A MAGAZINE 2014

architecture student magazine | argitektuurstudentetydskrif 2014

department of architecture, university of the free state | departement argitektuur, universiteit van die vrystaat

The UFS Department of Architecture is proud to celebrate 25 Sophia Gray Memorial Lectures and Exhibitions with a compendium of laureates and an exhibition at the UIA Durban 2014 World Architecture Conference 3 – 7 August.

Although this opportunity to honour the 25 laureates during an international conference hosted in South Africa, was proverbially dressed up as hard work, all progressive staff members and students pulled together for this endeavour.

As a result, we offer you this publication which includes the year and title of each lecture and exhibition; a short biography of the laureate; a selected list of works and/or awards up to the date of the lecture, as well as two featured projects.

May it be so that this memorial lecture series will continue with your support for many more years to come.

1989 Mira fassler-kamstra Mimicry and Camouflage (Inspiration and interpretation of A SouthERN African Architecture) 1990 ROELOF UYTENBOOGAARDT TIMELESS IN ARCHITECTURE 1991 Gabriël (Gawie) Fagan Architect and Community 1992 Willie Meyer The Three Pasts to our Present 1993 Glen Gallagher The Exclusion of Conclusion in Architecture 1994 JACK BARNETT Building the Best – the New South Africa’s Essential Mission 1995 HANNES MEIRING Architecture - the Great Adventure 1996 Pancho Guedes Seven Manifestoes 1997 Revel Fox Reflections on the Making of Space 1998 Adèle Naudé Santos “Narrative Maps”: concepts and creations 1999 Jack Diamond Practicing Scales 2000 Stanley Saitowitz Expanded Architecture 2001 Hentie Louw Architecture and Craft: a working relationship?

2002 Louis Karol 50 Years in the City 2003 PETER BUCHANAN Architecture of the Emergent Epoch 2004 Paul Mikula A Great Big Box called Architecture 2005 BANNIE BRITZ STORIES … ARCHITECTURE … LIFE 2006 designworkshop: sa Borrowing Space and Time 2007 Jo Noero The Expedient and the Ethical, the Everyday and the Extraordinary 2008 PRACTICE VAN DER MERWE MISZEWSKI ARCHITECTS (VDDMA) Ms. ANJA VAN DER MERWE MISZEWSKI & MR MACIO MISZEWSKI Van Der Merwe Miszewski Projects 2009 Wally Peters More ways of being an architect 2010 JACO WASSERFALL No Graffiti, Please!

Stultorum Calami Carbones Moenia Charae 2011 Peter Rich Learnt in Translation 2012 Stan Field For the Love of Architecture 2013 Kate Otten Architecture for Every day

Louis Kahn once said;

“ architecture is the reaching out for truth.”

It is that reaching out, that pursuit; that we celebrate and reflect on today.

fromtheeditor

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mariska karsten

daniel xu editor nina nel

A5 Student Representative Council | Editorial Team | Department of Architecture

andré de villiers

stephan lategan

he endless allnighters that the students at our department spend to produce the designs that shape our architecture and design careers are often overlooked.

But the sense of camaraderie and family that is built with the people within our department is priceless.

Whether you were given this copy at the International Union of Architects World Congress (UIA), at our annual Sophia Gray Memorial Lecture or through whatever other means, it is my pleasure to present to you the work of our staff and students at the University of the Free State’s Department of Architecture.

This sixth edition of the ‘ a-mag ’ is the largest issue yet and was compiled by the A5 student representative council. A massive thank you to them, to the students and staff for their work, to Silverrocket Creative, to the sponsors and to my friends and family for their support. I hope you will appreciate all the hard work that was put into producing this, the effort from the students and staff spent producing the work portrayed and especially the passion poured into it.

Please lose yourself within the content, gaze at the images and submerge yourself within the text: the 2014 edition of the a-magazine.

Photo: Danielle Benade

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Contents From the Editor 1 From the ADH 2 Mashabane Rose Associates 3 First Year Projects 4 Second Year Projects 12 Third Year Projects 16 Fourth Year Projects 25 Fifth Year Projects 30 Sticky Studios for Slippery Students 36 New Student Housing Unit 40 Re: service learning - dept. Architecture 42 Skills Lab 44 Insights from a Surrvivor: Studying Architecture at the University of the Free State 46 A window of Opportunity | advertorial 48

From the Academic Department Head

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Henry Pretorius

or the past few weeks I received numerous sms’s, whatsupp’s, emails and I’m sure if I, for some odd reason, was Harry Potter, I would receive even an owl or two.

In this regard I want to extend my sincere gratitude to all staff members, students and members of the A5 student body that contributed to this occasion.

All with the same message: ‘Where will you be between 4-7 August 2014?’

Furthermore, the student editorial team of the UFS Architecture Magazine also succeeded in making this publication available during the conference.

Surely, my dear students, if you are reading this during 4-7 August, you are at the 2014 UIA in Durban, South Africa.

I am very pleased that the UFS Department of Architecture embarked on this endeavour. Not only are all of our students attending this international conference, but we are also celebrating 25 years of the annual Sophia Gray Memorial Lecture with an exhibition as well as a monograph publication at the UIA.

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This magazine showcases the high quality student work produced in our department and is something that all of us should be very proud of.

I hope that you return enriched and inspired to conclude the remainder of the academic program back in Bloemfontein

argitektuurstudentetydskrif 2014 | departement argitektuur, universiteit van die vrystaat

Mashabane Rose Associates 28 August 2014, Bloemfontein, Free State

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ashabane Rose Associates (MRA) was founded in 1995. It is a dynamic South African architectural and urban design studio with two principals, Phill Mashabane and Jeremy Rose.

Their work predominantly focuses on museums and cultural heritage site projects; urban design schemes; conservation and heritage consultancy, including research and development of heritage policy and legal framework; and project management. Institutional schemes include the Robben Island competition winning proposal (out of 250 international submissions) for exhibits along a walking trail or journey and an interpretation facility at the end of the journey that looks out across the bay toward Table Mountain. This very sensitive World Heritage Site

prompted a design response of subtlety and restraint that resulted in a building which is somewhat submerged in the landscape with planted roofs that partially conceal the building.

MRA also has experience in Public Works projects, community projects, and human rights projects such as HIV/ AIDS clinics. The context in which they work ranges from urban schemes with a national character to rural schemes in South Africa as well as in Sub-Saharan Africa.

It is an honour for the University of the Free State’s Department of Architecture, to have Mashabane Rose Associates as the 26th Laureate of the Sophia Gray Memorial Lecture and Exhibition in Bloemfontein.

Freedom Park Phase II

Freedom Park Phase I architecture student magazine 2014 | department of architecture, university of the free state

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Landscape Interpretation

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atural versus urban. There were two site locations: Liggies, located on a hill where the cityscape lights up every night, and Naval Hill, a natural landscape surrounded by the city. The nodes where these two meet are captured in my interpretation.

The concepts of safekeeping and rebellion are constantly in contrast with one another. People want to keep nature unspoilt but tend to do the opposite.

The woven coke cans, themeda triandra redgrass and wire mesh are in rhythm and fit into a specific shape. This represents the humans creating shields and always trying to fit in - either at school, university, work, home or within relationships. As humans, we are always attempting to be perfect and doing everything in our power to get what we want.

Mother Earth, on the other hand, is suffering.

She is trying to get out of our way, protecting herself, while she still can. The wire is like a stencil of the footprint of our skyline, trying to dissipate, like grass in a field.

Shoulder Piece Christine Havinga

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used man-made wire as a base to symbolise the goals I strive for: knowledge and experience. The means in which I moulded the wire is representative of the way that life is shaping me.

The use of feathers was a special decision to me as it was both personal and spiritual.

It reminds me of where I come from: my nickname is ‘veertjie’ (little feather in Afrikaans). My parents started calling me this when I was young. I used this as an opportunity for people to get to know me - I wanted to show a part of my childhood.

The spiritual meaning of a feather is to have a “protective spiritual covering” and this is a reflection of my faith and virtues.

This was a memorable experience as I discovered a lot about myself and learnt how to handle myself under pressure. As a first year, it is important to go through this: presenting your project and walking down the corridor whilst everyone observes. It teaches you confidence. Later in life, you can reflect on experiences like this and understand its importance and value.

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During the day what you see is what you get, but when the sun starts to set in the west a mesmerising scene emerges.

Jan-Paul Verster

Shelter

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Stephan Lategan

he brief for this project was to provide a mobile shelter for one person in a survival situation. Whatever means or systems devised to protect the inhabitant had to be light enough to be carried around and constructed from natural and improvised materials.

This being a project for an architectural and not a survival school, the solutions to this brief were not the kind of structures one would realistically erect in a survival situation, where a ‘make-do’ approach would be the obvious way to solve the problem.

