page [i]
page [ii]
page [iii]
“Everything originated in water. Everything is sustained by water.� Johann Wolfgang Goethe (1749-1832) (Consigli, 2008:3).
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Borderline – mediated landscape A water research centre for the University of the Free State (QwaQwa Campus).
Jurie Swart University of the Free State M.Arch.(Prof) Submitted in partial fulfilment of the requirements for the degree Master Architecture (Professional) at the Department of Architecture, University of the Free State. Unless otherwise stated the research contained in this document is entirely my own work. Lecturers: Mr. J Ras Mrs. M. Bitzer Prof. W. Peters
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index __
[3]
table of contents [-1] [-2] [-3]
[1] 1.1 1.2 1.3
[2] 2.1 2.2 2.3
[hypothesis] [abstract] [storyline]
2.5 2.7 2.8
page [vi]
3.1
[x]
3.2
[xii]
3.3 3.4
[4]
introduction [preface] [aim] [methodology]
[2] [3] [3]
[preamble] [the genius loci of the site] [place]
4.2
5.1 [5] [7] [8]
non-place no man’s land placelessness for place to be activated the space first needs to be awakened theoretical precedents
[transparent logic] [nature] [abstraction] [conclusion]
4.1
[5]
theoretical investigation
2.3.1 2.3.2 2.3.3 2.3.4 2.3.5
2.4
[viii]
5.2 5.3
[6] 6.1
brief & accommodation [brief] [client] [facilities] [accommodation list]
[27] [28] [30]
historic overview [background and overview of QwaQwa] [background and overview of Fika Patso Dam]
[33] [36]
context studies [macro context] [meso context] [micro context]
[39] [48] [50]
precedents [analysed projects] >> diller scofidio - blur building >> louis kahn - salk institute >> li xiaodong atelier - bridge school
[12]
[26]
[64] [66] [73] [78]
[16] [21] [23]
6.2
[inspirational projects]
>> antiago calatrava - mujer bridge >> nicoll russell - falkirk wheel boat lift >> theo jansen - strandbeest
[84] [84] [86] [88]
index __
[7] 7.1 7.2 7.3
[8] 8.1 8.2 8.3 8.4
[9] 9.1
design development [touchstone] [concept] [conceptual drawings and model development]
[92] [96] [98]
design synthesis [theoretical application] [analytical discussion] [design composition] [design components]
[10]
conclusion
[198]
[11]
bibliography
[200]
[121] [130] [132] [138]
technical report [structural precedent]
[160]
>> Santiago Calatrava - Milwaukee art museum 9.2 9.3 9.4 9.5 9.6 9.7 9.8 9.9 9.10 9.11
[sub-structure and floors] [walls] [roof/skin] [fish farm/floating foundation] [wetlands] [services] [fire regulations] [water filtration system] [eco-design] [drawings]
[167] [168] [169] [173] [174] [175] [178] [179] [180] [182]
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hypothesis __
[-1]
Hypothesis By amalgamating two contrasting systems which will fuse an architectural typology/ architone within these interacting systems and result in a symbiotic relationship [hybrid].
page [viii]
hypothesis__
Fig.1 Transhuman NOTE: Man vs. Nature Edited from (Mountainvision, 2011:online)
page [ix]
abstract __
[-2]
Abstract When exploring the first traces of architecture it brings us to Marc-Antoine Laugiers’ reference to the primitive hut where the shelter and the skin act as a refuge: a wall offering protection from the outside world. In nature the skins of plants and animals are much more sophisticated - they are able to regulate temperature, generate energy and adapt to change. By exploring nature’s design and introducing biomimicry (the act of mimicking or copying biology) the obvious clues in nature can be applied to architecture which will ultimately result in the creation of a hybrid building- a building self-sustaining and adaptive to its surroundings. This dissertation explores whether nature and architecture can amalgamate to become a hybrid solution in a vast landscape which has lost it’s reference to place and time. The transformation of place and time through architecture results in a progressive fusion giving meaning to a certain non-place lacking character and special qualities and resulting in an awakened space. The aim of this theoretical discourse, together with the analysis of the site and context, would lead to the development of the UFS Water Research Centre.
non-place
page [x]
nature [biomimetics]
spatial awakening
spatial awakening__
spatial awakening Fig.2 Nature vs structure NOTE: The spatial awakening Edited from: (Frelon, 2008:online)
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introduction __
[-3]
Storyline The storyline [image on the right side] is a brief summary of the entire dissertation. This storyline was compiled to familiarise the reader with the project from beginning to end.
page [xii]
storyline __
Fig.3 Storyline NOTE: Entire book summarized
page [xiii]
1. Introduction 1.1 [preface] 1.2 [aim] 1.3 [methodology]
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introduction __
Fig.1.1 Another colour test (Baldwin, 2011:online)
page [001]
introduction __ [background and context]
introduction
• Tabula rasa - “born blank, a clean slate” (Porter, 2004:82). • Non place - “identity is based on a relation to the nothing” (Porter, 2004:82). • Juxtaposition - “describes the placing of elements side by side in order to invite their interaction and the activation of a comparison of relationships” (Porter, 2004:82).
