3 150

100 000 movable wall

Multi-use passage

820

Equipment studio & storage

3 530

Market/exhibition

FLOWCRETE epoxy 2 070

Showcase shelving

FLOWCRETE epoxy

Existing columns

Communal dining

350

1050 x 375 x 450mm high GABION BASKET free standing wall with with welded mesh infill panel to detail

450mm high built in seating

Landing

85mm step 230

Landing

Ramp above

85mm step

landing

2 195

Line of slab over

BIC

R 4 000

99 915

Window above

A 4/7

F 6 300

350

2 800 2 800

2 800

350

9 220

3 500

SE(CURE)ING BOYS TO MEN: The Design of a Contemporary Rites of Passage Tailoring Facility for at-risk boys in the Pretoria CBD

230

9 450

Drawing number & description

Lower Ground Floor

55 190

6 300

12 600

A 4/7

6 300

Date OUT

6 300

29/07/2021

Scale:

1:100

Date IN

30/09/2021

Sheet No./No.

3/7

4 500

2 700

4 800

11 4 000

7 000

Second Floor Level UFFL 109 300 CONCRETE ROOF NOTE: 255mm reinforced concrete slab with min 30mm cement screed to fall 1:60 to adjustable full-flow floor drain, one layer DERBIGUM SP-4 torch-on waterproofing membrane with 75mm side laps and 100mm end laps. 220 x 40mm concrete COROBRIK flagstone on min 30mm screed to fall.

PERFORATED ROOF NOTE: 0.58mm thick corrugated perforated metal roof sheeting fixed to 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1200 centres on Purpose made 203 x 133mm galvanised mild steel Universal Beam formed to profile

First Floor Level UFFL 106 200

510 x 60mm cast-in-situ concrete coping with waterdrip, fixed with cement mortar Exterior passage

Rooftop quiet space

Slip joint

Expressive therapy

Facebrick

DPC

NGL

Off-shutter concrete DPC

300mm thick Gabion infill wall with 110mm Roan Satin clay brick leaf

Packaging studio DPC

DPC DPC

Sewing & stitching Facebrick W11

510 x 60mm precast concrete sill with sloped exterior and waterdrip

DPC

170mm step

Perforated exterior gabion wall:1050 x 375 x 450mm high galvanised welded mesh GABION BASKETS filled with 200 to 300mm nominal sized recycled stained concrete sourced on site

Scale 1:100

Therapy studio Off-shutter concrete

DPC

DPM

Section AA

W10

Exterior

Mentorship Off-shutter concrete

Below staircase

2 840

W10

Basement Level UFFL 96 900

196

DPM

CUT & FILL LINE

GSEducationalVersion GSPublisherVersion 85.7.89.100 GSPublisherVersion 461.0.2.100

2 845

Counselling

Covered walkway/ passage

255

Slip joint

Lower Ground Floor UFFL 100 000 85mm step

Quiet space

255

5 65

35° 35°

30°

22°

320

Ground Floor Level UFFL 103 100

90°

100 R 1

1500 x 1500mm standard flat aluminium RAINBOWLITE skylight with 5mm Acrylic glazing

Below staircase

D11

4mm thick FLOWCRETE flooring system to manufacturer's specs. DPM

1000 x 300 x 500mm high galvanised welded mesh GABION BASKET infill wall filled with 200 to 300mm nominal sized recycled stained concrete sourced on site 900 x 250mm reinforced concrete strip foundation to engineer's specification

TECHNICAL RESOLUTION / SECTION

Cast in-sit of 270m

50Ø x 1 stee

Existing Huis Potgieter

8 6 000

7 380

ROOF NOTE: 0.58mm thick ISQ 300 profile CHROMADEK IBR 686 steel roof sheeting fixed to 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1200 centres on Purpose made 203 x 133mm galvanised mild steel Universal Beam formed to profile

CDS-A 6/7 5/7

10°

BALCONY NOTE: 220 x 220mm Fully bonded concrete tiles on min 30mm mortar bed with one layer CG4/CG3 DERBIGUM fully sealed by torch-fusion to min 40mm screed @ min 1:40 fall to spout outlet.

Second Floor Level UFFL 109 300

Purpose made galvanised mild steel box gutter with ridge to flow/overflow around light shaft Light shaft

1 200

203 x 133mm galvanised mild steel Universal Beam 1 200

1 200

300 x 300 reinforced concrete column to engineer's spec.

940

4 060

800

DPC

400

1 2 00

1 2

940 203

3 000

400 255

Slip joint

Pattern-making Facebrick

Fabric dying

1 750

D11

4mm thick FLOWCRETE flooring

DPC

Tailoring library/ lounge

Ground Level UFFL 103 100

344 x 75mm GCT stainless steel storm-water floor channel topsoil and creepers acc. New surface bed to Landscape Architect with movement joint

DPC

Existing reinforced concrete surface bed

Lower Ground Level UFFL 100 00 NGL

DPM

STAIR NOTE: tu reinforced concrete stairs with a tread mm and riser of 170mm, total 18 steps.

85mm reinforced concrete surface bed on compacted earth filling in layers of 150mm

HANDRAIL NOTE: 1000mm high powder coated stainless el circular hollow section handrail.

375 micron USB green damp proof membrane

Exterior passage 2 730

Below staircase

Painted concrete soffit

Off-shutter concrete

170mm step 255 85

W10

Main entrance Passage

100

860 255

520

200

1 980 2 845

200mm reinforced balcony slab with 200 x 300mm high reinforced concrete upstand beam with overflow and drip

2 670

2 500 2 845

Covered walkway/ passage

85mm step

1 100

Balcony

Facebrick

170

Design studio

200

3 100

35°

1 800

1 2 0

First Floor Level UFFL 106 200

50x 50 x 1000mm high galvanised mild steel handrail balustrade with galvanised mild steel infill panel

2 740

800 x 340mm thickened reinforced concrete foundation to engineer's specification Line of 900 x 900 x 250mm reinforced concrete pad foundation to engineer's specification

1050 x 375 x 450mm high galvanised welded mesh GABION BASKETS filled with 200 to 300mm nominal sized recycled stained concrete sourced on site 300mm thick reinforced concrete retaining wall to engineer's specification Backfill comprised of recycled concrete and earth found on site 110mm Ø GEOPIPE sleeved in GEO-TEXTILE filter jacket at fall 1:300 to connect to stormwater pipe installed to manufacturers specification

PAVING NOTE: 440 x 440 x 40mm concrete COROBRIK flagstone on min 40mm binding sand layer with 350 micron DPM on 100mm thick compacted crushed recycled concrete stones of 5mm Ø max.

Basement Level UFFL 96 900

Department of Architecture

B. Arch

CONTRACT DOCUMENTATION Name

Dean Smuts

Student number

216315669 Project description

SE(CURE)ING BOYS TO MEN: The Design of a Contemporary Rites of Passage Tailoring Facility for at-risk boys in the Pretoria CBD Drawing number & description

Section AA Date OUT

29/07/2021 Scale:

1:100

Date IN

30/09/2021

Sheet No./No.

4/7

0 e fa

7 c g

2 m g

1 C

1 fa li

D1 6/7

0 e g 0.58mm thick corrugated perforated metal roof sheeting

Purpose made 203 x 133mm galvanised mild steel Universal I-Beam formed to profile spaced @ 6300 c.c to Engineer's specification

3 000

6 000

ED1 5/7

Second Floor Level UFFL 109 300

0.9mm thick purpose made galvanised sheet metal box gutter with ridge to flow/ overflow around light shaft fixed to galvanised mild steel lipped channels

Light shaft

Purpose made 203 x 133mm galvanised mild steel Universal I-Beam formed to profile spaced @ 6300 c.c 1 200

1 200

180 x 91mm galvanised mild steel RHS beam as open shading device behind. Welded to mild steel Universal I-beam

50 11

152 x 152mm galvanised mild steel Universal Column

140 x 73mm galvanised mild stee IPE Section support member welded and bolted to purpose made I-beam rafter

203 x 133mm galvanised mild steel Universal I-Beam 300 x 300 reinforced concrete column to engineer's specification

0.58mm thick corrugated perforated metal roof sheeting

First Floor Level UFFL 106 200

75 x 50 x 20 x 3mm galvanised mild steel lipped channel bolted to 63 x 63 x 4mm galvanised mild steel IPE Section

0.8mm thick CHROMADEK edge flashing fixed to galvanised mild steel lipped channel

100

Type 0200 solar ice PALRAM SUNPAL polycarbonate joiner clipped to stainless steel Tfasteners

0.58mm thick ISQ 300 profile CHROMADEK IBR 686 steel roof sheeting fixed to 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1200 c.c

203

3 100

75 x 50 x 20 x 2mm galvanised mild steel lipped channel purlins bolted to galvanised mild steel Universal Column

1 2

First Floor Level UFFL 106 200

1 2

375

1 710

300

220

Below staircase DPC

170mm step

Line of 900 x 900 x 250mm reinforced concrete pad foundation to engineer's specification 800 x 200mm reinforced concrete strip foundation with 440mm high reinforced concrete foundation wall to engineer's specification

200

255

400 2 555

2 845

Fabric dying Off-shutter concrete

1000 x 300 x 500mm high galvanised welded mesh GABION BASKET infill wall with 220mm Roan Satin clay brick layer

DPM DPM

325

50x 50 x 1000mm h galvanised mild stee handrail balustrade galvanised mild stee panel