The shelter utilises a shape common in nature: the cone. When these cones are joined with a hinge they can be stacked flat, but when unfolded the angle of the cone allows the two hinged cones to unfold in different planes. A series of cones are hinged to each other and then to one larger cone to construct the shelter, resulting in a combination of a tortoise shell and a traditional Sotho hat carried on the back of a nomadic survivor. There are endless combinations of angles and arrangements for these cones. The shelter can take various shapes; adapting to the environment and the needs of the nomad.

Stephan Lategan

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Botanical Gardens Weekend Retreat

he brief for this project was to create a weekend retreat for your family in the Free State Botanical Gardens. The building had to be compact and tailored for my family. This implied accommodation for four in a building isolated from the public while at the same time open to the surroundings of the Botanical Gardens.

The building hides in the north-facing slope of a hill overlooking a scenic part of the gardens.

Most importantly it is out of view of the visitor centre. Instead of countering the steep slope the building embraces it by being built inside it. This was not only done to accommodate the slope, it also created a ‘cozy’ and protected atmosphere on one hand and elevated views and ‘freedom’ on the other, literally hiding the building in the landscape and providing thermal mass to insulate the building.

It can be admitted that the building was intentionally built on a slope, in order to sink it into the landscape, to allow for these characteristics.

The building is arranged around a central shaft that functions as a circulation space while flooding the buried building with natural light. From the entrance on the ‘ground floor’ one would walk into the hill through a passage, moving into the brightly-lit vertical volume. The first level is a cantilevered bedroom and bathroom, with a kitchen and living area and a slide-away bed for children and a floor-to-ceiling bookshelf on the highest level.

architecture student magazine 2014 | department of architecture, university of the free state

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Artist Retreat

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ane Alexander is a sculptor whose works comment on current sociopolitical issues in South Africa.

One of her most intriguing art pieces, ‘The Butcher Boys’, was used to stimulate the concept behind this artist retreat. The retreat is situated privately in the gardens of Oliewenhuis Art Museum in Bloemfontein.

The three figures of ‘The Butcher Boys’ were translated into the three main areas of the retreat: the living space, bedroom and art studio. The bench, on which these three figures sit, is represented by a long passage way enclosed by roof glazing. This transforms into a sculptural walk, exhibiting Alexander’s work, that originates from the main axis of the art museum. The contrast between the verticality and the horizontal plane of the sculpture is portrayed by the use of horizontal windows which cover the facades. The retreat is dominated by the use of concrete which symbolises ‘The Butcher Boys’ being a chilling depiction of Apartheid.

The dramatic force of her artworks is always muted and still. Nothing is exaggerated. This artist retreat epitomises the true essence of her artworks and is infused with a graceful and haunting composure.

Danielle Benade

Gravescheme Cari van der Westhuizen

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he chapel was designed in honour of Eric Liddell, who is known for his gold medal in athletics at the 1924 Olympics. Although his life seemed perfect, Liddell chose to do more: he became a missionary in China. China was not safe at that time due to the Japanese invasion. Liddell’s family fled for Canada but he remained.

The scheme symbolises the journey of Liddell’s life. The path that leads you to the chapel has a curve which portrays his troubles. The linear water feature forms a datum throughout and it accompanies you to the chapel. It represents his endurance.

The design consists of three parts: the meditation space, memorial area and chapel. The entrance is a timber structure that evolves into the pathway. Seats under some of the trees become the meditation area. The memorial area creates a serene atmosphere by filtered light, the sound of water and the sunken space. The broken structure symbolises the heartbreak in Eric’s life. The chapel is the climax and symbolises the goal that he reached. The chapel consists of concrete oval seating, and a wooden louvre structure.

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The scheme is in close relationship with nature.

Backpackers Liezel Reitmann

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he brief was to design a backpackers in Nieu Bethesda. Nieu Bethesda is a beautiful village, reflecting our history with its white washed farm style gable houses, surrounded by the Karoo. This village is rich with culture; and its tourism is the primary source of income. It is self-sustaining with a population of 60 people.

The purpose of this project is to make Nieu Bethesda an overnight venue between Johannesburg and Cape Town. This will in effect enrich the community and bring awareness to this gem buried in the Karoo.

The backpackers is located where two rivers meet - north-west of the village. Two bridges act as the datum from where the development originates.

One enters on a bridge that leads to a restaurant and pub with an open air cinema. These spaces are open to the guests and public.

The restaurant and pub is embedded into the landscape with stone walls and a roof garden.

The roof garden ensures that the structure blends into its surroundings. The cinema enhances the experience with nature, allowing people to admire the heavens of the Karoo.

A second bridge leads to the private pods of the backpackers, which is only accessible to the guests. The pods are divided into 2, 6 and 8 man living pods, each with their own kitchenette, ablution block, deck and braai area. These pods are arranged along the river, connected by a footpath in-between the trees, creating a ‘closeto-nature’ experience. The pods are lifted from the ground, touching the earth lightly and stretch over the river. To enhance the experience with nature, material types were carefully considered; steel cladding which reflects its surroundings and a timber structure that blends with the forest was used.

architecture student magazine 2014 | department of architecture, university of the free state

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Hut Building

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f there was ever a sacred tradition in our department, it would be hut building.

Year after year first-year students claim a patch of veld on campus to build their masterpieces, every year thinking that their year’s huts are the best. If you just mention the word, you will often hear older students passionately proclaim their class’s superiority.

This is understandable, because if you labour for weeks, building something with your own hands, you are bound to have a strong emotional connection to it.

However, this is not the only connection formed through the weeks of exposure to sun, rain, dirt and reeds. There with you to survive all these things is; your hut building partner (whom we can all agree you will see far too much of – no matter how wonderful their personality or looks) as well as your fellow classmates. There is a unique sense of camaraderie that develops on that site, between you and your building partner, between the hut ‘communities’ and the class. You truly get to know your classmates. You are bound to make lasting friendships.

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Seeing examples of previous projects, one thing did come to mind: “how are we supposed to do that?”. Building these structures from reeds, thatch and mud with no experience that even remotely qualifies us to accomplish it, we did not think it possible. For those of you not yet studying architecture do not worry. In the end all you need is a pair of shovels, any light source with loads of battery, a sturdy adobe mould assembled by Kloppers and most importantly determination.

There is really something special about seeing a structure rise from the ground. The feeling of exhausted pride at its completion is indescribable (emphasis on the exhaustion). In the end, the cycle needs to be repeated and the huts are broken down to make way for the the years to follow almost like a beautifully cruel cycle of life. Thankfully, we were not there to witness their destruction - it would have been a sombre moment.

When asked if they would do it again, most would reply along the lines of “…and repeat the worst week of my life?” but with a slight smile appearing on their face.

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Information Box

Stehan Olivier

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y looking at the site, the design developed into architecture with the function and typology of an information box but with a unique morphology.

The location of the project was carefully chosen through observing the way people moved within the space. The golden section and anthropometry were the main principles used in designing the floor plan and facades but were not restricted to them.

The scheme takes on the form of an exploding box, with indicators of hierarchy and function. It can be entered from any side and forms a direct connection with the student centre.

Louvers of different sizes representing the racial groups and diversity on our campus were used.

The information box is orientated to the north where it lives out on terraces designed by Roodt Architects.

This side becomes an interaction space for students as they move through the design to enjoy a meal or study break.

The information box is a mixture of steel frames, timber louvers and precast concrete panels. The materials are emphasised when they are placed in contrast to each other, but the rhythm of elements creates harmony.

Sophia Gray Pavilion

Dené Duvenhage

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he pavilion commemorates Sophia Gray, the first female architect in South Africa. The pavilion is to be used for the annual Sophia Gray Memorial Lecture, as well as other events. As you enter, you are welcomed by a wide staircase with a seemingly ‘unsupported’ cantilever.

This leads you to the reception and foyer space, where people can interact. In the foyer, you experience the corten steel exhibition space that penetrates through the roof. From the foyer, you are sent on a journey to the archive and multifunctional space where you experience an inter-linked roof. This creates a sky-light that lights up the walkway. The archive is the only solid concrete element in the building - it is where all the works are kept from previous laureates. Upon exiting the multifunctional space, you enter into the exhibition space which is an isolated element of the corten steel, weathering over time which represents the works from Sophia Gray until now. On the eastern end of the exhibition space, there is a transparent strip on the floor, wall and roof which let in northern and southern light. The main exhibition piece is set on the eastern wall, which is lit from below, creating ambient light.

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argitektuurstudentetydskrif 2014 | departement argitektuur, universiteit van die vrystaat

Residential Units

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Lizaan Alberts

n this project, the brief was to design two residential units on one erf, situated in Langenhovenpark, facing a shopping complex. This exercise created a scenario where the design was influenced by factors such as erf boundaries, manhole positions, neighbouring houses, a shopping complex and traffic flow.