1.1 Preface The site is situated in the Eastern Free State of South Africa, at the foothills of the Maluti Mountains near the border of the neighbouring Lesotho Kingdom. The breathtaking escarpment alongside the spectacular Drakensberg mountains became the birthplace of the Fika Patso dam. Construction of the Fika Patso Dam changed the previous known site into a man-made structure that resulted in a loss of the genius loci. It is within this challenging terrain that the reader will be informed of the steps taken, through research and analysis, which result in an architecture that reactivate space by relating itself towards the two opposing landscapes. Architecture should become a space within which nature can grow and become part of the symbiosis called life. When the colliding systems are fused, a coherent typology emerges, juxtaposing the forgotten space and creating a tabula rasa where the non place can be reactivated resulting in a spatial awakening. The architecture will not only attempt to reactivate the space but it will also become a centre for research whereby knowledge can be obtained and shared. Environmental responsibility has become such an important factor when designing, that architects today try to be as eco-friendly as possible by introducing nature, mimicking nature, or applying it to their specific design, but are they successfully doing so? This dissertation explores architecture in a manner which will incorporate nature as generator. By introducing biomimetics, these principles can be applied to solve architectural issues. In this way architecture will seem to be alive, resulting in a symbiosis with nature. The architecture will act on environmental conditions; moving, breathing, protecting and screeching when in movement.
The borderline identifies the existing condition when the superimposition of various systems takes place, reacting and colliding to provide a new landscape (Woods 1998:30). page [002]
introduction __ [aim]
1.3 Methodology The following methods have been used in conducting the research for this document: 1. 2.
1.2 Aim The aim of this project is to function as a research facility for the University of the Free State gaining knowledge and educating. Ultimately striving to regenerate the borderline between architecture and man, creating a new relationship that will transform the non-place into a research hub. By utilising nature, biomimetics can be explored and expressed in more ways than one. The aim is to design a building to interact with different systems in nature to function as a unit, just as an ecosystem would.
3. 4. 5. 6.
Literature studies. Personal interviews with various educated individuals who have knowledge and experience on the relevant topics within this document. Watching documentaries on water research. A visit to QwaQwa, which included: the proposed site Fika Patso dam, various water treatment works, Sterkfontein Dam, Metsimatsho Dam and various water purification facilities in the Phuthaditjaba area. The Department of Water Affairs and Maluti-a-Phofung Municipality. Precedent studies regarding theory and design.
By making use of the knowledge and information gained from the above the author will: 1. 2. 3. 4. 5. 6. 7.
Interpret the site and character of the specific area. Incorporate the general aim of The University of the Free State, the Department of Water Affairs, Maluti-a-Phofung Municipality and International organisations. Determine how architecture can activate space, through the use of nature, to ensure a symbiotic relationship resulting in a fused architectural typology. Compare these ideas with Precedents. Critique on similar projects. Discuss history and theory. Conceptualise a unique design.
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2. Theoretical investigation 2.1 2.2 2.3 2.4 2.5 2.6 2.7
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[preamble] [the genius loci of the site] [place] [transparent logic] [nature] [abstraction] [conclusion]
theoretical investigation __ [background and context]
• How can architecture activate space and give meaning to a certain place? • Meaningful place should fuse the character of the site, needs of the worker (dweller) and program of the building.
• Genius loci - “spirit of place”, character of the space.
2.1 Preamble According to Tadao Ando (Architect and Architectural theorist,1941- )(1996:461), “The presence of architecture: regardless of its self-contained character - inevitably creates a new landscape. This implies the necessity of discovering the architecture which the site itself is seeking”. This chapter explores, on a theoretical front, the concept of how `place’ can be reconstructed through spatial awaking. This study will further explore the nature of how we conceive, construct, perceive and interpret ‘place’ and how we successfully transform it, by introducing architecture. The intention is to formulate a theory which would structure an essential guide to “awaking space”, and to encourage the creation of place and functional space. This would be achieved by formulating Ando’s (1996:458) )four principles towards creating a new horizon in architecture, as sub-headings which would react on one another for architectural creation, namely: • Place • Transparent logic • Nature • Abstraction These principles guide designers to break away from the homogenisation of spaces and encourage the creation of meaningful places through the mediation of contrasting systems, distinctive of the characteristics of the site. Due to the nature of the chosen site, an overview of the genius loci needs be discussed, to familiarise the reader with the characteristics of the current site.