1050 x 375 x 450mm high galvanised welded mesh GABION BASKETS filled with 200 to 300mm nominal sized recycled stained concrete sourced on site

Backfill comprised of recycled concrete and earth locally sourced

Basement Level UFFL 96 900 170mm step DPM

900 x 250mm reinforced concrete strip footing to engineer's specification

344 x 75mm GCT Lower Ground Level stainless steel storm- UFFL 100 000 water floor channel

300mm thick reinforced concrete retaining wall to engineer's specifications

85mm reinforced concrete surface bed on compacted earth filling in layers of 150mm 375 micron USB green damp proof membrane

220mm thick Roan S clay facebrick layer

Coarse layer/drainage stone comprised of crushed recycled concrete sourced on site or other porous fill 4mm thick FLOWCRETE flooring system to manufacturer's specs

Sew

300 x 300mm reinfo concrete column to engineer's specifica

520

400

D11 4 470

510 x 75mm cast-insitu concrete sill with sloped exterior and waterdrip fixed with cement mortar

Adjustable full-flow floor drain a supplied by BESSAANS-DU PLESSIS to manufacturers deta connected to 100mm dia. seamless black aluminium rainwater downpipe

DPM 100

Flush joint

W10 255mm reinforced concrete slab

340

DPC

145

255

13 12

2 840

1 000

1 000 400 2 500

2 845

1 100

Interior 600

CUT & FILL LINE

Painted concrete soffit

PAVING NOTE: 440 x 440 x 40mm concrete COROBRIK flagstone on min 40mm binding sand layer with 350 micron DPM on 100mm thick compacted crushed recycled concrete stones of 5mm Ø max.

600mm concrete inflow from reflection pond with SIKA CEMFLEX acrylic waterproofing with Cemflex Fabric

1 320

230

510 x 60mm cast-in-situ concrete coping with waterdrip, fixed with cement mortar

Exterior passage

110mm Roan Satin nonload bearing perforated facebrick wall

255

600 x 200mm reinforced concrete strip foundation to engineer's specification

Facebrick

3 100

Basement Level UFFL 96 900

Pattern-making

Ground Floor Level UFFL 103 100

200mm tapered to 170mm reinforced concrete balcony slab to engineer's specification

200 x 400mm reinforced concrete upstand with drip

D11

600 x 255mm thickened reinforced concrete foundation to engineer's specification

Slip joint 255mm reinforced concrete slab

200

2 080

Interior

STAIR NOTE: Cast in-situ reinforced concrete stairs with a tread of 270mm and riser of 177mm, total 18 steps.

200 x 300mm high reinforced concrete upstand beam with overflow and drip

170

255 320

DPC

HANDRAIL NOTE: 50Ø x 1000mm high powder coated stainless steel circular hollow section handrail.

230 110

1000 x 300 x 500mm high galvanised welded mesh GABION BASKET infill wall with 200 to 300mm nominal sized recycled stained concrete sourced on site with 110mm Roan Satin clay brick layer

1.9mm thick purpose made meta gutter hanger spaced @ 1575mm c.c to fully support gutter, fixed to mild steel lipped channels

120 x 120mm galvanised mild steel equal angles bolted to Ibeam 350 x 400mm reinforced concrete upstand beam to engineer's specification

50x 50 x 1000mm high galvanised mild steel handrail balustrade with galvanised mild steel infill panel

Covered passage/walkway W3

300 x 300mm reinforced concrete column to engineer's specification

Perforated GABION BASKET wall: 1050 x 375 x 450mm high galvanised welded mesh baskets filled with 200 to 300mm nominal sized recycled stained concrete sourced on site

Balcony

Facebrick 254 x 146mm galvanised mild steel Universal Ibeam bolted reinforced concrete upstand beam

0.9mm thick purpose made galvanised sheet metal gutter wit 20mm Ø overflow punctured hole

254 x 146mm galvanised mild steel Universal I-beam bolted reinforced concrete upstand beam

Design studio

35°

1.9mm thick purpose made metal gutter hanger spaced @ 1575mm c.c fixed to mild steel lipped channels

275 x 75mm precast concrete window sill with sloped exterior

DPC

4 080

1 100

3 100

0 1 2

0.9mm thick purpose made galvanised sheet metal gutter with overflow holes fixed to galvanised mild steel lipped channels

350 x 400mm reinforced concrete upstand beam to engineer's specification with drip

Lower Ground Level UFFL 100 000

90°

2 845

3 100

Ground Floor Level UFFL 103 100

800

140 x 73mm galvanised mild steel IPE Section welded and bolted to purpose made I-beam rafter

TECHNICAL RESOLUTION / DETAIL SECTION

80mm expanded polystyrene (EPS) insulation to be fixed between 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins

10°

203 x 133mm galvanised mild steel Universal I-beam

800 x 340mm thickened reinforced concrete foundation to engineer's specification

HANDRAIL NOTE: 50Ø x 1000mm high powder coated stain steel circular hollow handrail.

STAIR NOTE: Cast in-situ reinforce concrete stairs with of 270mm and riser 170mm, total 18 ste

110mm Ø GEO-PIPE sleeved in GEOTEXTILE filter jacket at fall 1:300 to connect to stormwater pipe installed to manufacturer's specification

WATERPROOFING NOTE: One layer DERBIGUM CG3 & CG4 waterproofing membrane, with 100mm side and 150mm end laps, sealed to surfaces by means of torch fusion, with DELTA MS 8 dimpled high density polyethylene protection & drainage membrane with a polyester GEOTEXTILE layer to wrap around drainage pipe

Off

300 x 300mm reinfo concrete column to engineer's specifica

Perforated GABION BASKET wall: 1050 x 450mm high galva welded mesh baske with 200 to 300mm sized recycled stain concrete sourced on

600 x 255mm thicke reinforced concrete foundation to engine specification

Callout Detail: Section A

Edge Det Scale 1:20

Scale 1:50

600 x 200mm reinfo concrete strip found to engineer's specifi

GSEducationalVersion GSPublisherVersion 85.7.89.100 GSPublisherVersion 461.0.2.100

198

D2 7/7

0.8mm thick CHROMADEK (galvanised Z200) edge flashing fixed to lipped channel purlins with fasteners

18mm SUNPAL aluminium sealing strip with 0.8 galvanised steel flashing

10°

18mm solar ice PALRAM SUNPAL polycarbonate panels joined together with aluminium joiners and fixed to lipped channel purlins with stainless steel T-fasteners according to manufacturer's specifications

75 x 50 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1200 c.c bolted to galvanised mild steel Universal Column 254 x 6.1 (web) x 8.6 (flange) x146mm galvanised mild steel Universal I-beam bolted 152 x 152mm galvanised mild steel Universal Column

Light shaft

Type 0200 solar ice PALRAM SUNPAL polycarbonate joiner clipped to stainless steel T-fasteners

Polycarbonate panels

152 x 152mm galvanised mild steel Universal Column bolted to Universal I-beam 152

1 845

152

1 1

18mm SUNPAL stainless steel concealed Tfastener clips fixed to galvanised mild steel lipped channel purlins with screws

D1 6/7

0.8mm thick CHROMADEK (galvanised Z200) edge flashing fixed to 80 x 60 x 6mm galvanised mild steel unequal angle

18mm SUNPAL aluminium sealing strip with 0.8 galvanised steel flashing

0.58mm thick corrugated perforated metal roof sheeting

1 2

0.9mm thick purpose made galvanised sheet metal box gutter with ridge to flow/overflow around light shaft fixed to galvanised mild steel purlins

38 100

Purpose made 203 x 133mm galvanised mild steel Universal I-Beam formed to profile spaced @ 6300 c.c to Engineer's specification

D3 7/7

0.58mm thick ISQ 300 profile CHROMADEK IBR 686 steel roof sheeting fixed to 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1200 c.c

80mm expanded polystyrene (EPS) insulation to be fixed between lipped channel purlins

Roof line behind and infront of light shaft

203

1.9mm thick purpose made metal gutter hanger to fully support gutter, fixed to mild steel lipped channels Purpose made 203 x 133mm galvanised mild steel Universal I-Beam formed to profile spaced @ 6300 c.c

1 2

100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins 203 x 133mm galvanised mild steel Universal I-beam bolted to purpose made Universal Ibeam

90° Second Floor Level UFFL 109 300

0 profile 86 steel roof x 75 x 20 x 2mm lipped channel 00 c.c

254 x 6.1 (web) x 8.6 (flange) x146mm galvanised mild steel Universal I-beam bolted 152 x 152mm galvanised mild steel Universal Column

140 00

1 2 75 x 50 x 20 x 3mm galvanised mild steel lipped channel bolted to 63 x 63 x 4mm galvanised mild steel IPE Section

MADEK edge anised mild steel

sed mild steel RHS ng device behind. Universal I-beam

35°

140 x 73mm galvanised mild steel IPE Section support member welded and bolted to purpose made I-beam rafter

ised mild steel

concrete column ation

First Floor Level UFFL 106 200

Design studio

0.9mm thick purpose made galvanised sheet metal gutter with 20mm Ø overflow punctured holes

Facebrick

1.9mm thick purpose made metal gutter hanger spaced @ 1575mm c.c to fully support gutter, fixed to mild steel lipped channels

73mm thick Purpose made galvanised mild steel flange welded and bolted to IPE Section diagonal members 254