The idea of a boundary wall was eliminated by placing garages, offices and accommodation that engages with the street, creating a threshold between private and public. The units were then placed at the back of the erf, sheltered from the buzz of people and traffic. A courtyard garden and pool between the boundary buildings and houses were then created for each unit, with the living spaces designed to open up around it. The first storey of both units consist of bedrooms with balconies that have a view of the neighbourhood, but was removed enough to ensure privacy. A basement for each unit was stated in the brief which was utilised as wine cellars.

The play between mass and void, shelters the houses from the view of their neighbours and from the other unit. Thick walls are shared between the units to save on material and space.

Even though each unit’s design includes the same functions, they differ from each other but still speak the same architectural language.

architecture student magazine 2014 | department of architecture, university of the free state

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Batho Community Centre

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he brief for the community centre was simple: unite the people of Batho using architecture as a catalyst for creative community involvement.

With this scheme, I chose a creative arts theme, incorporating creative workshops and open gallery spaces. In doing so, the hope was to encourage disadvantaged people in the area to create their own art in the workshops and then to display it in the gallery spaces. The latter is positioned around a coffee shop space to mimic the feel of a market square, where art would be on exhibition around people. This could then become their own art income generator.

The brief called for the development of exterior spaces, creating a building that flowed into its surroundings without having a clear

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threshold. This coincided wonderfully with my concept - to emphasise the atmosphere of the site. Batho is a place where cultural differences overlap to create a vibrant knot of diversity. The structure folds out of the earth, overlaps, and plummets down again, creating unique spaces.

The building thus links with the informality of the site and its inhabitants.

This was for the community, where the building came from them and would be one to serve them. It would be a haven for the people.

Something that they could call their own. A place the community would rush to without a second thought, as though it was always there and they were just coming home.

Werner van Zyl

argitektuurstudentetydskrif 2014 | departement argitektuur, universiteit van die vrystaat

Urban Chapel

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he urban chapel is situated in an area where the urban tissue is disintegrating and cutting itself off from communicating with society. The purpose of the structure is to weave together the tissue that has been damaged through the use of concrete and steel as the structural materials.

The structure extends over roads and becomes part of the surrounding structures - seating at the library, as well as weaving into the apartment building behind the project - so that the design becomes intertwined with the existing fabric and draws in the immediate environment.

The chapel is divided into various vibrant spaces creating different dynamic experiences for the users. The structure forms numerous seating areas including terraces, spaces where people can meditate, relax and be enlightened. Other spaces become look out points on the context.

Although the design strongly communicates with the surrounding context, it does not share the rush of the milieu. The chapel can be seen as a breathing space within the chaos.

Nina Nel

architecture student magazine 2014 | department of architecture, university of the free state

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Imaging the city

erhaps there are always two landscapes: one which we physically perceive and one which we mentally construct.

We could say, perhaps, that the successful earthworks are those which generate a presence at both levels.” Carol Burns The project required an investigation into a concrete and abstract understanding of the given site. The site had to be presented as a collection of maps showing all the parts of the concrete and existential phenomena present.

This was a group effort in order to remove the site from its physical place and represent it through creative studio installation work.

Bloemfontein’s Glen Road was the given site we had to reinterpret through nine maps illustrating the concrete and abstracts topology, morphology and typology. Being the passage way to industrial development on the outskirts of the city - what was once only railway settlements - the site presented us with unlimited possibilities. The industrial decorated shed welcomes one on street level with labels and signs to help you orientate yourself according to your purpose of being there in the first place. For one to truly understand the space and essence of Glen Road, one had to enter these faceless buildings. The interior captures much more life and individuality than what the façade presents. This phenomenon guided us in our presentation of the street’s essence and also on how we could push the boundaries of the two dimensional expectations.

We created each map, according to the given topics, with any type of material or texture, with the only condition of it being white. This presented the concrete understanding of site; or rather how the site presented itself to us. If you remove the colourful labels on the façade, every building provides the same experience and quality. The street shows a lack of substance if you do not take the time to walk up and down the pavements; to explore the alleyways; to experience each interior and to engage in conversation with the nine to five employees. Through this being established by the group, we added a second layer to the white maps: an illuminating representation of the essence of Glen Road. With the use of a projector, we engaged in giving something more than what is seen: the abstract understanding and hidden value of the site. Its hyphened textures built upon contrasts allowed movement and broke boundaries. It creates chaos and order simultaneously. It activated space, identified uniqueness and experimented with reactions.

Raoul Breetzke; Richard Lindeque; Suzaan Myburgh; Suzanne Vosser; Tania Rüde; Van Wyk Oosthuysen; Vincent Postma 17

Retelling the City: Urban Mosque

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Nilene Van Niekerk

tudents are asked to contemplate a place of prostration within a unique place within the urban structure and narrative. Students will attempt to express the essence of the found and mapped urban ecology as well as the researched essence of a islamic architecture and spirituality - genius loci et sanctus genius.

The students are expected to elaborate on the urban structure and narrative, already written through time and space, and at the same time express the essence of islamic spirituality. The mosque should capture the spirit of the place and the spirit of Islam and highlight it to the urban occupant and flĂ neur.

The mosque is site specific - and investigates the site’s topology, morphology, typology, hapticity, materiality, history, spatial composition, cultural spirit and how they are intertwined with Islamic spirituality.

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Operable Windows, both manually controlled on the interior to allow individuals to control the temperature and computer controlled on the exterior to control air flow.

HEATING & COOLING SYSTEM

Computer controlled exterior window vents allow air into skin when temperatures allow

EXHAUST AIR FRESH AIR SUNLIGHT COLD NORTHERN WIND WARM SOUTH WESTERN WIND Raised Access Panel Geothermal Pipe

Concrete Sub Floor

Summer/ shoulder seasons: draws used air up and exhaust it out of the building

Rotating Turbine

Water feature humidifies/ dehumidifies air as it enters the building

High Temperatures Increase Updraft

Solar Gain Collector at top of Solar Chimney

Summer/ Shoulder seasons: air drawn naturally in through large operable windows

Inner heating and cooling units condition air as it passes into the raised floor plenum

Fresh air supply through facade

Suspended ceiling Winter: chimney closes, fans draw warm exhaust air down, and recirculate it to warm the parkade; heat exchangers re-capture heat

Raised Access floor– air supply & services

Arcology

Suzaan Vosser

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rcology, combining “architecture” and “ecology”, is a set of architectural design principles applied in the design. Arcology aims towards the design of enormous habitats (hyper-structures) of extremely high human population density. These largely hypothetical structures contain a variety of residential, commercial and agricultural facilities and minimises individual human environmental impact. They are often portrayed as self-contained or economically self-sufficient.

The design of the Hong Kong arcology skyscraper is distinguished from a large building by the fact that it sustainably supplies most of the resources for a comfortable life: power, climate control, food production, air and water purification, sewage treatment and so on, to a high density of people.

The 50-storey skyscraper is divided into four self-sustaining groups; designed around a solar chimney, each with their own residential units, restaurant, park and agricultural system to make food distribution systems efficient. The groups make it possible for every inhabitant to be in a close proximity of the agriculture, park and restaurant located within these groups. Passive solar techniques, ventilation systems and water harvesting systems are implemented to reduce energy usage such as lighting, heating and cooling.

In order to generate outside revenue, one of the main features of the arcology skyscraper is a ten-story institutional building with rentable office space, as well as a retail district consisting of an enormous eight-story mall that becomes the commercial and retail centre of the immediate Hong Kong sprawl. These facilities not only cater to its residents but also to visitors and tourists. The institutional and commercial building also assist in the creation of a big public park surrounding the skyscraper. The park is layered with terraces, allowing public to private transition from the public buildings to the more private residential skyscraper.

The design of the skyscraper ultimately achieves its overall goal of arcology. It offers an efficient alternative to the waste and hyper consumption of current lifestyles, while introducing a more energy efficient, environmentally-friendly and intelligent city design. architecture student magazine 2014 | department of architecture, university of the free state

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Constructing the City

Suzanne Vosser

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he project brief presented us with the challenge to design an institutional building where the visitor and the occupier could recognise himself in the building by contemplating architecture and more by participating in the architectural scenes. In response to this and the potential the site presented, a complex building was generated based on the metaphor of exhibition. All the internal spaces were placed along a central atrium, from which access is granted, and the exhibition was created through this vertical circulation space. With vertical and floor circulation both exposed, one is obliged to walk and experience the entire process of film production.