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01
02
03 04
Fig.2.1 Theory puzzle
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theoretical investigation __ [spatial awakening]
• Lost space - lost of genius loci • Genius loci - “spirit of place”, character of place
2.2 The genius loci of the site Fika Patso Dam borders the town of Phuthaditjhaba, which is situated in the foothills of the Maluti Mountains near the border of the neighbouring Lesotho Kingdom. This area is in close proximity to the Golden Gate National Park and borders, also, QwaQwa National Park. Before construction started in 1986, the genius loci of the site was typical Eastern Free State landscape, which at that time was unaffected by man and can be regarded a `virgin landscape’. “If genius loci is taken to be a close synonym for character, then we all have some idea of what it is for something to be out of character“. (Menin, 2003:70). This is exactly what happened to the genius loci of the site, it shifted out of character. Upon completion of the Fika Patso Dam the site was consumed by a vast landscape of water, covering the entire valley. This waterscape became a preservation medium of the previous landscape, preserved under water. The new site became a foundation on which to react. The waterscape is in contrast with the ‘lost space’ which has no connection with past or present; a pause in space and time. This led to the idea of spatial reawakening through the medium of architecture. “The fundamental properties of water is its ability to conserve or store substance both material and not...water influences the organization of thought, learning through listening, the formation and conservation of memory.” (Consigli, 2008:49). The new space gave birth to the borderline idea of Lebbeus Woods (1998:30): The borderline identifies the existing condition when the superimposition of various systems takes place, reacting and colliding to provide a new landscape. The collision between the man-made and nature laid the new landscape for the fused architectural typology, resulting in a hybrid of interacting systems.
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theoretical investigation __ [spatial awakening]
Fig.2.2 Authors representation of place
2.3 Place “The presence of architecture - regardless of its self-contained character - inevitably creates a new landscape. This implies the necessity of discovering the architecture which the site itself is seeking”. (Ando, 1991:461).
The meaning of place is closely associated with space, as these two concepts rely on each other for clarification. As Anne Stenros (Architect and Architectural theorist, 1959-) (Menin, 2003:1) argues “it is the experience of place, the feeling of place, and its origins, since place is the most unique experience of space, it is man’s deepest experience of the environment”.
The site transform into ordered place through the introduction of architecture.
It is thus important that place not only generate the architecture but that the architecture activates the space. Both space and architecture should be dependent on each other to create place. Specific elements (wind, water, sun) of the site would have an effect on the design, where the architecture then needs to respond to these ever changing elements; to adapt in a way that architecture can become alive.
01
‘Place = meaning + space’ (Seamon, 1976:64). page [008]
We define place as something known to us. Space, in turn, is where we feel safe and enclosed, regardless of the edge outside. The edge refers to the threshold, as one enter or leaves a space, with the borderline between space and place. “We need to be able to situate place in space for it to exist, for if we cannot do so, it remains meaningless and thus non-place.” (Day, 2002:121).
theoretical investigation __ [spatial awakening]
2.3.1 Non-place Siegfried Kracauer (1995:179) states that the socially alienating character of a place whose identity is based on a relation to the nothing is known as non-place.
2.3.2 No man’s land Fig.2.3 Doesn’t this picture make you think of a story? (Mathilda, 2001:online)
Through the author’s investigation of the specific site’s “loss of character” the following terms, non-place, placelessness and no man’s land, it is clear that they are widely recognised but rarely clearly defined. It is evident that a true description could not be found for the characteristic loss of the site, due to the fact that the genius loci isn’t lost but merely submerged under water. Searching for the correct description, the author decided to refer to the specific site as being the “forgotten space” rather than non-place.
Land that is unowned and uninhabited (wolframalpha, [n.d.]:online).
2.3.3 Placelessness According to Arefi (1999:181) Placelessness refers to a ‘loss of location’ physically and also emotionally for individuals or groups.
Fig.2.4 Covered eyes (Art Nectar, 2008:online)
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theoretical investigation __ [spatial awakening]
Tadao Ando instructs that by focusing on architecture’s power a new landscape can be produced. (Ando, 1996:459).
Fig.2.5 New landscape (Garcin, 2005:online)
2.3.4 For place to be activated the space first needs to be awakened How does one reactivate a forgotten space? A built environment transformed from its natural state into a void, having no connection with the past, present or future; a pause in space and time. According to Norberg-Schultz (Architectural theorist, 1926-200)(1976:422) the structure of a place is not a fixed, eternal state. As a rule place changes, sometimes rapidly. This however does not mean that the genius loci necessarily changes or gets lost. But what if the site has been transformed in such a way that the character of its known state has changed into a place that lends itself towards a forgotten space?
Thus, according to Uexkull (Theorist, 1864-1944) “Space has become autonomous as have the objects within it.” (Hensel 2009:147). By basing ourselves in permanent immovable structures we have disrupted our experience of space. Therefore interaction becomes a key factor in activating space. If a structure can move with nature or be moved by nature, the space becomes active and alive. Uexkull describes space as a series of existential encounters with our surroundings, which are unique for every organism (Hensel, 2009:146).
Norberg-Schultz (1976:414) then states that the existential purpose of architecture is to make a site become place by introducing architecture to alter the site. Tadao Ando (1991:459) claims that by focusing on architecture’s power, a new landscape can be produced. “Places, like people, can be traumatised, but like humans they can recover from their negative experiences, albeit with their characters altered.” (Menin, 2003:90). Spatial awakening by means of architecture will result in a `recovered’ state of place.