254 x 146mm galvanised mild steel Universal I-beam bolted reinforced concrete upstand beam 120 x 120mm galvanised mild steel equal angles bolted to Ibeam 350 x 400mm reinforced concrete upstand beam to engineer's specification

Ground Floor Level UFFL 103 100

152 x 152mm galvanised mild steel Universal Column bolted to Universal I-beam 140 x 73mm galvanised mild steel IPE section bolted to Universal Columns

350

655

Adjustable full-flow floor drain as supplied by BESSAANS-DU PLESSIS to manufacturers detail connected to 100mm dia. seamless black aluminium rainwater downpipe

300

110mm COROBRIK Roan Satin clay brick layer

400

200 x 300mm high reinforced concrete upstand beam with overflow and drip

146

255

50x 50 x 1000mm high galvanised mild steel handrail balustrade with galvanised mild steel infill panel

12mm thick safety glass aluminium framed window

140 x 73mm galvanised mild steel IPE Section non-structural member welded and bolted to purpose made I-beam rafter

220

Facebrick

300

50x 50 x 1000mm high galvanised mild steel handrail balustrade with galvanised mild steel infill panel

Pattern-making Facebrick

1000 x 300 x 500mm high galvanised welded mesh GABION BASKET infill wall filled with 200 to 300mm nominal sized recycled stained concrete sourced on site

110 200 x 400mm reinforced concrete upstand beam with drip

375

4mm thick FLOWCRETE flooring system to manufacturer's specs

18 255

255

DPM

1050 x 375 x 450mm high galvanised welded mesh GABION BASKETS filled with 200 to 300mm nominal sized recycled stained concrete sourced on site

510 x 75mm cast-in-situ concrete sill with sloped exterior and waterdrip fixed with cement mortar

1 100

STAIR NOTE: Cast in-situ reinforced concrete stairs with a tread of 270mm and riser of 170mm, total 18 steps.

12 11

110mm Ø GEO-PIPE sleeved in GEOTEXTILE filter jacket at fall 1:300 to connect to stormwater pipe installed to manufacturer's specification

Fabric dying studio

Therapy studio

Off-shutter concrete

1000 x 300 x 500mm high galvanised welded mesh GABION BASKET infill wall filled with 200 to 300mm nominal sized recycled stained concrete sourced on site

300 x 300mm reinforced concrete column to engineer's specification Perforated GABION BASKET wall: 1050 x 375 x 450mm high galvanised welded mesh baskets filled with 200 to 300mm nominal sized recycled stained concrete sourced on site

Below staircase Off-shutter concrete

4mm thick FLOWCRETE flooring system to manufacturer's specs

600 x 255mm thickened reinforced concrete foundation to engineer's specification

230

610

375

1 710

230

DPC DPM

DPC

Scale 1:20 600 x 200mm reinforced concrete strip foundation to engineer's specification

300

DPM

800

85mm reinforced concrete surface bed on compacted earth filling in layers of 150mm

375 micron USB green damp proof membrane

440

Edge Detail 1:

220mm thick Roan Satin clay facebrick layer

900 x 250mm reinforced concrete strip foundation with 440mm high reinforced concrete foundation wall to engineer's specification

250

Basement Level UFFL 96 900

W10

100

Coarse layer/drainage stone comprised of crushed recycled concrete sourced on site or other porous fill

W11

85 100

Backfill comprised of recycled concrete and earth locally sourced

16 HANDRAIL NOTE: 50Ø x 1000mm high powder coated stainless steel circular hollow section handrail.

Line of 900 x 900 x 250mm reinforced concrete pad foundation to engineer's specification

255

300mm thick reinforced concrete retaining wall to engineer's specifications

200

100

Covered passage/walkway

220mm thick Roan Satin clay facebrick layer

344 x 75mm GCT Lower Ground Level stainless steel storm- UFFL 100 000 water floor channel

520

325

600mm concrete inflow from reflection pond with SIKA CEMFLEX acrylic waterproofing with Cemflex Fabric

Sewing & stitching 300 x 300mm reinforced concrete column to engineer's specification

200

PAVING NOTE: 440 x 440 x 40mm concrete COROBRIK flagstone on min 40mm binding sand layer with 350 micron DPM on 100mm thick compacted crushed recycled concrete stones of 5mm Ø max.

1 100

510 x 60mm cast-in-situ concrete coping with waterdrip, fixed with cement mortar

185

W3 200mm tapered to 170mm reinforced concrete balcony slab to engineer's specification

Department of Architecture

B. Arch

CONTRACT DOCUMENTATION Name

Dean Smuts

Student number

216315669 Project description

SE(CURE)ING BOYS TO MEN: The Design of a Contemporary Rites of Passage Tailoring Facility for at-risk boys in the Pretoria CBD Drawing number & description

Callout Detail Section A &ED Edge Detail Section A& 1 Detail 1 Date OUT

29/07/2021 Scale:

1:100 50 & 1:20

Date IN

30/09/2021

Sheet No./No.

5/7

0.8mm thick CHROMADEK (galvanised Z200) edge flashing fixed to 80 x 60 x 6mm galvanised mild steel unequal angle

22°

Type 0200 solar ice PALRAM SUNPAL polycarbonate joiner clipped to stainless steel Tfasteners

1 2

18mm SUNPAL stainless steel concealed T-fastener clips fixed to galvanised mild steel lipped channel purlins with screws

Purpose made 203 x 133mm galvanised mild steel Universal IBeam formed to profile spaced @ 6300 c.c to Engineer's specification

100

100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins

Purpose ma galvanised m I-Beam form spaced @ 6 Engineer's s

203

140

203 x 133m steel Univer purpose ma beam

203

100 x 75 x 2 galvanised m channel pur

Light Shaft

1.9mm thick metal gutter 1575mm c.c gutter, fixed channels

90° 36

TECHNICAL RESOLUTION / DETAILS

203 x 133mm galvanised mild steel Universal I-beam bolted to purpose made Universal Ibeam

152

0.58mm thick ISQ 300 profile CHROMADEK IBR 686 steel roof sheeting fixed to 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1200 c.c

203 x 133mm purpose made galvanised mild steel Universal I-Beam formed to profile behind and infront of the light shaft

Purpose made 203 x 133mm galvanised mild steel Universal IBeam formed to profile spaced @ 6300 c.c to Engineer's specification

80mm expanded polystyrene (EPS) insulation to be fixed between 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins

100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1100mm c.c

73mm thick Purpose made galvanised mild steel flange welded and bolted to mild steel I-beams

37 20

203

140 x 73mm galvanised mild steel IPE Section support member welded and bolted to purpose made I-beam rafter

Overflow

75 x 50 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1200 c.c bolted to galvanised mild steel Universal Column

0.9mm thick purpose made galvanised sheet metal box gutter with 20mm Ø overflow punctured holes

35° 410

1.9mm thick purpose made metal gutter hanger to fully support gutter, fixed to mild steel lipped channels spaced @ 1575mm c.c

140

1 200

140

260

120

0.6mm galvanised mild steel sheet metal counter flashing secured into wedge and secured with approved mastic sealant

120

140 x 73mm galvanised mild steel IPE Section non-structural member welded and bolted to purpose made I-beam rafter

18mm SUNPAL aluminium sealing strip with 0.8 galvanised steel flashing

140

400

140 x 73mm galvanised mild steel IPE section bolted to Universal Columns

350 x 400mm reinforced concrete upstand beam to engineer's specification

255

Fall

PETROMAT polypropylene geotextile interlayer

73mm thick Purpose made galvanised mild steel flange welded and bolted to IPE Section diagonal members

350

Adjustable full-flow floor drain as supplied by BESSAANS-DU PLESSIS to manufacturers detail

One layer DERBIGUM SP-4 torch-on waterproofing membrane with 75mm side laps and 100mm end laps.

254

120 x 120mm galvanised mild steel equal angles bolted to I-beam

1 160

146

254 x 146mm galvanised mild steel Universal I-beam bolted reinforced concrete upstand beam

Min 30mm cement screed to fall 1:60 to 110mm Ø uPVC full bore outlet

Scale 1:20

Type 0300 end-cap for SUNPAL polycarbonate joiner 203 x 133mm galvanised mild steel Universal I-beam bolted to purpose made Universal I-beam

75 x 50 x 20 x 3mm galvanised mild steel lipped channel bolted to 63 x 63 x 4mm galvanised mild steel IPE Section

Isometric 1: Roof Connecti

Min 30mm cement screed to fall 1:60 to 110mm Ø uPVC full bore outlet 255mm reinforced concrete slab to engineer's specification

GSEducationalVersion GSPublisherVersion 85.7.89.100 GSPublisherVersion 461.0.2.100

200

300

100

12mm thick safety glass aluminium window with precast concrete sill at base

Detail Section 3: Roof Connection & Gutter

Isometric 2: Exploded roof

Scale 1:10

Scale 1:50

10 F

K shing vanised

AM ner

teel fixed to d s

Purpose made 203 x 133mm galvanised mild steel Universal I-Beam formed to profile spaced @ 6300 c.c to Engineer's specification

UNPAL d ners purlins ners s

203 x 133mm galvanised mild steel Universal I-beam bolted to purpose made Universal Ibeam 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins 1.9mm thick purpose made metal gutter hanger spaced @ 1575mm c.c to fully support gutter, fixed to mild steel lipped channels

0.58mm thick ISQ 300 profile CHROMADEK IBR 686 steel roof sheeting fixed to 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1200 c.c Fa