By identifying the basic production process of any creative creation, a design system was developed. This process was used to discover a layout which could enhance the work flow and production of an institution together with a dynamic learning experience. Not only for the individual’s fulfilment, but the outcome is directed to the public and what can be done to give back to the community.

Every aspect of the design was placed in constant exhibition. The structure, spaces, movement, entertainment and light inlet. On street level, the public is drawn into the central atrium by an incline of platforms; which also presents a seating area for the vida e café while enjoying the mirror image of that what is presented in the cinema [the interior’s activity is exhibited to the passerby as well]. The atrium connects all the different sections of the design in order to allow the participant a choice of destination by showcasing their events. The internal spine is thus not only visually connected but also covered with a roof structure for sufficient climate control. Two existing buildings on site were also incorporated into the design with the passageway in between them creating a secondary entrance to the atrium. This accessibility on site was important in order to allow the street’s vibrance into the building to create the optimal creative environment for students.

CASE STUDY

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argitektuurstudentetydskrif 2014 | departement argitektuur, universiteit van die vrystaat

Johannesburg Case Study

Laura-Anne Fox

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he notion of perception and the way the world is viewed is (for obvious reasons), a subjective and personal account of life experiences. A personal perception, upon being initially conceived, can and will only be influenced by previous, personal experiences.

The idea of ‘memory’ and the impact that it has on the way that we, as people, view the world, becomes omnipotent when unravelling the complex network that comprises perception. It is memory, and a definite recollection of something, whatever that may be, which allows us to formulate certain connotations and associations.

spaces, over time, is creating active connective nodes – uniting built form with the inhabitants of the city, and encouraging dynamic interaction between the different networks that comprise the urban fabric.

It is a city completely filled with activity - time seems to move at a different, faster yet enjoyable pace - the people within the city feed off this buzz in a way that is fresh and exciting. It is a city that oozes cosmopolitanism, and portrays a real notion of ‘unity in diversity.’

This project aims to culminate a personal, individual experience of Johannesburg, and the various places that were visited within the city, as well as en-route to the city during the 2013 3rd year design class tour. One can’t help but feel a sense of complete personal immersion when contemplating the way in which one’s own body, for instance, influences this idea of perception: scale seems totally overwhelming at times, certain textures are off-putting to even imagine touching, motion and passage seem so intrinsically sped-up. Feelings, atmospheres and expressions can be reflected in certain associated colours; expressions of intensity versus passiveness. This personal sensory experience is coupled by a ‘theoretical experience’, in which the sensory can be articulated through relevance to learned and established architectural theories.

Travelling to Johannesburg, especially as a Bloemfontein-local, one is confronted with a sense of overwhelming culture-shock: everything gets bigger (and better) as one moves into the city - the buildings, the noises, the people, the spaces, the smells... The development of public

architecture student magazine 2014 | department of architecture, university of the free state

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argitektuurstudentetydskrif 2014 | departement argitektuur, universiteit van die vrystaat

Dialogue Box Comfortably Uncomfortable 19 years on, the nation is divided more by comfort zones than racial or credal lines.

The conversations which need to be had (on racial, gender, nationality, ownership and sexual orientation issues) are obscured behind stereotypical labels which impede meaningful discussion. In this social climate, words carry meaning far beyond specific descriptive use; Kaffir, Faggot and Dutchman, amongst others, all carry negative connotations, connotations which have not been assuaged over time.

Labels mean so much to so many people and constrict conversation if you cannot say the word, you cannot contemplate the topic.

Society is divided by those who are willing to adapt and have already moved past the label barrier by having the necessary conversations, and the majority who are too ensconced in their blankets of cultural comfort to tackle the issues at hand. Dialogue will therefore only be facilitated if the comfort zone is breached and the majority is forced to confront its own nonchalance.

The structural system binds individually weak panels into a strong form, representing the ability of multiple conversations and understandings to knit a nation together. The visual weight of the base, in contrast to the mobiles, represents our unchangeable past and the possibilities inherent in the future.

The structural system acts entirely as a kit of parts and can be assembled with relative ease with little to no training, no glue is necessary. The inherent temporality of both structure and material lend itself to the temporary installation; at the end of the week, it can be disassembled and recycled.

Additionally, the structure and form symbolises the contested issue of space and land ownership in South Africa, and how land reform is addressing past injustices; while creating political and social tensions amongst South Africans today. A topic that needs open and continuous debate in South Africa today.

Beauty - Exposure - Acclimatisation The installation is a beautiful and intriguing object in the landscape, but as the visitor approaches, the serene visage is shattered by the grotesque labels which adorn the structure.

Shock at the sudden exposure to the labels is replaced by acceptance thereof as commonplace occurrences. They become just words.

Once the power of the stereotype is broken, the underlying humanity that binds us all is uncovered and social injustices are addressed from a common footing.

Materiality The structure and material challenge the preconceptions of traditional architecture. It forces the visitor to rethink and question the world around them in the same way a debate around social issues challenges and breaks preconceptions allowing growth and social evolution.

Andre Meyer, Greg McQueen, Melani Thomson, Nilene van Niekerk, Pieter Fischer, Petru du Toit, Eugene Olivier, Is-mari Wheeler, Olebogeng Ditaunyane

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Institute and Beyond the Threshold

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he University of the Witswatersrand (Wits) campus in Braamfontein, Johannesburg, has historically developed in a way that has resulted in a breach between the campus and the surrounding cityscape -which is today - having a negative effect on social transformation in South Africa that is striving to become a socially integrated society.

This project explores an urban intervention with the conceptual approach of “puncturing the boundary� to address this challenge. The construction of an institute for social justice and reconciliation serves as the primary intervention complimented by functions like a law clinic, gallery, public square and transport terminal to create a hybrid space serving the needs of both campus life and the city-man thus facilitating cross boundary dialogue.

The design makes use of local materials and craftsmanship, responsiveness to light, climate and topography to promote site-specific architecture.

The tectonics of the architecture was employed to activate the poetics of transparency and honesty within the architecture in a cross cultural way that all South Africans can enjoy and identify with.

Public space development stood central to the design as an expression of social power and a force that helps shape social relations and symbolise our democratic right to protest and celebrate together as one.

The public space was developed around Renaissance principles applied in a contemporary way. Relevant principles found in this historic architecture included well defined borders, the use of colonnades to mediate transition from squares to bordering buildings, the presence of hand crafted art, the use of perspective to establish hierarchy within the space and the use of textures and different coloured paving to assist in defining place. A collection of South African public art integrated into the design also serves to humanise the space and root it in contemporary cultural life.

Holistically, the design articulates the connection between Wits and the city by framing them in opposing views, while lending the space a certain formal presence to create hierarchy as an entrance to one of the higher educational institutes of South Africa and one of our most valuable resources.

AndrĂŠ Meyer

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argitektuurstudentetydskrif 2014 | departement argitektuur, universiteit van die vrystaat

Conservation Scheme

Liza Fourie

I

n an attempt to conserve the architecture of the typical Karoo town, Richmond, several sites have been identified to address. The current supermarket situated on the main street (Loop Street) is a crucial gathering place in the town, where local residents and tourists source their daily groceries. This supermarket asked for vital attention and a new intervention for the current structure was proposed.

The current supermarket is not only a disorganised and confused space for the visitor, but an immense architectural eye sore compared to the Karoo street elevation of Loop Street. Loop Street is filled with traditional Karoo houses which are situated on the front edge of the sites. It is rich in buildings which contribute to the unique townscape of Richmond as a town.

When we look at the plan layout of the site, it is obvious that the existing supermarket does not fit in with the rest of the street. Not only the construction method and style, but also the placement of the building on the site. Every element of the building is contrary to the existing image of the street. This supermarket contributes a crucial service to the community, while its structure most definitely does not contribute to the street atmosphere in any way.

In order to conserve the existing street elevation, typical Karoo architectural characteristics have been identified. The most prominent features are the stoep and the timber louver’s found in Karoo houses.

By merging these systems and translating them into today’s terms and addressing the position of the building on site, the structure protrudes from the existing and evolves into a stoep. By extending the building to the front edge of the site, a pedestrian-friendly food market is created.

A mezzanine level is incorporated at the back of the building to provide enough administration and office space. Additionally, the main parking area moved from the front of the building to the western vacant site of the building. To re-establish the former dense tree-scape of the Karoo town, multiple trees are proposed to be planted alongside the street and parking area.

This design development proposes to transform the current supermarket into a food market, with a focus on consumable goods and kitchenware.

The new food market building reutilises the existing structure of the current supermarket. The existing grid system and roof trusses provide the basic arrangement from where the proposed extension derives.

architecture student magazine 2014 | department of architecture, university of the free state

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Urban Revivification

Jaun van Wyk

re·viv·i·fi·ca·tion | To impart new life, energy, or spirit.