Fig.2.6 How we experience space
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theoretical investigation __ [spatial awakening]
Fig.2.7 Landschaftspark (Freshkillspark, 2001:online)
Fig.2.8 Landschaftspark (Urbangreen, 2009:online)
Fig.2.9 Maunsell Sea Forts (Dpr-barcelona, 2010:online)
Fig.2.10 London Pirate Radio (Dpr-barcelona, 2010:online)
2.3.5 Theoretical precedents The following precedents experienced spatial awakening:
Before `place’ can be activated the transparent logic of the site needs to be understood.
In Duisburg-Nord,Germany’s Ruhr district, Peter Latz has turned a former industrial works into a landscape park. This place suffered the traumas of industrialisation and ‘de-industrialisation’, but in the process accrued to new meaning and ecological value that a conventional reclamation scheme would have erased (Menin, 2003: 72). During the Second World War, seven anti-aircraft forts were built to protect the Thames Estuary, and designed by Mr. G. A. Maunsell (fig. 2.8). After the war these structures were abandoned and in the 1960s a pirate radio station (fig. 2.9) made use of it by broadcasting illegal rock and roll music, giving new ‘life’ to the once abandon structures (Dpr-barcelona, 2010: online). Looking at an individual’s experience of space, provides the opportunity of making space more personal, free from the associations of typological function or social manipulation. To actively engage the user, architecture needs to explore sensory stimulation, as well as the development of responsive systems, so that we can regain control of our environment (Hensel, 2009:147). Fig.2.11 Maunsell Sea Forts (Dpr-barcelona, 2010:online)
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theoretical investigation __ [spatial awakening]
Fig.2.12 X- ray plant (Facilisimo, 2006:online)
2.4 Transparent logic
2.4.1 Existing Structure
“Architectural creation involves contemplating the origins and essence of a project’s functional requirements and the subsequent determination of its essential issues. Only in this way can the architect manifest in the architecture the character of its origins”. (Ando, 1991:459).
“In fact, all architecture proceeds from structure, and the first condition at which it should aim is to make the outward form accord with that structure.” -Eugène-Emmanuel Viollet-le-Duc (1872:3). Ando states (1996:459) that transparent logic refers to the origins of the design leading to the functional requirements. It is in this dissertation that the existing structure becomes the origin of space. According to Adrian Forty (2000: 276) the term ‘structure’ has in relation to architecture three uses: 1. The first relates to any building in its entirety. 2. The second relates to ‘the system of support of a building, distinguished from its other elements, such as its decoration, cladding, or services’ (2000: 276).
02
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3. The third concerns the arrangement of tectonic parts. The tectonic structure can be seen as part of the triad apparent in all architecture as a tectonic, tactile and material vector converging in a constantly involving interplay (Gerritsen, 2009: 3). For Frampton the poetics of construction and the art of making, as expressed by tectonics, the chance to escape homogeneity in architecture (Frampton, 1990:518).
theoretical investigation __ [spatial awakening]
Fig.2.13 X- ray art (Veasey, 2011:online)
“Norberg-Schulz also presumes that nodes are the concretization, i.e. the architecturally expressed counterpart, of place�. (Norberg-Schulz, 2003:147). By focussing on the power of architecture to create a new landscape, it needs the entire landscape to be embraced as a generator for functional architecture. It is thus important to use the sites potential as reaction on the overall design. Architecture designed around nature, lets nature control the overall functionality of the building. Nature should become apart of the transparent logic in each design, encouraging change to the requirements.
node
node
node
node
Fig.2.14 Typos, topos and tectonics (Deplazes, 2005:11)
Christoph Elsener describes the constantly evolving interplay of the three converging vectors namely: typology, topology and tectonics that put the built invariably into existence, refer to image 1.11 (Deplazes, 2005:11).
Fig.2.15 Existing tectonics
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theoretical investigation __ [spatial awakening]
2.4.2 Site assemblage It is important to understand place, for the site gives the logic to generate a design. Each site becomes an assemblage that adds to the design. By understanding Simon Unwin`s (Architect and architectural Theorist, 1952-) theory on constructing place on the beach, the experience of being on water is the same, in the sense that it seems to intensify our perceptions in more subtle ways: of being in space, held by gravity to the surface of the earth; of exposure to the forces of the sky, the sun and wind; of the size and scale of our bodies, the loci of movement; of directions implicit in our bodies and in the landscape, and the possible relationships between them; of freedom from orthodox constraints; of detachment from the mundane and from other people; of being where life as such has begun… In short, our awareness of existence is heightened (Menin, 2003:90). Schauberger liked to say that “birds don’t fly, they are flown by air currents, just like fish do not swim, they are swum”. (Consigli, 2008:7). A building should not be sustained on its own but rather be sustained by nature.
It is in this phase where design starts to take shape, driven from the site and context. The site as assemblage activates the design, even the simplest of factors can have an impact on the overall product.