75 x 50 x 20 x 3mm galvanised mild steel lipped channel bolted to 63 x 63 x 4mm galvanised mild steel IPE Section

6mm thick galvanised milds steel base plated bolted to purpose made I-beam 0.9mm thick purpose made galvanised sheet metal gutter with 20mm Ø overflow punctured holes

73mm thick Purpose made galvanised mild steel flange welded and bolted to IPE Section diagonal members

styrene fixed 0 x 2mm ipped

ade ange mild steel

140 x 73mm galvanised mild steel IPE Section non-structural member welded and bolted to purpose made I-beam rafters

120 x 120mm galvanised mild steel equal angles bolted to I-beam

made Universal le behind shaft

Purpose made 203 x 133mm galvanised mild steel Universal I-Beam formed to profile spaced @ 6300 c.c to Engineer's specification

254 x 146mm galvanised mild steel Universal Ibeam bolted reinforced concrete upstand beam

Isometric 1: Roof Connection & Gutter Scale 1:20 10 F

SUNPAL

ed mild bolted to al I-beam

lvanised el purlins ted to Universal

0.58mm thick corrugated perforated metal roof sheeting fixed 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins

ade ange PE bers

100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins

d mild structural olted to rafter

Purpose made 203 x 133mm galvanised mild steel Universal I-Beam formed to profile spaced @ 6300 c.c to Engineer's specification s

ipe

203 x 133mm galvanised mild steel Universal I-beam bolted to purpose made Universal I-beam

tte

u og

ll t

0.9mm thick purpose made galvanised sheet metal gutter with 20mm Ø overflow punctured holes

d mild d to

ium alvanised

75 x 50 x 20 x 3mm galvanised mild steel lipped channel bolted to 63 x 63 x 4mm galvanised mild steel IPE Section

1.9mm thick purpose made metal gutter hanger spaced @ 1575mm c.c to fully support gutter, fixed to mild steel lipped channels

d m to n

0.58mm thick ISQ 300 profile CHROMADEK IBR 686 steel roof sheeting fixed to 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1200 c.c

140 x 73mm galvanised mild steel IPE Section non-structural member welded and bolted to purpose made I-beam rafter

73mm thick Purpose made galvanised mild steel flange welded and bolted to IPE Section diagonal members

300 x 300mm reinforced concrete column to engineer's specifications 6mm thick safety glass aluminium framed window 275 x 75mm precast concrete window sill with sloped exterior

Isometric 2: Exploded roof Scale 1:50

255mm thick reinforced concrete slab to engineer's specifications 350 x 400mm reinforced concrete upstand beam to engineer's specification

B. Arch

CONTRACT DOCUMENTATION

254 x 146mm galvanised mild steel Universal I-beam bolted reinforced concrete upstand beam 120 x 120mm galvanised mild steel equal angles bolted to Ibeam

Department of Architecture

Name

Dean Smuts

Student number

216315669 W3

Project description

SE(CURE)ING BOYS TO MEN: The Design of a Contemporary Rites of Passage Tailoring Facility for at-risk boys in the Pretoria CBD

220mm thick Roan Satin clay facebrick layer Drawing number & description

300 x 300mm reinforced concrete column to engineer's specifications

Details & Isometric Drawings Date OUT

29/07/2021

Date IN

30/09/2021

Scale:

1:100 10 1:20 & 1:50

Sheet No./No.

6/7

18 18

10°

0.8mm thick CHROMADEK (galvanised Z200) edge flashing fixed to lipped channel purlins with fasteners

Type 0200 solar ice PALRAM SUNPAL polycarbonate joiner clipped to stainless steel T-fasteners

152

18mm SUNPAL aluminium sealing strip with 0.8 metal flashing M10 galvanised mild steel nut and bolt with 10mm thick galvanised mild steel base plate

Type 0300 end-cap for SUNPAL polycarbonate joiner 254

254

75 x 50 x 20 x 2mm galvanised mild steel lipped channel purlins bolted to galvanised mild steel Universal Column

254 x 6.1 (web) x 8.6 (flange) x 152mm galvanised mild steel Universal I-beam bolted to 152 x 152mm galvanised mild steel Universal Column

152 x 152mm galvanised mild steel Universal Column welded to base plate and bolted to 300 x 350mm reinforced concrete beam support

3 18 18

154

TECHNICAL RESOLUTION / DETAILS

450

Type 0200 solar ice PALRAM SUNPAL polycarbonate joiner clipped to stainless steel T-fasteners

Detail Section 2: Light Shaft Edge Scale 1:5

Type 0200 solar ice PALRAM SUNPAL polycarbonate joiner clipped to stainless steel T-fasteners 75 x 50 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1 200mm centres bolted to galvanised mild steel Universal Column

152

75 18 18

Type 0300 end-cap for SUNPAL polycarbonate joiner 37

18mm SUNPAL aluminium sealing strip

0.8mm galvanised sheet metal flashing fixed to galvanised mild steel lipped channel

350

0.9mm thick purpose made galvanised sheet metal box gutter with ridge to flow/overflow around light shaft fixed to galvanised mild steel purlins

345

Ridge

15mm thick box gutter support sheet to fully support the bottom of the gutter

125 x 50 x 3mm thick galvanised mild steel lipped channel bolted to 152 x 152mm galvanised mild steel Universal Column

125

0.58mm thick ISQ 300 profile CHROMADEK IBR 686 steel roof sheeting fixed to 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins spaced @ 1200 c.c 80mm expanded polystyrene (EPS) insulation to be fixed between lipped channel purlins 100 x 75 x 20 x 2mm galvanised mild steel lipped channel purlins

Roof structure behind and infront of light shaft

Purpose made 203 x 133mm galvanised mild steel Universal I-Beam formed to profile spaced @ 6300 c.c to Engineer's specification 50 x 50 x 6mm galvanised mild steel equal angle welded to galvanised mild steel lipped channel

254 x 146mm (6.1mm web and 8.8mm flange) galvanised mild steel Universal I-beam Flexible DYMONIC NT polyurethane elastomer joint sealant

254

152 x 152mm galvanised mild steel Universal Column

146

8mm thick galvanised mild steel gusset plate welded to 305 x 165mm galvanised mild steel Universal I-beam

12mm thick safety glass aluminium window with precast concrete sill at base

GSEducationalVersion GSPublisherVersion 85.7.89.100 GSPublisherVersion 461.0.2.100

202

Detail Section 3: Light Shaft Gutter

Spe Rec

Scale 1:10

Scale

50 x 50mm galvanised mild steel equal angle perimeter frame welded to bracing supports 3mm thick square weathered steel welded wire-mesh infill panel with 100 x 100mm aperture welded to support frame

1 0

450

375

1 350

(f) 10

450

375

Bracing ties/cross-wires fixed side-toside spaced 1/3 up each basket

(e)

(d)

200 to 300mm nominal sized recycled concrete infill locally sourced on-site from demolished structures and stained as per Architect's Design Drawings Square galvanised steel welded mesh basket with 75 x 75mm aperture 3mm galvanised spiral steel laced basket fixing as per manufacturer specification 1050 x 375 x 450mm high GABION BASKET wall in a stacked bond course 50 x 50 x 3mm galvanised mild steel equal angle support bracing welded to support column 152 x 152mm galvanised mild steel Universal column bolted to galvanised mild steel base plate

375 micron USB green Damp Proof Membrane below surface bed

(b)

100 85

100 40

375 micron Damp Proof Membrane below sand binding layer 100mm thick compacted crushed recycled concrete stones of 5mm Ø max

200

Min 40mm binding sand layer

(c) 85mm thick cast-in-situ surface bed as per Engineer's specification Crushed recycled concrete compacted filling in layers of 150mm as per Engineer's specification

200

440 x 440 x 40mm concrete COROBRIK flagstone pavers

440

440 Vegetation: Creeping Boston Ivy, Ficus Pimula creepers or an acceptable equivalent as per Landscape Architect

800 (b)

800 x 200mm reinforced concrete strip foundation with 440mm high reinforced concrete foundation wall to engineer's specification 800 x 800mm reinforced concrete pad foundation for structural support member as per Engineer's specification

Department of Architecture

B. Arch

CONTRACT DOCUMENTATION Name

Dean Smuts

Student number

216315669 Project description

Specs Component: Recycled Concrete Gabion Wall

SE(CURE)ING BOYS TO MEN: The Design of a Contemporary Rites of Passage Tailoring Facility for at-risk boys in the Pretoria CBD

Scale 1:20 Drawing number & description

Details Date OUT

Date IN

29/07/2021 Scale:

1:100 5 1:10 & 1:20

30/09/2021

Sheet No./No.

7/7

chapter 09_

09 CONCLUSION

9.1 9.2 9.3

Conclusion List of figures List of references

0205

CONCLUSION

CONCLUSION.