[French revivifier, from Old French, to come back to life, from Latin revvificre, to revivify: Latin re-, re- + Latin vvificre, to vivify]

C

ities have thus far never truly been understood, and attempts at capturing the essence thereof have been poor. The city is described at the hand of two possible realms; either described with reference to the life of cities as social and cultural processes, or merely reflecting the changes in the physical form. This approach or miss/understanding eliminates many of the errors in the understanding of architecture and urban design, for example, such that there exists dynamic chaos – the organic city. These cities are complex and intricate structures comprising of various layers superimposed over each other.

It can be found that the urban structure of 21st century cities are created by superimposing layers of its cultural background and an organic inherent morphology. This super layering of spaces combines the generic traditional characteristics of spatial pattern and thus generated hierarchy of cultural spaces. It seems that the layering of urban fabric intermingles three complex words – man, space and culture – that influence the formulation of behaviour, cognition and perception of local inhabitants.

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argitektuurstudentetydskrif 2014 | departement argitektuur, universiteit van die vrystaat

Waaihoek Housing Development

U

rban architecture is concerned with systems and networks of a particular contextual field, formed by its past/history and influenced by its present that possess fields with fundamental aspects and characteristics that determine its future requirements. In identifying these requirements an analysis of the urban context is required to establish nodal points where system impacts heighten or converge.

Louis Boshoff

transcending from public to semi-public to semi-private that eventually heightens in private zones with critical establishment of thresholds between these entities. The merger of outward-in urban thinking and inward-out community establishment develops a housing project that addresses urban systems while still adjuring to the fundamental aspects of place-making and ownership formation.

At these points, architectural place can be conceived through the implementation of human ownership developed from the contextual matter into architectural space that has the potential to be transformed into inhabitable place.

The implementation of an inward-outward concept - such as a system locus - enables sustainable and safe architectural communities to grow from nodal points into a broader contextual field.

The spatial embrace of these nodal systems require a clear definition to orientate interface and develop the key aspects of place-making. It implies that the use and regard to threshold between these interconnected nodes are essential.

In essence the project explored the connection of a broader context through the identification of possible nodal points on a particular site that has clear historical, present and future urban influences and prospects.

These nodal points are connected through various levels of space

architecture student magazine 2014 | department of architecture, university of the free state

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Sustainability

Kelvin Gibbs

T

he fourth-year students of 2013 were challenged to produce for their sustainability project a national company headquarter with a ‘green’ initiative of their choice. The accommodation and site for the project were to be determined by the students themselves as it was up to them to acquaint themselves with the clients’ initiatives and to architecturally respond accordingly within Bloemfontein.

The displayed project was proposed for Mondi, a paper manufacturing company. The Mondi group has a wetlands programme (MWP) which attempts to rehabilitate degraded wetlands which not only provide job opportunities, but it simultaneously purifies water and promotes the growth of greenery.

The site that proved itself to be most ideal for the MWP was along Nathan Street, to the east of Bloemfontein, which separates East End industrial zone and the train station. The site along the banks from the outlet of ‘Bloemspruit’ is characterised as a place where rubble, waste and dirty water is released into other water sources.

The initiation of a wetlands programme as the primary focus would aid in the purification of the water excreted from the city with little maintenance.

The site being situated within a rather industrialised context, gave indication for the use of materials and the rational flow of systems, whilst the small residential community to the south and transportation hub to the east, motivated community involvement and community interaction.

The site provides a dual narrative between community, industry and nature due to its proximity to an urban transport hub, residential settings and undulating topography. As a reaction to the narrative, the design aimed at contrasting with the landscape, yet, not being intrusive by allowing the functions to rise above the landscape, which it wants to preserve and uplift. Materials reflect the industrial typology whilst circulation allows for pedestrians to interact.

As the main theme of the MWP is water, dominant reference is made to fluidity of form, as the project will have to accommodate the flow of water. Water will flow down the corrugated cladding to capture the resource for reuse, and expel it onto the landscape - either for growth in a greenhouse, or onto the landscape for bio-filtering.

The visual aspect of water is ever-present around the site; as such the integration of water is visually important within the design without losing the practical function: the use of falling water against glass façades visually reinforces the embrace of the resource and contributes to cooling down the interior of the structure. To power this, solar panels are placed on the roof, which power water pumps for reticulation and provide shade for the roof to prevent excess heat.

The water is allowed to stream down the façade by means of gravity.

The accommodation included: offices, boardroom facilities, public management, recreational facilities, café, greenhouse, library, laboratories, water testing facilities and lecture hall.

Sustainable systems included: water reticulation for temperature control on western façade, solar energy for water pumps and exterior lighting, bio filtering and the reuse of grey- and black water.

The project proves to be an integrated system amalgamating the aim, accommodation, systems and social aspects on an equal level.

No hierarchy is given to specific functions, as within a balanced ecosystem. Each function has an explicit character and placement which is visually identifiable and related to one another. “Form follows function” was the main drive for the project as to let no space be wasteful, as this is the aim of all eco-friendly designs.

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argitektuurstudentetydskrif 2014 | departement argitektuur, universiteit van die vrystaat

architecture student magazine 2014 | department of architecture, university of the free state

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Re-Rigging

Theo Gutter

T

his thesis addresses issues regarding the recycling of decommissioned oil and gas platforms and asks if it could be transformed into something new. According to certain international conventions, offshore oil and gas platforms have to be recycled or refitted for new use by the company that installed them. As recycling and removing such a platform could be a costly process, the pursuit of alternative uses for such a platform creates a new niche for architecture.

Sir Richard Branson recently started an exploration company called “Virgin Oceanic”. It is set on innovation, experimentation and constantly pushing boundaries. They believe that the exploration of the ocean should be a human experience instead of a robotic one.

“Humans are an adventurous species. We like to explore and be inspired by journeys to the unknown. Science is not only a disciple of reason but, also, one of romance and passion. Exploration by real people inspire us.” - Stephen Hawking This platform is then proposed to be a “base-camp” for future Virgin Oceanic exploration. Currently, the periods of exploration and size of exploration craft is limited. Future operations suggest for more extended periods of exploration and craft that could house a larger crew, endure more adverse weather conditions, sustain itself for the research and exploration operations and even cater for the new adventure-tourist. The basecamp platform should then be an adaptable, movable platform, which could house most, if not all, of these needs.

The site then is not fixed. This dissertation focusses on the adaptability of a structure and re-purposing of an oil platform as a movable base-camp, sustaining the research team and explorers as they move to various sites in the ocean.

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Raptured

Wynand Viljoen

A Burial Complex for the Evacuees of Pripyat

O

n 26 April 1986, the worst nuclear accident in history played off at the Chernobyl Nuclear Power Plant. Chernobyl and the idea of a radioactive landscape serve as a catalyst for a paranormal context. Normal rules of architecture do not apply here. The town of Pripyat, close to the Chernobyl Nuclear power plant was evacuated and stands today as an empty radioactive ghost town. The main square - Lenin Square - was chosen as the site for this thesis.

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argitektuurstudentetydskrif 2014 | departement argitektuur, universiteit van die vrystaat

This thesis aims to reunite the evacuees with their beloved magical town through the only way possible, namely in death. The essence of the building is to decay, like radioactivity, over a period of 800 years. Through this decay and the careful use of materials, the building will open towards the same winds that spread the radioactivity over the landscape. Only now, after 800 years, will the ashes of the people be spread over a clean landscape.

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YOU ARE A GRADUATE OR ABOUT TO BECOME ONE,

WHAT NOW?

Congrats, a few years ago you made a decision to enter the architectural profession. You took the first step – to study towards your dream. With studies now almost completed at an accredited Architectural Learning Site (ALS), you can take the next step towards becoming a candidate on your ‘path to professionalism’.

WHY DO YOU AS AN ARCHITECTURAL STUDENT NEED TO

REGISTER WITH SACAP?

All architectural graduates who have completed their architectural studies, whether they have studied at a SACAP recognised accredited ALS, or non-accredited private college of Further Education and Training (FET), are required to register as a candidate with the South African Council for the Architectural Profession (SACAP) in terms of the Architectural Profession Act, no 44 of 2000.

WHO IS SACAP AND ITS ROLE?

HOW SHOULD YOU COMPLETE YOUR INTERN?

SACAP is an official regulator for all Architectural professionals who practise in South Africa. SACAP registers candidates and professionals in an appropriate category of registration for which the architectural graduate has completed the relevant architectural education. SACAP is responsible to accredit and regulate architectural education in South Africa.

Candidates are required to complete a compulsory period of internship (three years for Candidate Architectural Draughtspersons and two years for all other categories) in accordance with the SACAP PPE Policy.