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Fig.2.16 Site as assemblage (Archimorph, 2010:online)
When place and transparent logic is fully understood the importance of natures then needs to inspire the creation of architecture.
theoretical investigation __ [spatial awakening]
Fig.2.17 Dandelion NOTE: The logic behind the design (Hdlost, 2009:online)
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theoretical investigation __ [spatial awakening]
Fig.2.18 Nature
2.5 Nature “I seek to instill the presence of nature within an architecture austerely constructed by means of transparent logic. The elements of nature water, wind, light, and sky - bring architecture derived from ideological thought down to the ground level of reality and awaken man-made life within it”. (Ando, 1991:460).
The natural environment stands in contrast with the built environment, which is strongly influenced by man. Changing or altering nature’s recourses, breaks down the character of the site, leaving no place for nature to grow or react. For architecture and nature to form a symbiotic hybrid it’s necessary for one to become familiar with each of the two forces. Alexander Pope’s Epistle to Lord Burlington (1731), where the poet gives the following advice: ”To build, to plant, whatever you intend, To rear the Column or the Arch to bend, To swell the Terras or to sink the Grot; In all, let Nature never be forgot. Consult the Genius of the Place in all“ (Pope, 1988:12).
03
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“The Building replaces the land. That is architecture’s original sin” (Betsky, 2002:5). So why not become familiar with the surroundings of nature where one can analyse and discover the element which could create self-sustainable architecture, if applied correctly. The architecture can become a living and breathing organism in nature. In Walt Whitman’s words: “If, in the world, man sees around him the rhythm of nature’s processes revealed; and if the colours, forms, and movements he sees are expressions of organic events, then his vision is nourished by the ‘primal sanities of nature’ to use”. (Kepes,1965:i).
theoretical investigation __ [spatial awakening]
Let nature grow and react through architecture.
Fig.2.19 Landschaftspark NOTE: Nature reacting on the man-made (Arcipello, 2011:online)
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theoretical investigation __ [spatial awakening]
2.5.1 Nature as inspiration for architecture It is possible for architecture to enhance itself by welcoming nature into the design so that it can evolve and adapt as it requires. It is first important to understand the borderline between man and nature, for a symbiosis is needed to coexist together. This can be done by exploring nature’s secrets and incorporating natures designs into architecture to create the ultimate design. This exploration brings as to biomimetics: Biomimetics (from bios, meaning life, and mimesis, meaning to imitate). Biomimicry is the examination of nature, its models, systems, processes, and elements to emulate or take inspiration from in order to solve human problems sustainably (Brainz, [n.d.]:online). • •
“Biomimicry is the conscious emulation of life’s genius” “Imitation is the sincerest form of flattery”(Brainz, [n.d.]:online).
In this way a building can act in symbiosis with nature. The building helps provide space for the growth of nature where the local fauna and flora can grow within this ecosystem as if it was never disturbed. In the same way nature helps to sustain the building by providing functions otherwise mechanically solved. The eventual outcome is that the overall carbon footprint of the building can be dramatically reduced (Richards, 2001:8-11).
Fig.2.20 Laugier’s “primitive hut”. Essai Sur l’Architecture, illustration by Marc-Antoine Laugier NOTE: Nature as the origin of architecture (Ozkan, 2001:online)
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theoretical investigation __ [spatial awakening]
“Biomimicry is the conscious emulation of life’s genius”
Fig.2.21 Dandelion NOTE: Nature should grow through architecture (Namek, 2011:online)
Fig.2.22 Art inspired by nature NOTE: Nature should grow through architecture (Junfen, 2011:online)
Fig.2.23 Dandelion NOTE: Nature should grow through architecture (Bell, 2011:online)
“Imitation is the sincerest form of flattery”
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theoretical investigation __ [spatial awakening]
Fig.2.24 Leonardo da Vinci designs NOTE: Nature inspired (Raj, 2008:online)
Fig.2.25 Leonardo da Vinci designs (Robinsonlibrary, 2003:online)
Fig.2.26 Leonardo da Vinci designs (Raj, 2008:online)
Since the 15th century, engineers have been turning to the natural world for design ideas. Leonardo da Vinci’s ideas came from exploring birds, which inspired his designs of helicopters and hang-gliders. According to Tom Mueller from a modern aspect the “most famous biomimetic idea known as velcro was invented in 1941 by Swiss engineer George de Mestral, who took the idea from the burrs that stuck tenaciously to his dog’s hair. Under the microscope he noted the tiny hooks on the end of the burr’s spines that caught anything with a loop”. (Brainz, [n.d.]:online). There is so much that man can learn from nature and if applied right life can be transferred to the man-made resulting in a interaction between man and nature. This interaction can bee seen as a fused typology, a hybrid that is born. This hybrid results in the birth of spatial order. When place, transparent logic and nature is expressed it will lead to the development of the abstraction.