The intention of this dissertation was to address the clearly established need for institutional structures tailored for at-risk boys to facilitate their transition process from boyhood to manhood, and improve their development and health outcome. It was emphasised throughout that a structural and functional space and programme for boys is required ‘as well’. It is proposed that a se(cured) society can be achieved by addressing the needs of at-risk boys and young men from an early age, and in doing so, produce se(cured) men. The general issue of an ‘unhealthy’ society placed light on the ‘unhealthy’ man as definitive concept, which had been introduced to identify targeted subjects who contribute to an ‘unhealthy’ society. It is proposed that one can address the factors that give rise to ‘unhealthy’ men from an early age so that boys, adolescents, and young men are not left to their own devices to configure their path from boyhood to adulthood. Arnold Van Gennep’s rites of passage theory and Victor Turner’s theory on liminality served as the prominent driver for this dissertation and is developed to present the architectural typology tailored for at-risk boys to facilitate the transitioning process from boyhood to

206

manhood. These theories were juxtaposed against the artisan methods of teaching tailoring, the result of which created the ideal symbiotic relationship between these concepts. The conceptual evaluation of rites of passage and tailoring revealed an unintentional symbiotic relationship between these concepts, therefore the art of tailoring is framed as a rite of passage mechanism because of the structural and social similarities between the art of tailoring and Van Gennep’s (1960) rites of passage theory. The art of tailoring, which has a malleable method of teaching, can be shaped to transmit cultural morals, values, and knowledge to individuals through the process of passing (‘passaging’) tailoring skills and knowledge from master to apprentice as envisaged by Van Gennep. The contribution of the project aims to showcase how architecture can contribute to the well-being of society by creating a space that facilitates a contemporary rite of passage or transition process from boyhood to manhood for at-risk boys; how outdated rites of passage or transitioning processes can be rethought and achieved by utilising the art of tailoring as alternative expressive mechanism; and how architecture can assist in the development,

CONCLUSION

[9.1]

upskill and support of at-risk boys through the application of dedicated rites of passage programmes that may address larger societal challenges. The main architectural intention is to fuse the concept of tailoring and architecture, both physically and metaphorically, and in doing so, establish that architecture can facilitate a functional contemporary rite of passage process embodying dedicated spatial rituals. This includes the material, functionality, process and elements of the art of tailoring that is extrapolated into the physical form, function, programme, plans and sections of the proposed facility. The concept of transition through the art of tailoring is applied in three spheres: the architecture, the programme, and the at-risk boy. Tailoring the architecture is amplified by the concept of adaptive re-use and the art of tailoring that is applied to Huis Potgieter, an abandoned and underutilised building on the Unisa Sunnyside Campus. The spaces are deliberately and architecturally tailored to function as literal and figurative passages for the functional and appropriate separation, transition, and re-incorporation of at-risk boys. Tailoring the programme for at-risk boys is used to inspire both a physical and metaphorical

transition. The proposed programme is tailored to facilitate the guided transitioning of atrisk boys. The programme boasts a curriculum utilising the practical process of tailoring combined with the artisan methods of teaching tailoring to allow for a guided and mentored transition. Lastly, tailoring the at-risk boy is amplified by the tailored architecture in conjunction with the tailored programme that embodies a rite of passage mechanism, facilitating a guided and structured transition from boyhood to manhood. The tailored architecture the tailored programmes facilitates the transition of the at-risk boy from unskilled to skilled, at-risk to se(cured) and ‘unhealthy’ to ‘tailored’. The dissertation therefore amplifies that architecture can assist in facilitating a functional rites of passage by providing a space that is tailored for the needs of at-risk boys. The architectural approach undertaken for the design of the rites of passage tailoring facility for at-risk boys in the Pretoria CBD can function as a prototypical model for future application and adaptation of contemporary rites of passage programmes and functional spaces for a variety of intended users. It is thus proposed that architecture can fulfil the need for a ‘healthier’ society in various spheres.

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LIST OF FIGURES

LIST OF FIGURES.

Chapter 00: Figure 0.1: Transition trough the art of tailoring (Author, 2021) Figure 0.2: Close-up drone photograph of Huis Potgieter (Author, 2021) Figure 0.3: Top view drone photograph of Huis Potgieter (Author, 2021) Figure 0.4: Drone photograph of Huis Potgieter (Author, 2021) Figure 0.5: Transition from boyhood to manhood (Author, 2021) Figure 0.6: Eight-year-old at-risk boy (Author, 2021) Chapter 01: Figure 1.0: Illustration emphasising the importance of a guided transition from boyhood to manhood (Author, 2021) Figure 1.1: ‘Unhealthy’ in the literal and figurative sense (Author, 2021) Figure 1.2: The concept of ‘unhealthy’ society and its repetitive circular effect (Author, 2021) Figure 1.3: Statistics of societal problems showing that boys are at-risk (Author, 2021) Figure 1.4: ‘Unhealthy’ men in society (Author, 2021) Figure 1.5: Circumstances by which a boy is defined as being at-risk (Author, 2021) Figure 1.6: Proposed interventions and initiatives for atrisk boys (Author, 2021) Figure 1.7: Man Box pillars, a set of beliefs in society that place pressure on men to be a certain way (Author, 2021) Figure 1.8: Drawing representing fatherhood (Author, 2021) Figure 1.9: Diagram overview of the project context (Author, 2021) Figure 1.10: Diagram showing the design process followed (Author ,2021) Figure 1.11: Constructivist worldview and qualitative approach to research (Author, 2021) Figure 1.12: The research approach and research methods applied (Author, 2021)

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[9.2] Figure 1.13: Drawing representing the project concept (Author, 2021) Figure 1.14: Parti diagram highlighting transitioning and passages (Author, 2021) Figure 1.15: Parti diagram highlighting transitioning and tailoring (Author, 2021) Figure 1.16: Tailoring the architecture for the at-risk boy (Author, 2021) Figure 1.17: Tailoring the programme of the proposed design (Author, 2021) Figure 1.18: Tailoring the at-risk boy (Author, 2021) Chapter 02: Figure 2.1: Diagram showing the theoretical context addressed in chapter 02 (Author, 2021) Figure 2.2: ROP from boyhood to manhood (Author, 2021) Figure 2.3: Traditional Xhosa initiate (Safodien, 2021) Figure 2.4: Boy reading the Torah at his Jewish Bar Mitzvah (Author, 2021) Figure 2.5: Xhosa initiation ritual (Author, 2021) Figure 2.6: Drawing of the brotherhoods street gangs in Cape Town (Author, 2021) Figure 2.7: Haisam Hussein’s map of ROP rituals across the world (Author, 2021) Figure 2.8: Ulwaluko Xhosa boys’ coming of age initiation (Stirton, 2021) Figure 2.9: Diagram highlighting the purpose and principles of ROP (Author, 2021) Figure 2.10: The three phases of ROP (Author, 2021) Figure 2.11: The ritual process and van Gennep’s (1960) three-phase system of ROP (Author, 2021) Figure 2.11.1: Reincorporation, Ndebele boys’ homecoming celebration (031 News.co.za, 2019) Figure 2.12: Van Gennep’s classic ROP model showing a defined role change (Author, 2021) Figure 2.13: Contemporary ROP journey to responsible adulthood (Author, 2021) Figure 2.14: Contemporary ROP programmes in South Africa (Author, 2021) Figure 2.15: Contemporary ROP model (Author, 2021)

LIST OF FIGURES

Figure 2.16: Blumenkrantz and Goldstein’s 20 elements for a contemporary ROP (Author, 2021) Figure 2.17: Illustrations exploring Blumenkrantz and Goldstein’s 20 elements for a contemporary ROP (Author, 2021) Figure 2.18: Drawing representing the art of tailoring (Author, 2021) Figure 2.19: Boy practicing the art of tailoring (Author, 2021) Figure 2.20: Drawing showing the transfer of knowledge and skills from master tailor to apprentice (Author, 2021) Figure 2.21: Drawing showing the process of tailoring (Author, 2021) Figure 2.22: Pattern-making (Miroshnichenko, 2021) Figure 2.23: Photo of a local tailoring studio in the Pretoria CBD (Author, 2021) Figure 2.24: Drawing of local tailor visited on 28 May 2021 (Author, 2021) Figure 2.25: Photo of a local master tailor during a visit in the Pretoria CBD (Author, 2021) Figure 2.26: Image showing the transfer of skills and knowledge from an elder to youth (Cottonbro, 2020) Figure 2.26.1: Diagram showing that the definitive elements coincide with Van Gennep’s ROP theory for transitioning an individual from one social state to another (Author, 2021) Figure 2.27: Drawing representing tailoring as a ROP mechanism (Author, 2021) Figure 2.28: Art of tailoring compared to the classic ROP model (Author, 2021) Figure 2.29: Summary diagram of the symbiotic relationship between the art of tailoring and ROP (Author, 2021) Figure 2.30: Proposed ROP tailoring facility for at-risk boys in the Pretoria CBD (Author, 2021) Chapter 03: Figure 3.1: Francoise Bollack’s adaptive categories (Author, 2021) Figure 3.2.1: Athenian Acropolis (Author, 2021)

re-use

Figure 3.2.2: Mill Owners’ Association, Le Corbusier (Author, 2021) Figure 3.2.3: Diagram of an arcade as liminal space (Author, 2021) Figure 3.2: Drawings exploring liminality extrapolated from DK Ching’s principles (Author, 2021) Figure 3.3: A depiction of Louis Kahn’s drawing ‘The Room’ (Author, 2021) Figure 3.4: Man at the centre as principle (Author, 2021) Figure 3.5: World within a world as principle (Author, 2021) Figure 3.6: Assembly or gathering space as principle (Author, 2021) Figure 3.7: A ritual is a movement in space, a ‘passage’ comprising of a series of events (Author, 2021) Figure 3.8: Movement along a path as principle (Author, 2021) Figure 3.9: Ritual as passage principle (Author, 2021) Figure 3.10: Space as light principle (Author, 2021) Figure 3.11: Different expressive art therapies for mental and emotional health (Author, 2021) Figure 3.12: Applications of art therapy (Author, 2021) Figure 3.13: Types of expressive art therapies (Author, 2021) Figure 3.14: Tailoring as expressive art therapies (Author, 2021) Figure 3.15: Relationship between tailoring and architecture (Author, 2021) Figure 3.16: Drawings exploring the parallels between tailoring and architecture (Author, 2021) Figure 3.17: Photo of Active Box at Harare urban park (SUN Development, 2021) Figure 3.18: Drawings exploring the ‘Active box’ urban intervention (Author, 2021) Figure 3.19: Olympic archery range plan (Miralles, 1991) Figure 3.20: Drawings exploring the roof planes on elevation (Author, 2021) Figure 3.21: San Francisco Federal building (Morphosis, 2007) Figure 3.22: Section of the San Francisco Federal building (Morphosis, 2007)