SACAP’S ACCREDITED ARCHITECTURAL LEARNING SITES (ALS) SACAP uses the name ALS to identify its Higher Learning Institutions which are accredited to offer the Diploma or the Degree in Architecture. The following are SACAP’s recognised ALS’s: Cape Peninsula University of Technology (CPUT), Durban University of Technology (DUT), Nelson Mandela Metropolitan University (NMMU), Tshwane University of Technology (TUT), University of Cape Town (UCT), University of the Free State (UFS), University of Johannesburg (UJ), University of KwaZulu-Natal (UKZN), University of Pretoria (UP) and University of the Witwatersrand (WITS).

HOW TO APPLY TO BECOME A CANDIDATE?

During the internship period, registered candidates are required to submit Monthly Training Records (MTR).

Candidates must complete the internship under an experienced professional mentor who is the professional registered with SACAP in a category corresponding to or higher than that of the candidate.

HOW DO YOU AS A CANDIDATE COMPLETE YOUR MONTHLY TRAINING RECORDS (MTR)?

Monthly Training Records (MTR) must be submitted monthly within 14 days of the end of each month for the duration of the internship. No ’back dated’ MTR, or records for training before the date of registration will be accepted.

The mentor will be required to confirm that the information on the MTR is a true and accurate reflection of the nature and level of work performed.

Once a student has obtained a recognised architectural qualification, the next step is to apply for the registration with SACAP. All architectural graduates that apply for registration are registered as candidates.

The mentor must also submit a written report, outlining the nature, level of work performed, as well as the professional competencies displayed by the candidate at the end of the period of internship.

REGISTRATION PROCESS

PROFESSIONAL PRACTICE EXAMINATION (PPE)

Complete an Application for Registration as a Candidate form which is available as a downloadable document from the SACAP website: www.sacapsa.com.

The PPE is normally written twice per annum, in March and September.

SACAP is introducing the new online system called Your Membership (YM) which will enable you to register and send all supporting documents online.

The examination consists of two papers. Paper 2 is not compulsory for persons registered as Candidate Draughtspersons.

The following original documents must be included with the application form and be submitted to the Registration Unit: Application form – Application to Register as a Candidate including undertaking by mentor, certified copies of qualifications, certified copy of ID book or Passport, certified copy of Senior School Certificate or Equivalent Curriculum Vitae

PROCESSES TO UPGRADE FROM CANDIDATE TO PROFESSIONAL As a candidate you have to complete a prescribed period of internship in accordance with SACAP Practical Training and Examination Policy.

After completion of at least 50% of the internship period, candidates are eligible to write the Professional Practice Examination (PPE).

After passing the PPE and completing the full period of Internship, a candidate can apply to be upgrade to a professional registration category (Application to Upgrade Registration).

Tel 011 479 5000

|

Fax 011 479 5100

|

Website www.sacapsa.com

Sticky Studios for Slippery Students

W

hen I was asked to write about what makes architecture students tick, I thought “Easy”! I soon found out that firstly, no-one really knows what makes architecture students tick, and secondly, finding out can make an excellent topic for a PhD thesis which this article isn’t. I will therefore focus on a tiny part of the topic, and one that I do know a bit about: the types of spaces architecture students like, and particularly the concept of “sticky” spaces.

The studio is the pulse of any school of architecture. Despite this, tutors often complain about the ‘studio culture’ of their school, and especially that students do not spend enough time working in the school studio.

The American Institute of Architecture Students defines ‘studio culture’ as “the experiences, behaviours, habits and patterns found within the campus-based architecture design studio” (AIAS, 2010). What these tutors do not realise, is that expecting of students to change their habits and behaviours without improving their experiences is unlikely to have any results.

What schools need to do, is change the studios from ‘slippery’ spaces to ‘sticky’ places. Places become slippery when competing ones emerge that better answer the needs of its users, while sticky places are those that are able to sustain their attractiveness to their users. A ‘sticky’ studio is therefore one where students can enjoy both academic and recreational time (with the emphasis on enjoy). Students attend a slippery studio space only when ‘studio’ is on the timetable and “vote with their feet” (Duggan 2004:71) at other times.

Jack Nasar, in a meta study of architecture schools observes that “[i] t’s a paradox of architectural education that students may thrive in the most casual and even slightly decrepit quarters, perhaps because such facilities may allow a certain freedom and accommodate the intense use – designing, eating, and sleeping – of the studio” (Nasar et al., 2007:56).

Unfortunately, this paradox has become the norm: the awfulness of their studios and the awful times they spent there has almost become a badge of honour amongst architects.

There are three factors that influence the quality of the experience of architecture students on university campuses: 1) The typical poor quality of spatial facilities available to schools of architecture; 2) Students’ opinions are seldom considered when decisions are made about the campus environment, and 3) Architects seldom assess users’ opinions of existing buildings, so that lessons are not learned or shared within the profession.

Rasila et al. (2010:143) have found that people experience their environment as “holistic entities” that either hinder or help them in carrying out their tasks and activities. In other words, users do not separate the factors that influence how they experience their environment 36

Annemarie Wagener

into categories such as social, technical, physical, or virtual. If one requirement is not well provided for, users’ overall perception of quality can be negatively influenced (ibid). Therefore, even though a university may deliver excellent “soft” services, if the built physical environment is lacking student satisfaction may be negatively influenced across the board. Simple solutions well known to office planners such as providing smaller breakaway spaces in open plan areas, managing daylight and task lighting, comfortable furniture and acoustic control “apply just as much to open architecture studios” (Fisher 2008).

Specific disciplines have their particular learning tasks, technologies, products, criteria for academic excellence and productivity, teaching methods, research methods, and methods for recording and portraying knowledge. This is probably even more so for professional courses which often have “entailed narcissistic identities” (Moore 2000:198), and which require learners to become socialised to the norms of their field, and develop a professional identity. As students become more acculturated to the particularities of their field they will have more specific, discipline related requirements of their learning environment.

The impact of physical design on qualitative attributes such as ambience and atmosphere in places of learning is often underestimated, and architects sometimes overemphasise ‘architecture’ to the detriment of ‘learning place’. The ideal studio is a finely balanced combination of physical, as well as psychological space and designers should familiarise themselves with the needs and views of the current cohort of students.

The needs of students and the intentions of designers are by no means the same: “the common sense of the architect is not the common sense of the user” (Salama 2008:109).

To better understand and provide suitable facilities for the rapidly changing needs of architecture students, the types of studio spaces they need must first be analysed: Group working spaces are where students (and their tutors) establish close social contact and develop the trust and sense of belonging necessary to become part of a group.

Space to work on projects is not the same as group space. Architecture students need large spaces to keep large-scale representations of their work at hand without having to move them around. This is particularly true for group projects.

Individual workspaces are equally important because creativity requires solitude as well as collaboration (Duggan 2004). Many students prefer to work individually, either temporarily, or because it is their preferred way of working. Whichever, such silent scholarship should not be impeded by what Acker and Miller (2005: 9) accurately describe as the “cacophony of collaboration” (see Figure 1). Work that requires concentration should be accommodated in small peaceful spaces instead of rooms configured for larger groups of people (Rasila et al., 2010:150).

Figure 1 A combination of peaceful crit preparation space and open presentation space at North Eastern University, Boston. (Photo: Bryan Allen, 18.03. 2010)

Figure 4a An outside courtyard in a forgotten corner of the Wurster building.

(Source: www.archiable.com/201105/110512_wurstershire-sauce.html )

Figure 2 The “central crit space”, a multi-functional space at the school of architecture, University of Johannesburg (Author, 21.06.2011)

Figure 4b Converted into an outside space for flexible use.

(Source: www.archiable.com/201105/110512_wurstershire-sauce.html )

Figure 3a (left) Space outside CAD lab entrance, UFS (Author, 17.11.2011) Figure 3b (right) The ‘highjacked’ space with vending machine and light tables (Author, 17.06.2014)

Figure 5 Student-staff interaction opportunity, UFS School of Architecture (Author, 15.06. 2014)

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Open spaces for adaptable use are often referred to as ‘multi-functional’ spaces. These however often end up as being ‘non-functional’ spaces: the result of what Nasar et al. (2007:56) call a “kind of non-architecture” – large spaces that create the impression that the architect had simply given up on creating the complex and diverse teaching spaces required. A better design goal is for ‘versatile’ spaces that can do many things well, and/or ‘adaptable’ spaces that can be easily changed to suit changing usage needs. These spaces work best, when they are centrally positioned and have the necessary infrastructure available to be easily adapted to immediate needs (Fig. 2).

Informal learning spaces are a form of adaptable space, as they are often ‘highjacked’ for use. See for example, a space in the UFS architecture school building directly after occupation, and two years later (Fig. 3a and 3b).