“Those who are inspired by a model other than Nature, a mistress above all masters, are laboring in vain.” – Leonardo Da Vinci (Robinsonlibrary, 2003:online). page [020]
theoretical investigation __ [spatial awakening]
Fig. 2.27 Abstraction
2.6 Abstraction According to Ando (1996:459) “the core of architectural creation is the transformation of the concreteness of the real through transparent logic into spatial order. This is not an eliminative abstraction but rather, an attempt at the organization of the real around an intrinsic viewpoint to give it order through abstract power. The starting point of an architectural problem whether place, nature, lifestyle, or history - is expressed within this development into the abstract. Only an effort of this nature will produce a rich and variable architecture�. (Ando, 1991:459).
Abstraction is based on the idea that architectural form should express its programme. The order that resonates in place, transparent logic and nature have to be expressed in order to achieve a responsive architecture. It is important to note that architecture derived from nature and everything within nature is based on order; plants, trees, seasons, etc. These orders needs to be explored through architecture. By applying these principles spatial order will be generated.
04 page [021]
theoretical investigation __ [spatial awakening] Spatial order is gained through the abstraction.
Fig. 2.28 Plan
Fig. 2.29 Order
Fig. 2.30 Order
“At the core of architectural creation is the transformation of the concreteness of the real through transparent logic into spatial order. The starting point of an architectural problem - whether place, nature, lifestyle, or history - is expressed within this development into the abstract. Only an effort of this nature will produce a rich and variable architecture”. [Ando, 1996:459].
The above quote states that the effect the following factors have on a design play an important role in the efficiency within this development into the abstract: • Place: The character, conditions and spirit. • Transparent logic: By use of the existing traces of the site it would generate the design. • Nature: mimicking the principles of nature by applying them to architecture would be self- sustaining.
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Fig. 2.31 Four principles of creating a new architectural landscape
theoretical investigation __ [spatial awakening]
2.7 conclusion The significance of the design lies not only in the shape and form, but also investigates as a facilitator of knowledge, exploring its influence upon space and time. One could argue that the design contains knowledge as function. The cognisance of the design is taken from aspects that contribute to the making of place. These include the reactivation of the landscape through the use of place, transparent logic, nature and abstraction. By creating place through reactivating the forgotten space, the design assists research and at the same time shapes our future. Fig.2.32 Butterfly egg (Oeggerli, 2010:Online)
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3. brief & accommodation 3.1 3.2 3.3 3.4
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[brief] [client] [facilities] [accommodation list]
brief & accommodation __
Fig.3.1 Nuclear water (UNICEF, 2010:online)
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brief & accommodation __ [brief]
Fig.3.2 Sequence of a falling drop of water (Niavarani, [s.n.]:online)
3.1 Brief The brief calls for an alternative design solution where landscape, nature and architecture are merged to compile a building functioning as a machine to focus primarily on the research of water. The objective of the University of the Free State Water Research Centre is to contribute to obtaining knowledge of water and to exploring alternative water energy resolutions to promote the understanding of environmental awareness and sustainability. The UFS Centre will not only manage the water quality of Fika Patso Dam for human consumption, but also for the environment. The UFS Research centre will consist of the following: -
Ecological laboratory with some biological research also taking place outside the laboratory. Most biological scientists specialise in the study of a certain type of organism. Aquatic biologists study micro-organisms, plants, and animals living in water. A chemical laboratory where various chemicals are used for experiments. Wetlands and a fish farm aiming to gain knowledge for the rehabilitation of nature. Use of the water surface, so that maximum contact with the water can be kept for the research of water. A development Centre would promote research not only for the UFS but for the global awareness of water. Research into the structure, function and components of natural water systems. Services spaces that will accommodate the complex program of each laboratory. Public space and service walkways.
“Water forms the better part of the world inside and outside us, which means that, if we want to understand nature - both our own and our planet’s - we need to explore water more thoroughly...in short water determines our beginning, sustains our present, and holds the key to the future�(Consigli, 2008:xiii-xiv). page [026]
brief & accommodation __ [client]
3.2 Client The client is the University of the Free State (QwaQwa Campus), which will operate with the main objective of water research and sustainable development. The staff of the centre will collaborate with a wide range of partners both regionally, nationally and internationally. These partners include government departments and international organisations (WWF-SA, UNESCO-IHP, DWA etc.).
Fig.3.3: UFS (UFS, 2011:online)
UFS - (Centre for environmental management). Aquatic ecology, aquatic research, biology, ecology and environmental management, the ecology of fishes and wetlands, biodiversity and succession, environmental impact and urban ecology and the environment in general, including impact assessment (UFS, 2011:online). WWF-SA - Acts as just one option available to visionary corporate which recognises the precarious state of South Africa’s water supplies (WWF-SA, [n.d.]:online).
Fig.3.4: WWF (WWF, [n.d.]:online)
UNESCO- IHP- promote and lead international hydrological research, facilitate education and capacity development and enhance governance in water resources management. Their aim is to promote environmental sustainability, water supply, sanitation, food security and poverty alleviation (UNESCO-IHP, [n.d.]:online). DWA –[Department of Water Affairs]- acts as the public trustee of the nation’s water resources. Within the Department of Water Affairs, the Directorate Water Quality Management and the various Regional Offices are jointly responsible for the governance of Water Quality in South Africa (Department of Water Affairs, [n.d.]:online).