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LIST OF FIGURES

Figure 3.23: Photo study of Hillbrow counselling centre (ArchDaily.com, 2017) Figure 3.24: Hillbrow counselling centre perspective and front elevation (Author, 2021) Chapter 04: Figure 4.1: Diagrams showing the site location (Author, 2021) Figure 4.2: A map showing the site location and vacant, abandoned, and underutilised building (Author, 2021) Figure 4.3: Drone photo of the Pretoria CBD (Author, 2021) Figure 4.4: Drone photo of Huis Potgieter at Unisa Sunnyside campus, Pretoria (Author, 2021) Figure 4.5: Drone photo taken of Huis Potgieter towards the Pretoria CBD (Author, 2021) Figure 4.6: Urban map showing the site as transitional space (Author, 2021) Figure 4.7: Urban map stitching together surrounding communities (Author, 2021) Figure 4.8: Urban map showing zoning (Author, 2021) Figure 4.9: Urban map showing major transportation nodes (Author, 2021) Figure 4.10: Urban map showing educational facilities (Author, 2021) Figure 4.11: Urban map showing orphanages, NGOs and religious entities (Author, 2021) Figure 4.12: Urban map showing men’s health clinics or support facilities (Author, 2021) Figure 4.13: Site analysis mapping of Unisa Sunnyside campus (Author, 2021) Figure 4.14: Historical context map of Unisa Sunnyside campus (Author, 2021) Figure 4.15: Historical context timeline of Unisa Sunnyside campus (Author, 2021) Figure 4.16: Historical timeline of Huis Potgieter (Author, 2021) Figure 4.17: Photographs of Huis Potgieter capturing its characteristics (Author, 2021) Figure 4.18: Three-dimensional model of Huis Potgieter with photographs of existing materials (Author, 2021)

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Figure 4.19: Southern elevation of Huis Potgieter indicating its previous use (Author, 2021) Figure 4.20: Floor plans of Huis Potgieter indicating its previous use (Author, 2021) Figure 4.21: Exploded drawing of Huis Potgieter (Author, 2021) Chapter 05: Figure 5.1: User classification diagram (Author, 2021) Figure 5.2: Diagram of the programme, emphasising the three categories or phases (Author, 2021) Figure 5.3: Diagram of the practical transitioning process (Author, 2021) Chapter 06: Figure 6.1: Symbiotic as design principle (Author, 2021) Figure 6.2: Metamorphosis as design principle (Author, 2021) Figure 6.3: Liminal as design principle (Author, 2021) Figure 6.4: Passage as design principle (Author, 2021) Figure 6.5: Translucency as design principle (Author, 2021) Figure 6.6: Landmark as design principle (Author, 2021) Figure 6.7: Early concept sketches, tailoring and architecture (Author, 2021) Figure 6.8: Early concept sketches, on section (Author, 2021) Figure 6.9: Design generators (Author, 2021) Figure 6.10: Early model exploration (Author, 2021) Figure 6.11: Early model exploration and conceptual drawing (Author, 2021) Figure 6.12: Early tectonic exploration (Author, 2021) Figure 6.13: Development sketch plan, 21 July (Author, 2021) Figure 6.13: Plan development sketches (Author, 2021) Figure 6.14: First conceptual building layout plan (Author, 2021) Figure 6.15: Initial concept sketch of fabric-like roof plane, August (Author, 2021) Figure 6.16: Initial concept drawings of final design (Author, 2021)

LIST OF FIGURES

Figure 6.17: Initial concept drawings of the final floor plan (Author, 2021) Figure 6.18: Development of floor plan, passages define spaces (Author, 2021) Figure 6.19: Development of floor plan, passage inform primary spaces (Author, 2021) Figure 6.20: Section development sketch, emphasis on passages and integrated roof planes (Author, 2021) Figure 6.21: Plan development showing access and entrance route (Author, 2021) Figure 6.22: Development sketch of section (Author, 2021) Figure 6.23: Development models of final concept, September (Author, 2021) Chapter 08: Figure 8.1: Diagram of the project concept (Author, 2021) Figure 8.2: Drawing emphasising passage as building system (Author, 2021) Figure 8.3: Drawings exploring passage as building system (Author, 2021) Figure 8.4: Photos of maquettes expressing growing roof planes and facades (Author, 2021) Figure 8.5: Eco-mesh green facade (Eco-mesh.com, 2021) Figure 8.6: Perforated gabion wall (ECVV.com, 2021) Figure 8.7: Section drawing of recycled concrete gabion basket wall (Author, 2021)

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chapter 10_

10 APPENDIX

10.1 10.2

Appendix A: Project exhibition photos Appendix B: Research article

0217

RESEARCH ARTICLE

[10.2]

TRANSITION THROUGH THE ART OF TAILORING: TAILORING AS RITES OF PASSAGE MECHANISM FOR AT-RISK BOYS AND YOUNG MEN Dean Smuts, Tshwane University of Technology, South Africa, deansmuts@gmail.com

Abstract In this article, the art of tailoring is evaluated in light of the three-phase system which inform rites of passage as coined by Arnold van Gennep (1960) to establish whether these concepts have a symbiotic relationship. The three-phase system is briefly discoursed to provide the requisite background upon which the art of tailoring is to be evaluated. A brief historical overview of the art of tailoring as well as an analysis of the contemporary methodology in which tailoring skills are transferred from master to apprentice reveals that the art of tailoring’s secretive brotherhood-like nature and traditional artisanal teaching method allows for adaptation to realise a rites of passage process. The “art of tailoring” is framed as a rites of passage mechanism because of the structural and social similarities between the art of tailoring and Van Gennep’s (1960) rites of passage theory. The art of tailoring can be shaped to transmit cultural morals, values and knowledge to individuals through the process of passing tailoring skills and knowledge from master to apprentice. After comparing and applying conceptual principles of tailoring and rites of passage, it is concluded that the art of tailoring can embody a functional, structural and contemporary rites of passage mechanism to appropriately transition between boyhood and manhood. Keywords: art of tailoring, rites of passage, transition, boyhood to manhood INTRODUCTION For thousands of years, men’s lives have been structured by rituals that helped mark significant events, make sense of the world and facilitate in the transitioning process from one phase of life to the next. Boys have a need for rituals marking their passage to manhood (Ayot, 2019). If society does not promote rites of passage in communities, then boys will be stuck in the transition period between boyhood and manhood or they will inevitably invent their own (Blumenkrantz & Goldstein, 2010:43). Historical records show that rites of passage rituals have been present, in many manifestations, in all cultures for thousands of years. This indicates the strong evolutionary validity of these processes which have remained an important part of community and cultural health promotion during major transitions such as boyhood to manhood (Blumenkrantz & Goldstein, 2010:42). It is imperative that structural and functional contemporary rites of passage processes are introduced in society to assist children, and in this case boys, in their transition through adolescence to becoming healthy adults or men in society. Rites of passage processes have caught the attention of psychologists and educators seeking better methods of youth development, teaching approaches and community empowerment (Bell, 2003:41). Since Arnold van Gennep (1960) coined the term rites of passage, anthropologists were able to observe his social conception of this phenomenon throughout all

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APPENDIX A cultures. Van Gennep (1960:11) eloquently defined rites of passage as a three-phase system of social transformation mediating role changes in a community that transmit cultural morals, values and knowledge to an individual or individuals. The objective of this article is to establish whether the art of tailoring, as concept, can function as a structural, functional and contemporary rites of passage mechanism for a proposed community-based rites of passage facility to facilitate the transitioning process of at-risk boys and young adults from boyhood to manhood by identifying and defining the relationship, similarities and symbiosis between the “art of tailoring” and Van Gennep’s classic three-phase system and model. This will be determined by employing a qualitative approach to research. The researcher seeks to conceptualise, understand and interact with what is being researched through an inductive process and reasoning which includes analyses, documentation and observation (Creswell, 2009). The research methods include literature studies based on van Gennep’s (1960) rites of passage theory, the art of tailoring and a case study where participant observation as a technique was utilised to gather contextual data regarding what the art of tailoring consists of, how the art and craft of tailoring is taught, what tailoring apprentices learn, how apprentices learn as well as who shows interest in tailoring workshops and apprenticeship programmes in a local context. RITES OF PASSAGE Rites of passage are coordinated ritual events marking significant junctures that help guide and affirm a transition from one status of life to another through celebrations and ceremonies which may include birth, coming of age, marriage and death amongst others (Golomski, 2012:3). One of the most critical transitions is from childhood to adulthood, a passage familiarly known as “coming of age”. Boys require appropriately informed rituals marking their passage from boyhood to manhood. If society does not promote rites of passage, then boys will be static in the transition period between boyhood and manhood or boys will inevitably invent their own transition (Blumenkrantz & Goldstein, 2010:43). This may have prejudicial consequences for young adult men as well as society as a whole as boys will be left to their own devices or those misinformed by society when inventing their transition to manhood. Rites of passage from boyhood to manhood functions as a facilitation for the transition of boy to man through a teaching and inheritance of morals, values, norms and responsibilities which inform healthy men in society (Rubinstein, 2007). Rites of passage is imperative for a social transformation. Imbedded in this transformation is the social change from one status, a boy, to another, a man. The above literature demonstrates that this transformation must not be left to the devices of self, yet, requires supervision to attain the desired outcome of men who in society are tailored with those morals, values, norms which result in men who are versed with an appropriate understanding of their societal role, the “healthy man”. Key purpose and principles of rites of passage The term “rites of passage” was coined in 1909 by the French anthropologist Arnold van Gennep (1960) in his seminal work Les rites de passage. Van Gennep (1960:11) observed