Places where students and teachers can relax together are much neglected despite the need for a physical environment that “help to break down hierarchical barriers between professors and students [… and promote] conversation or at least the perception of one another as actual human beings” (Misencik et al., 2005). Figure 4a and 4b illustrate how a disused space outside Wurster Hall, home of the College of Environmental Design at UCLA Berkeley, was converted into an outside space for flexible use. Figure 5 shows a similar opportunity at the UFS school.

Virtual space with the advent of social networking systems, interaction is becoming less anchored to physical space (Gieryn 2000:463). This is however (currently) not an ideal way of learning architecture: O’Connor and Bennett (s.a.) compare online learning to raising a child online and believe that only a complete physical immersion in the learning environment can prevent learning from becoming dull, fragmented, one-at-a-time lessons.

This list is not exhaustive, and every school will have context-specific requirements. It does however reflect the variety of spatial types required by architecture students. The designer who understands what turns ‘space’ into learning ‘place’ for its intended users, can connect architecture to context and ensure that studios are responsive to all the needs of architecture students (Clark & Maher, 2005:2). The ultimate aim of the sticky studio is therefore to create an environment that supports a community of architecture students and tutors by stimulating interaction, fostering innovation and creativity, and nurturing humanity.

This article is based on: Wagener, A. Towards a satisfactory learning environment: ImportancePerformance Analysis of the on-campus requirements of architecture students. Masters of Architecture dissertation, Faculty of Engineering and the Built Environment, University of the Witwatersrand. Online. Available from http://wiredspace.wits.ac.za/handle/10539/13257. Accessed on 12 June 2014.

References: Acker, SR & Miller, MD. 2005. Campus learning spaces: investing in how students learn. Educause Center for Applied Research, Research Bulletin, 2005(8): 1 - 11.

AIAS (American Institute of Architecture Students). 2010. Studio culture.

Online. Available at http://www.aias.org/website/article.asp?id=77 Accessed on 6 April 2011.

Clark, S & Maher, M. 2005. Learning and designing a virtual place: investigating the role of place in a virtual design studio. [O].

Available: http://www.arch.usyd.edu.au/~stevec. Online. Accessed on 15 May 2010.

Duggan, F. 2004. The changing nature of the studio as educational setting. CEBE Transactions, 1(2): 70 – 76.

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Fisher, T. 2008. Some schools of architecture could use a good architect.

The Chronicle of Higher Education, 54(26): 19 – 20.

Gieryn, TF. 2000. A space for place in sociology. Annual Review of Sociology, 26: 463 – 496.

Misencik, KE, O’Connor, JS & Young, J. 2005. A learning place: ten years in the life of a new kind of campus center. About Campus, July-August: 8 – 16.

Moore, R. 2000. The (re)organisation of knowledge and assessment for a learning society: the constraints of interdisciplinarity. Studies in Continuing Education, 22(2): 183 – 199.

Nasar, J, Preiser, W & Fisher, T. 2007. Designing for designers: lessons learned from schools of architecture. New York: Fairchild Books.

O’Connor, R, & Bennett, S. 2005. The power of place in learning.

Planning for Higher Education, 33(4): 28–30.

Rasila, H, Rathe, P, & Kerosuo, H. 2010. Dimensions of usability assessment in built environments. Journal of Facilities Management, 8(2):143 – 153.

Salama, AM. 2008. A theory for integrating knowledge in architectural design education. International Journal of Architectural Research, 2(1): 100 – 128.

argitektuurstudentetydskrif 2014 | departement argitektuur, universiteit van die vrystaat

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New Student Housing Unit (SHU) Main Campus, University of the Free State The professional team: Architects: Bitzer Design Studio (Design) | Witthuhn, Maree, Stephenson (Project Management) Quantity Surveyors: QS.Com | Structural Engineers: MVD structural engineers | Electrical Engineers: CKE engineers

T

he new student housing unit (SHU) is located on the western part of the main campus, a few minutes’ walk in a north-western direction from the main Library and Thakaneng bridge student centre. Together with the two recently completed ConLaurês and Outeniqua student housing units the project will contribute to this key area as a diverse and inviting student destination.

The new student housing unit is designed around the University’s Human project with specific emphasis on building community. This approach flows from the notion that learning is not a solitary venture and does not end at the classroom door. In the new housing unit students will build life-long friendships and exchange ideas that are a key part of the University’s culture. The community approach starts at the shared central public square that allows access to the entrances of all the SHUs and continue into different lounges, reading rooms and circulation activities to support the vision for a close knit community.

Home to over 250 students, the building offers various distinct living arrangements: Single and double rooms for the undergraduate students while the post-graduate student seeking a more independent lifestyle is offered a choice of senior rooms, bachelor apartments and one bedroom units. Combined with overnight facilities for visiting academics, as well as laundry facilities and a dining hall, various lifestyle options are addressed.

Spatially the building is structured around different access zones and functions, articulating the transitions from public ‘urban’ space to private sanctuary. Opportunity for social inter-action is continuously exploited, aiming to provide optimal opportunity for social bonding and student involvement.

In an effort to stay within the universities’ culture to be student-orientated in its lay-out and operations (a culture that was started by the late Bannie Britz) vertical spatial development followed the same trend. Gathering space is provided at entrances to all passages and each passage functions as a small community within a bigger configuration. Space is promoted to be more than just brick and mortar, offering the opportunity to become a social reference and safety net.

The site slopes gently towards the north-eastern corner and offers this specific housing unit an approach and entry from the lowest point of the site. The three wings are visible from this approach with distinctive raised roofs over the main social areas for each wing. Each housing unit was to provide one public function. In the case of the new SHU a lecture room had to be provided. As part of the most public areas of the development it faces the square together with the entrance foyer, rotated house-committee room adjacent as well as the ‘gazellie’ which serves as the public lounge.

The building consists in essence of a public component facing the square, a circulation corridor as well as services crossing the site from north to south with an east-west orientation, providing access to the north-south facing three wing accommodations. Three stories high, each level of a wing consists again of a public entrance to a shared flexible lounge and self-managed communal kitchen with controlled access leading to the private bedrooms. In a communal housing facility the individual is constantly surrounded by others. This specific design focuses on the creation of different niches for all social needs – the individual can find solace in his or her own room to study, rest and reflect. Moving outwards from the

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private rooms towards the communal core, areas thus gradually become more and more collective. A triple volume next to the stairs that vertically connects the different floors further enhances the connection between the different floor levels. The passage that forms the link between the different wings also gives access to study rooms, laundries, store rooms and a facility for the cleaners. The south facing wing houses the postgraduate students and guests of the university with a separate entrance foyer. This wing extends to the east where staff units are also located.

A structural system of column and slab forms the basic grid around which spaces as requested are provided, with emphasis on maximum spatial experience. The prescribed face-brick finish is designed as cavity walls to offer optimal indoor climate as well as to create depth on elevation. The specific treatment of windows helped to enhance readability of the building in terms of use with larger windows in the public areas in contrast with those of the private rooms.

In order to accommodate the slope of the site terraces had to be introduced for economic design. Level differences were introduced where right-of-passage could be accommodated. Three levels of security exist: the front door offers the first line of security with access to the entrance area, house-committee room, a communal lounge, wc’s and ‘gazellie’. The ‘gazellie’ and adjacent waiting area function to gather different groups and leads to an open courtyard and serves as extended space for larger gatherings. A second line of security offers access to the passage that links the different wings of the SHU where study rooms, laundries, storerooms and facilities for workers are housed. At the entrance to each passage a third line of security is incorporated that provides access to bedrooms, communal bathrooms, kitchen and lounge areas. Level differences enhance these transitions.

The program for this student housing unit focuses on transitional spaces as a powerful design tool and key factor to improve the way we live and relate to each other. With an extremely tight budget and prescribed maximum sizes to rooms and other areas, it hopes to use the ‘gather and release’ principle in order to create a contemporary new building to address current needs. It is unassuming with traditional building materials and methods but aimed to arrange these in a way that symbolizes community above all. In dialogue with the two other new SHU’s, this building hopes to add to the collective experience of the users.

The project unifies situations of intimacy with those of complete extroversion and collaboration. Social engagement thus served as generator for the design and the aim is that it will result in a satisfying community life where shared life experiences is negotiated while still offering a place for quiet reflection and rest on campus.

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Re: service learning – dept. Architecture Hein Raubenheimer

J

oyce Mohatlane has been employed with the Department of Architecture UFS since September 2010. She is a single mother with her only child, Botshelo in grade two. In 2013 Joyce obtained a vacant stand: no. 26502, Phase Nine, Sonskyn, Bloemfontein. Like all low income families in that area Joyce had to provide an instant dwelling for her and Botshelo.

funding has helped to make this project a tangible reality. Together with possible sponsorships from industry the project is slowly but surely entering its final design stage to be submitted for municipal approval.