Fig.3.5: UNESCO (UNESCO, [n.d.]:online)
Fig.3.6: Department of water affairs and forestry (Department of water affairs and forestry, [n.d.]: online)
page [027]
brief & accommodation __ [facilities]
3.3 Accommodation facilities Ground Floor Level: Auditorium: The auditorium is a 35 seater with accommodation for lectures and meetings. Exhibition space: This space will house various exhibitions, concerning the research into water. Display boards, cases, and tanks with water as topic will be exhibited, resulting in an interactive space of knowledge. Office: Four offices will be provided for staff and lecturers to house documents and research. Storage area: The storage area will be used to accommodate mass storage of various chemicals and supplies. This is linked to a delivery and service yard, for waste and management. Test cubicle: The test cubicle houses all the safety regulations, such as the first aid kit, goggles and aprons to be worn before entering the laboratory. Chemical Laboratory: The chemical laboratory houses all the needs of a small scale laboratory to test and research water. This area is an open space work area without the interferons of gas, purge, AC, temperature, dark rooms and mass storage, for it is situated directly beneath the laboratory on a lower level. This level supplies the laboratory from the bottom up. Ecology Laboratory: The ecological laboratory works in precisely the same way as the chemical laboratory. Water filtration system: This element uses the existing inlet structure as a huge water filtration system, whereby every level of the entire 80m high inlet tower, which is 5m high and 10m in diameter, will be installed with a system that filters the water from the top down, each floor having a different layer of rock and sand purifying the water in a natural way.
page [028]
brief & accommodation __ [facilities]
Lower Level: [All services will be situated beneath each programme of the building]. Rest room: Lockers and toilets will be housed on the lower floor level and can be accessed from both the foyer and laboratories. Chemical laboratory -services and storage space:
Decontamination area: Cleaning area for used equipment. Temperature room: To house test samples under various temperatures. Darkroom: Various experiments need darkrooms. Hazardous waste: Waste is gathered from the floor above and then cleaned from the service yard. Purge /AC room: Purge room sucks all the air out of an area in case of emergencies, and AC supplies air. Chemical storage room: Chemical storage will house all the chemicals needed for a small scale laboratory. Generator room: Backup power supply is important in case of power outage. Gas room: The gas room supplies various equipment. Equipment room: Storage of equipment.
Ecological Laboratory -services and storage space:
Sanitising area: Cleaning area for used equipment. Temperature room: To house test samples under various temperatures. Waste area: Waste is gathered from the floor above and then cleaned from the service yard. Darkroom, Purge /AC room, Generator room, Equipment room, Storage and Gas room.
page [029]
brief & accommodation __ [accommodation list]
3.3 Accommodation list: Parking: Disabled parking:
17 1
Ground Floor Level: Reception: Foyer: Auditorium: Kitchen: Exhibition space: Server room: Storage: Office 1: Office 2: Office 3: Cleaning room: Test cubicle 1: Test cubicle 2: Chemical Laboratory: Ecology Laboratory: Water filtration system: Outside areas:
Total Ground Floor Area:
page [030]
First Floor Level: 8 m² 55 m² 77 m² 8 m² 95 m² 6 m² 7 m² 9 m² 9.6 m² 9 m² 6 m² 8 m² 8 m² 145 m² 216 m² 22.5 m² 80 m²
Office space 4: Archive: Walkway: Viewpoint 1: Viewpoint 2: Viewpoint 3:
Total First Floor Area:
778 m²
9 m² 9 m² 43 m² 9 m² 9 m² 9 m²
88 m²
brief & accommodation __ [accommodation list]
Lower Level:
Water level:
Male rest room and Locker-rooms:
21 m²
Female rest room and Locker-rooms:
17 m²
Chemical laboratory -[services and storage space]: Decontamination area: Temperature room: Darkroom: Hazardous waste: Purge /AC room: Chemical storage room: Equipment room: Generator room: Gas room:
20 m² 7 m² 19.5 m² 10 m² 8.5 m² 9 m² 9.5 m² 7.5 m² 6 m²
Fish farm/ floating foundation:
155 m²
Floating wetlands:
156 m²
Total Water Level Area:
311 m²
TOTAL FLOOR AREA IN TOTAL:
1402 m²
Ecological Laboratory -[services and storage space]: Sanitising area: Temperature room: Waste area: Equipment room: Storage room: Generator room: Darkroom: Purge /AC room: Gas room:
Total Lower Level Floor Area:
21 m² 9.5 m² 8 m² 10 m² 6.5 m² 8 m² 7.5 m² 11.5 m² 8 m²
225 m² page [031]
4. historic overview 4.1 4.2
page [032]
[background and overview of QwaQwa] [background and overview of Fika Patso Dam]
historic overview __ [background and overview]
4.1 Background and overview of QwaQwa 4.1.1 QwaQwa A brief geographical description of QwaQwa is necessary to familiarise the reader with the context and history of this area, as well as the Fika Patso Dam. QwaQwa is situated in the south-eastern corner of the Free State Province of South Africa. It is surrounded by pure beauty with the Lesotho Kingdom in the South-west, Bergville district of KwaZulu-Natal in the East and in the south eastern corner lies the Drakensberg mountain range with its well-known Mont-Aux-Sources. According to Tselanyane (1989:1) in the18th century, the area under discussion formally known as Witsieshoek, was inhabited by the San. The San were organised into small communities of hunters and gatherers who slept in temporary shelters and in caves. This is evidenced by their rock paintings which are still found in this area. According to anthropologist, Tim Quinlan (1988:81), the Sotho people arrived in QwaQwa under the leadership of Mopeli Mokhachane who had moved to this region to avoid conflict with the sons of king Moshoeshoe. Quinlan (1988:80) states that the half-brother of king Moshoeshoe, Mopeli Mokhachane, signed a treaty in 1867 that allowed him and his people, who were seven hundred in number, to settle in the area of QwaQwa which was then known as Witsieshoek.