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patterns of behaviour in various ceremonies and explained that the latter function as a mechanism in assisting individuals go through the difficulties of a social transition. Van Gennep (1960:11) described a rite of passage as community created and community directed experience that: 1. Transmit and teach: cultural values, ethics and knowledge to an individual or individuals, in this case, children or boys; 2. Guides: expectations for behaviours essential to transition from one status or role to another through intentional activities; and 3. Celebrate: the transition and reaffirm the community values of the new status or social role by means of a transparent community event. These principles must find application in a contemporary rites of passage process or ritual to truly achieve the desired social transformation. Van Gennep’s three-phase system of rites of passage The three-phase system of social transformation begins when a person matures to a state of readiness for making a role change in their community. It is presumed that such readiness is present in at-risk boys, the precise identification of which does not require definitive explanation for purpose of this article. The three distinguishable and consecutive phases required for the social transformation are separation, transition (liminality) and reincorporation (Van Gennep, 1960:11). The first phase separation: separates, detaches or cuts away the individual from their former self or current community role. Separation can embody a symbolical, physical or emotional form. During a coming-of-age rite, as example, the youth may be removed from the community both physically and psychologically and taken to a special enclosure where rituals are held. The separation marks the end of the individual’s former role i.e. a child where the individual is thrust into a stage of in-between, not an adult but no longer a child (Bell, 2015:42). The second phase transition (liminal): the period between states, lasting from a day to several months, depending on local practice and the nature of the ritual. In this phase, an individual may experience a symbolic death and rebirth. In some African societies, it is marked by physical alterations such as circumcisions, body decoration or moderate weight gain, the latter suggesting health and well-being (Bell, 2015:42). This liminal phase is what the anthropologist Victor Turner (1967:93) described as being “betwixt and between” a former role and future status. This phase accommodates the individual’s transformation in a period of becoming and moving towards the new role. During the transformation, the individual is presented with challenges, adopts cultural norms through teachings and communications and promotes new skills that the individual requires to integrate into their new community role (Turner, 1967:93). The third phase reincorporation: during the final phase the individual returns to the community ready to embrace their new role and responsibilities associated with their newfound social status. In the examples used above, the individual is introduced as an adult. The reincorporation is normally facilitated by way of a celebration. Performance with music and dance and the display of the individual’s artworks allow family and community members to recognise the achievements and new skills of the individual whilst enforcing the boundaries of their new role (Bell, 2015:43).

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APPENDIX A Van Gennep’s classic model of the three phases are illustrated in Figure 1, which demonstrates a role change with external forces (the community) supporting the second and newfound role. The diagram shows the individual in their original role represented by a box. The circle demonstrates the transformation from one role to another leaving the box and taking on more fluid boundaries. After passing through the liminal or transition phase, the individual is welcomed back into the community through a ceremonial event. Lastly the community acts to reinforce and maintain role pressure, essentially enforcing the boundaries of the new role (Bell, 2015:43). Imperative in the classic rites of passage model is the individual’s defined role determined at inception which eliminates the need for the individual to search for or figure out their own role.

Figure 1: Van Gennep’s rites of passage model showing a role change, diagram by author, (2021).

Contemporary rites of passage In many communities, contemporary rites of passage programmes are conducted by community-based organisations. These include ROPE a youth and community development centre; Outward Bound which offers outdoor adventure education programmes; Parivartan’s Coaching Boys into Men that works with boys through sport, teaching healthy relationship skills and Instituto Promundo that engages young men in their Program H training to encourage critical reflection about the ridged norms related to manhood (Van der Gaag, 2011). According to psychologists Dr David Blumenkrantz and Dr Marc Goldstein (2010:43), founders of The Center for the Advancement of Youth, Family & Community Services [sic] and ROPE (Rite of Passage Experience), a non-profit institute focused on promoting positive youth development and assisting children in their transition through adolescence to becoming healthy adults in their communities, “a modern-day rite of passage is achieved when the community create and participate in experiences which are perceived to be transformative by youth and offer them increased status within the community and facilitate their healthy transition through adolescence.” Thus, contemporary rites of passage are still community created as envisaged by Van Gennep. Although several outdoor and youth development programs use the rites of passage model as coming of age rites, the students often return to an environment lacking the formal social mechanisms for maintaining the newfound status. This is as a result of contemporary rituals attempting to ascend to a rites of passage mechanism, however, lacking important structural and functional components required to achieve the desired result. Figure 2 illustrates the contemporary rites of passage model showing deficiencies in the contemporary model in two specific areas after the liminal phase. These are the lack of community support and a defined role at inception, elements which are imperative to a rite of passage as envisaged by Van

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Gennep (1960). As illustrated below, there is no defined box for the participant and no group to keep the participant in the box. This creates an ineffective rite of passage, which may not achieve the desired result.

Figure 2: Contemporary rites of passage model, diagram by author, (2021).

Elements that provide a framework for a contemporary rites of passage According to Marq Neasman (2019:17) in his book The Four Stages of Manhood, creating modern day rites for boys is imperative. Dr Blumenkrantz and Dr Goldstein (2010:43) have identified twenty elements and key characteristics that provide a framework for communities to develop more functional, structural and contemporary community-based rites of passage programmes for the development of the youth and community. These elements and key characteristics may be utilised to inform the methodology to design an architectural typology and create spaces to facilitate rites of passage programmes. The elements are paradigm shift; community values and ethics; relationships (connections); spaces that foster learning and training; the programmes must happen in the home community; rituals; spaces that challenge the individual emotionally or physically; silence (quite spaces); stories myths and legends (building as narrative); connections with nature; time alone for reflection; connection with ancestral roots; play; a space that fosters growth (journey); non-ordinary states of reality; service to the community; change of status or role (symbolic space); opportunities for participants to showcase and demonstrate their new skills; and celebration of status (celebration or public gathering space). THE ART OF TAILORING According to the Cambridge Dictionary, the word tailor (v.) or tailoring means to make, create, prepare or design something to suit specific needs while following particular instructions. The Latin term for tailor is sartor, meaning patcher or mender (Almond, 2011:3). A tailor is a person who makes, repairs or alters clothing. A bespoke tailor could be compared to a sculptor who sculpts, moulds and shapes cloth that frames and accentuates the human body. Tailoring is the art and craft of designing, cutting, fitting, fabricating and finishing garments to precision. Tailoring can conceal or improve the human form using various technical skills (Almond, 2011:4). The definitive elements of tailoring coincide with that which Van Gennep (1960) envisaged in transitioning an individual from one social state to another. If these definitive elements can be applied to conceptually constitute a rite of passage, then the art of tailoring can be utilised as a

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APPENDIX A rite of passage mechanism to repair, sculpt, mould and shape at-risk boys and reintroduce them as healthy men in society. Traditional artisan methods of teaching tailoring The world of tailoring has always been somewhat secretive. Organised in guilds and brotherhoods, the tailoring trade has been protected by the people working in it, who pass on and safeguard knowledge very carefully (Style Salvage, 2009). The process wherein knowledge of tailoring is transferred is thus malleable. This allows for the art of tailoring to be adapted to achieve defined outcomes; in this case, to act as a rite of passage mechanism. The trade of tailoring was historically taught by apprenticeship where a master tailor would instruct an aspiring tailor via practical experience. Boys started apprenticeship at a young age and the duration of the course was undefined. The traditional artisanal methods of teaching and training were formulated by the particular mentality and habits of the master artisan who dedicated their passion and skill in transmitting tailoring skills and knowledge to appreciates. Apprentices were trained by a “look and listen” or “lived experience” approach (Almond, 2011:6). The process of knowledge transfer in tailoring implicitly allows itself to act as a mechanism where morals, values and norms can be transferred from an authoritative figure to a student, thus allowing the guided transition envisaged by Van Gennep (1960). Tailoring is a gift of knowledge, a cultural legacy passed from master to apprentice through families and communities in a continuous process. Apprenticeship programmes in tailoring provide exclusive skills and contribute to the knowledge of participants (Brioni, 2021). Because of this apprentice-style of teaching, which implies an informal skills transfer process, no written manuals for tailoring existed for hundreds of years after the occupation appeared. Master tailors believe that this artisanal tradition can be safeguarded and transmitted by investing in educating future generations (Alabama Chanin Journal, 2016). The aim of master tailors today is to teach manual skills and imbue the artisanal and ethical values that they hold dear to their hearts as they believe a future comes from championing their heritage and sharing their knowledge as well as skills (Brioni, 2021). Case study Two local master tailors at a tailoring studio in the Central Business District of Pretoria (hereinafter the “Pretoria CBD”) were visited and observed on 28 May 2021. Participant observation as a technique was used to gather contextual data regarding what the art of tailoring consists of, how the art and craft of tailoring is taught, what tailoring apprentices learn, how apprentices learn as well as who shows interest in tailoring workshops and apprenticeship programmes in a local context. The study established that the art of tailoring consists of the teaching and transfer of skills and knowledge from a master tailor to a student or apprentice. Participants show growth through skills transfer to master the whole process from initial consultation, taking measurement in great detail, moulding cloth to shape an individual’s body, drafting patterns, cutting fabric, stitching, making adjustments and finally ironing their masterpiece to create the tailored garment. The students would eventually be allowed to add their own aesthetical elements to their creative works. Tailoring programmes have the potential to significantly contribute to technical knowledge, skills development, communication skills, discipline, commitment as well as provide the opportunity for economic participation.