Architecture students will be involved at various stages of the construction.

By incorporating this project with the Building Science curriculum, first to third year students will be offered an opportunity to develop their skills whilst serving a valued member of the community. Due to sponsored materials the final aesthetic outcome of this building might vary from the images shown although the footprint and internal volumes will stay as designed. The anticipated construction phases will consist of the following: Phase1:

Initial hybrid concept sketch, incorporating an addition with the existing shed

Myself and many of my colleagues discussed the probability of providing Joyce with a more permanent solution than the familiar corrugated iron shed, which has become synonymise with informal settlements in South Africa.

The initial phase will include mass concrete strip foundations as well as cement brick / concrete block raising foundation walls. This phase will bring the structure out of the ground and form a basis onto which the stabilized earth blocks will rise to roof level. With students divided into groups of 12, this initial phase could be done within four weeks of the academic programme.

One of our first year traditions, the annual hut building project, sparked an idea to construct a dwelling with stabilized earth blocks as a service learning initiative for architecture students. Annemarie Wagener initialised a 4th year Building Science project whereby groups of students designed a small scale build-able solution to this problem.

I undertook the responsibility of working with Joyce on a client-architect basis to develop her needs into a design brief that formed the basis of a design-build solution. Her immediate need is to have a dignified space for living, sleeping and eating. Following the presentations of the 4th year student groups, the overall feeling was to make use of as much recycled materials and innovative ‘low technology’. This approach together with sponsored material / systems from industry will allow this small building to grow and take on its own architectural ‘style’. However this approach complicates the project and limits the possibility of planning and designing the project in its final form. The current design proposal has been approved by Joyce and allows for future extensions, whether it is an extra bedroom / enlarging the living space or a bathroom etc.

During February 2014, The University of the Free State’s Directorate for Research Development called for Interdisciplinary Research Proposals.

The Department of Architecture joined forces with the Chemistry Department in its interdisciplinary research proposal for the use of chemically engineered cement as a means of stabilizing the earth blocks.

This effort proved successful and a substantial amount of research 42

First developed sketch plan according to client’s requirements

argitektuurstudentetydskrif 2014 | departement argitektuur, universiteit van die vrystaat

Phase 2: Taking into account the expertise of the Unit for Earth construction at the Department of Architecture UFS, the students will be able to produce the stabilized earth blocks on site. With the available 1st to 3rd year students working in shifts of one day a week, this phase should produce 2300 blocks within 15 weeks.

Phase 3: Stabilized earth block masonry up to roof level; time estimated for this phase will depend on the availability of students during holidays, weekends, etc. Working in four groups of four students / group this phase could be completed within three weeks.

Phase 4: The availability of materials and generosity of the industry will have a defining impact on this phase’s design, build and time estimate.

Students will design and pre-fabricate elements of the building in the studios of the Department of Architecture UFS. This will save a lot of time and contribute greatly to the quality of the building. The ideal solution will employ the innovative, recycled, low technology which is referred to previously.

sectional development

sketch plan according to client’s requirements

sketched design proposal

architecture student magazine 2014 | department of architecture, university of the free state

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Skills Lab Brief description of Project: The Allied Health Department consists of Occupational Therapy, Physiotherapy and Nutritional Science, and trains professionals reaching out to the community, stimulating physical recovery, as well as adapting to new restraints. The building was envisioned to capture these qualities and communicate it to the public.

The existing student passage from the C.R. de Wet Building leads to the new Skills Centre reception to create an arrival node. This node extends to connect with the existing pedestrian walkway leading from the Universitas Training Hospital and forms the public entrance. The Skills Centre echoes the C.R de Wet Building’s

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footprint, forming a barrier between the public flow on the southern side and a secluded courtyard on the northern side. The building communicates with passers-by through strong rhythmic elements on the southern façade. The splits in this façade allow the public to visually participate in the activities on the inside, thereby giving insight on the Allied Health Professionals. The courtyard is an extension of the skills labs, allowing the students to do practical sessions inside or outside, again being visible to passers-by.

Basic green principles were incorporated in the design process with regards to form, materials, orientation and landscaping. The northern façade is mostly transparent with an

aluminium frame and glass infill panel, directly adjacent to the circulation area. Sufficient ventilation is provided by nine double doors.

Vegetation plays an important role in passive climate control: the three mature, deciduous Celtis Africana trees in the courtyard provide a screen against sunlight in summer and allow for an accumulation of heat in winter. The three-storey height of the C.R. de Wet Building also provides shade. The western facade is also served by passive climate control, where a solid concrete wall blocks out the unforgiving setting sun in the Free State summer. The first floor, which is more exposed, was provided with steel louvers on the north-facing windows to prevent heat buildup.

Insights from a survivor: Anja Lareman studying architecture at the University of the Free State First year: what am I studying?

Congratulations. You are one of the “chosen”, one of many who didn’t succumb to the wrath of the lecturer’s glare in that first interview – in all fairness, the prerequisite was basically drawing a sphere whilst maintaining a decent conversation, remember? Oh, what simpler times.

So, you’re here, with your blue Kloppers trunk (it’s almost like Hogwarts, many sleepless nights and some red bulls later, it ís Hogwarts), your Signo starter pack and blissful ignorance. Until you meet Hein. If it wasn’t for Hein, building science would not have become the sanctified practice it is today. Dubbing us as “the ignorant first years he got stuck with”, he shared many life philosophies (often in verse of Fokofpolisiekar) and taught us the value of the fassie… Some buildings for people you don’t know later, the year is done. You return home and attempt to sleep forever. However, after two days you forsake the cause and your mother still doesn’t believe you “suffer sleepless nights” (after all, you just slept two days?)

Second year: the carnivorous Callie.

The exciting news: we are getting a “new” department (“it’s not a faculty!”*) “New” meant we had to move. The lucky building chosen to host a hoard of sleepless architecture students was the Callie Human’s basement. Parking was bliss, as there was always available in unfailing numbers. For the first time we knew exactly when campus exam times were (as we heard every voorlesing of every scheduled Callie-exam above). We knew how to valorously sacrifice a limb for models and where the Medi-clinic’s ER was. The carnivorous Callie was cold, and after the raining season, smelled as if a clowder of

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cats found their way into the basement as well.

The smokers were left desolated, with no roof covering to heed the cold. Times were tough and even worse for the first years, accepted for glorious architecture and destined for Mordorunderground. Afterwards, the Callie’s ceiling had to be replaced (it was a frustrating year) and we returned to our utopia. We were the luckiest students in the world and didn’t miss a moment’s opportunity to show everyone who seemed interested our “new” home.

Another year later, and half the class gone, second year is completed. Now - that wasn’t that bad, right?

Third year: edifices of survival Wrong, the worst was yet to come. Completing 12 projects in one year meant sleep was becoming the myth we feared it to be.

Fortunately, we had pappa Jako and his team to guide us through the year. It was a usual sight to walk past the third year studio, long after classes ended in the afternoon, and see a lecturer helping a student with a crit. However, third year was also the year of the 21st and our annual class tour to Cape Town (coinciding with the architectural student congress) which meant social life reserved priority even with the hectic work schedule. Third year was also the year I chose to serve on the department’s architectural student committee, called the A5.

The A5 worked in close proximity with class representatives and served as a link between students and staff. As a primarily academic committee, we also served as mentors for first years, helped with presenting the department’s winter school in June and organised social events for the department.

Dedication and pure will power steered us through the year.

Fourth year, honours: you realise what you actually wanted to do with your life.

It’s too late now, you survived three successive years of self-mutilation, and you have to pursue the dream. Many fellow students left after the completion of their bachelors to live the life they always knew they had. You realise you’re the oldest on campus except for the medical students who also only see cadavers. The cold realisation hits you that student life happened and you might have missed it.

Fifth year, masters: the final countdown Just as you become sad over a missed university-experience, you gain something even better: a family. The messed-up kind.

Need a guide for urinal spacing? If you doubt old Neufert, two other guys are more than willing to re-enact the privy deed and help you out with your spatial conundrum. At 2 am.

Still, not the most bizarre to happen, as cubicle fish are manipulated into casting soccer votes and inter-cubicle Counter Strike in a modelled version of the department, seems more fun than Nesbitt.

Reminiscing over the previous four years, I’m shocked that time swept by so quickly. This year is what you have been aspiring to achieve for the last quarter of your life, and you finally made it. It should not be a wasted opportunity but a chance to assert your own voice and develop it. Be the meaning you seek within your architectural creations and know that people care more about the ‘why’ than the ‘what’, the ‘who’ or the ‘how’.

architecture student magazine 2014 | department of architecture, university of the free state

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architecture student magazine 2014 | department of architecture, university of the free state