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The findings of the study revealed that participants that show interest in tailoring workshops, programmes and apprenticeships are school dropouts, individuals who do not or cannot proceed to tertiary education, children that grow up in poverty and individuals who learned basic skills from their mother or father and want to become a master tailor or teach their skills to new children entering the programme. The study concludes that master tailors or more experienced tailors in the studio fulfil a mentorship and teacher role for participants, many of which are children, who participate in long-term and short-term courses. The master tailor explains that by seeing and experiencing the art of tailoring, more children gain interest and join the programme. The master tailor expressed his desire for more focus to be placed on creative programmes such as tailoring, sewing and embroidery as these programmes help keep children off the streets by providing skills and fostering relationships.

Figure 3: Local master tailors in the Pretoria CBD, drawing by author, (2021).

TAILORING AS RITES OF PASSAGE MECHANISM The following section explores whether the “art of tailoring” can function as a contemporary community-based rites of passage mechanism that facilitates the transition from boyhood to manhood by articulating the symbiotic relationship and similarities between the “art of tailoring” and Van Gennep’s three-phase system to constitute a structural, functional and contemporary community-based rites of passage programme. Can tailoring function as a contemporary rite of passage mechanism? As may be deduced from the exploration of the art of tailoring above, tailoring implicitly allows an informed rites of passage process. The principles which comprise the art of tailoring and the process wherein skills are transferred from master tailor to apprentice allow for an adaptation to explicitly empower participants whilst implicitly embodying a rite of passage. This will be demonstrated below, with the conclusion drawn that the art of tailoring can indeed function as a rites of passage mechanism for at-risk boys and young men.

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APPENDIX A Upon reflection of the key principles of rites of passage, and in comparison to the art of tailoring, it is evident that during the process of tailoring, a master, who in this case, will be a role model, mentor or teacher, can simultaneously (1) transmit and teach cultural values, ethics, traditions, norms and knowledge; (2) guide expectations of the behaviours essential to transition from boyhood to manhood by overseeing the important change of status from boyhood to manhood or unskilled to skilled and lastly, allow for a (3) celebration of the transitioned boy by providing a platform for the self-expression of the transitioned individual to showcase their learned skills through various forms such as markets (economic participation, fashion shows, graduation et cetera. The art of tailoring model compared to Van Gennep’s model The similarities between the art of tailoring as rites of passage mechanism and its commonalities with Van Gennep’s (1960) rites of passage model is illustrated in Figure 4 below.

Figure 4: The art of tailoring programme model, diagram by author, (2021). The three-phase system of the art of tailoring The art of tailoring, and the skills transfer process in teaching the art of tailoring, a malleable process, can be moulded and shaped to conform to the three-phase system defined by Van Gennep’s rites of passage theory. Phase one: Separation In any process where skills are transferred from one person to the next, a separation from the community is required to better facilitate the desired outcome. This is evident by tertiary education institutions who separate scholars from their community for predefined periods of the day dedicated to the passing of knowledge from master to scholar. The separation becomes more apparent where various subject fields are taught in dedicated spaces. To allow for a comprehensive transfer of tailoring skills, it is proposed that the art of tailoring be taught in various forms of educational programmes ranging from workshops, short courses, diplomas and possibly even degrees. This allows for the student, defined above as the apprentice and in this case the (boy) student, to be separated for defined periods of the day, and furthermore over defined durations of either weeks, months or years. The separation embodies a literal form through the (boy) student being physically separated from his community and usual routine, as well as a figurative form through the (boy) student being psychologically separated from his former self, the state from which the student (boy) seeks to transition. Through facilitating this separation, even if intermittent at times, tailoring can act as the separation mechanism required to fulfil Van Gennep’s first phase of rites of passage.

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Phase two: Transition It is implied that transferring tailoring skills from master to (boy) student will embody a transition from unskilled to skilled. This is the explicit transition expected from participation in learning the art of tailoring. Education programmes require curriculums to effectively transfer knowledge and/or skills from teacher to student. It is proposed that the envisaged curriculum, which is currently undefined and malleable, be compiled to ensure the adequate transfer of tailoring skills whilst incorporating teachings of values, morals, ethics, traditions. These teachings can be informed by either the role model, teacher or mentor’s own cultural legacy. This should be appropriately defined by their own coming of age, or by their lived experience, which should be free from misinformed masculine norms and societal expectations of manhood, both to be guided by principles and standards expected by a healthy society. In compiling this curriculum, a multifaceted defined role will be determined for participants, and in doing so, directly address a defect in the contemporary rites of passage identified (Bell, 2003:45). The first facet of the defined role, the explicit, is the transition to a skilled individual who will be reintroduced in society as master tailor ready to participate in the economy, ascend to the role of teacher, mentor or role model for at-risk boys. The second facet of the defined role, the implicit, is the transition to the ‘healthy man’ who has transitioned from boyhood to manhood through a guided and informed rites of passage process. Thus, by explicitly transitioning from a state of unskilled to skilled through participating in the tailoring process, the student will implicitly transition from boyhood to manhood through a process which is purposefully designed and ‘tailor made’ to attract at-risk boys and transition them to responsible men for the community. Phase three: Reincorporation The completion of educational programmes is signalled by a graduation, a ceremonial event which is characterised by a formal celebration bestowing an achievement on participants. This process reincorporates the now skilled individual in their community equipped with the ability to contribute economically and grow within their chosen field of speciality. The art of tailoring as a rites of passage mechanism encompasses a trilateral reincorporation which presents itself after the participant has completed their curriculum. Firstly, the symbolic reincorporation. The now skilled tailor undergoes a celebratory ceremony wherein an achievement is bestowed upon the tailor. The celebratory ceremony, which may take the form of a graduation, allows the tailor to be clothed in an academic gown, robe and cap which symbolises a status of an educated or skilled individual. The ceremony publicises the participants newly found status as the “tailored man” and is recognised by the community as a whole. Secondly, the physical reincorporation. The tailor now possesses the ability to either participate economically or academically, in both instances contributing to their community and society as a whole. Their physical appearance, which is accompanied by traditional tailoring apparel, boasts their tailoring capabilities.

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APPENDIX A Lastly, the psychological reincorporation. The erstwhile at-risk boy is reincorporated in society as the ‘tailored man’ whose societal designation and sense of self is now defined by appropriate norms and expectations. The envisaged reincorporation addresses the second defect in contemporary rites of passage processes identified by Bell (2003:45) and Dr Blumenkrantz and Dr Goldstein (2010:43). By publicly bestowing an achievement on participants at the end of their curriculum, communities can identify the individual who now fulfils their defined role as tailor and ‘tailored man’. The reincorporated ‘tailored man’ can, amongst others, contribute to his community by either becoming a mentor or role model for at-risk boys or identifying potential participants for the tailoring facility. CONCLUSION A critical reflection of the research conducted unambiguously shows that a structural, functional and contemporary rites of passage process is imperative to achieve an appropriately informed social transformation from boyhood to manhood. Although there are programmes which attempt to function as a contemporary rite of passage, it has been shown that these are left wanting for various reasons. The researcher proposed introducing the art of tailoring as a mechanism to achieve a structural, functional and contemporary rites of passage mechanism. The art of tailoring and the manner in which tailoring skills are transferred from master to apprentice was deconstructed and analysed to determine whether tailoring can act as a contemporary rites of passage mechanism. The conceptual evaluation of rites of passage and tailoring revealed a symbiotic relationship between the two concepts. The art of tailoring implicitly allows for a guided transformation from one social state to another, a transmission of knowledge, values and norms and lastly a celebration of the individual’s newfound status; the latter fulfilling the key principles and purpose of rites of passage. The informal, undocumented and personal manner in which tailoring skills are transferred from master to apprentice lends itself to adaptively conform to Van Gennep’s (1960) three-phase system of separation, transition and reincorporation. Through fusing the process of transferring tailoring skills and knowledge with enriched values, norms and principles, and allowing these to be transmitted by individuals who have appropriately informed definitions of masculinity, the desired outcome of a structured, functional and contemporary rites of passage where at-risk boys and young men can be transitioned to men ready for society can be achieved. The art of tailoring thus fills the void left by contemporary rites of passage processes by firstly defining a set outcome at the rites of passage inception and secondly ensuring an appropriate reincorporation where the community is able to identify the tailor and hold him accountable to his newfound status. The art of tailoring is thus perfectly suited to act as a contemporary rites of passage mechanism as has been illustrated herein.

[See List oF References Chapter 09].

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