Fig.4.1 Moshoeshoe (Ezakwantu, [n.s.]:online)
Fig.4.2 Sotho Culture (Ezakwantu, [n.s.]:online)
page [033]
page [034] Named `Wetsi se hoek’. Eventually the territory became known as Witsieshoek.
Free State “Volksraad” decided to retain Wetsi`s territory as government property. The area also became unoccupied during this time.
Population grew to 200 000 residents.
Government of the Orange Free State allocated the area of Witsieshoek.
1857
18571861
1960
1967
Witsieshoek became QwaQwa.
Boer Republic of the Orange Free State, chased Chief Wetsi from the area. The second BoerBasotho war broke out.
1856
1969
The Makgolokwe group`s Chief Wetsi occupied QwaQwa.
San inhabited the area. This is evidenced by their rock paintings which are still found in this area.
1839
18th century
historic overview __ [background and overview]
All South Sotho people living outside in other parts of the Free State or South Africa were encouraged to move to their homeland, whether voluntarily or not. Many people who moved here over the years were forcibly removed from farms and towns in the Orange Free State in the 1970s (Slater, 2003:116-129).
1954 Letsoaka’s brother, Leana positioned himself near the big rock called Lefika la Patso or Fika-Patso (split rock) (Marokane & Ntlola, 1985:12). Today Fika Patso provides up to 80 % of the water to the area of QwaQwa, including Kestell and Phuthaditjhaba.
As the consequence of the apartheid policy, many Sesotho-speaking people, mainly from white-owned farms, towns and villages were evacuated and settled in QwaQwa.
The South African government passed the Bantu Homelands Citizenship Act which relegated all the indigenous people of South Africa to the Bantustan homelands.
Renamed as QwaQwa.
Population grew to 300 000 residents.
Fika Patso Dam construction completed.
Population grew to a 700 000 residents.
QwaQwa became part of South Africa.
UFS incorporate QwaQwa campus.
1970
1970
1974
1980
1986
1990
1994
2003
historic overview __ [background and overview]
Fig.4.3 New UFS logo
(UFS, 2001:online)
Fig.4.4 QwaQwa UFS Campus (UFS, 2011:online) Fig.4.5 QwaQwa UFS Campus
4.1.1.1 University of the Free State [QwaQwa Campus]
In 2003 the UFS incorporated the QwaQwa Campus of the University of the North Eastern Free State. The campus is approximately 300 km from Bloemfontein. This campus, located in one of the most scenic parts of the country, offers study opportunities towards a BA, BComm or BSc degree and selected courses in Education.
page [035]
historic overview __ [background and overview]
Fig.4.6 Fika Patso Dam construction Made available from: Nico Emmenes [09 April 2011]
Fig.4.7 Fika Patso Dam construction Made available from: Nico Emmenes [09 April 2011]
Fig.4.8 Fika Patso Dam construction Made available from: Nico Emmenes [09 April 2011]
Fig.4.9 Fika Patso Dam construction Made available from: Nico Emmenes [09 April 2011]
4.2 Background and overview of QwaQwa Fika Patso Dam “Fika Patso Dam means `split rock’ named after a cloven 17m high boulder on the site and was a traditional landmark on the trail taken by mounted caravans from Lesotho”. (Harrismith chronicle, 1984:1). Construction was completed in 1986, flooding the entire 155 ha of landscape to supply the people of QwaQwa with water. The above images illustrate the construction period of 1984. The image below indicates the pure beauty the space once was, and which is now the forgotten space.
Fig.4.10 Fika Patso area before construction started Made available from: Nico Emmenes [09 April 2011]
page [036]
Fig.4.11 Newspaper article about Fika Patso dam (Harrismith chronicle, 1984:1)
historic overview __ [background and overview]
Fig.4.12 Fika Patso Dam construction Made available from: Nico Emmenes [09 April 2011]
Fig.4.13 Fika Patso Dam construction Made available from: Nico Emmenes [09 April 2011]
Fig.4.16 -23 February 2011
Summer
Fig.4.14 Fika Patso Dam construction Made available from: Nico Emmenes [09 April 2011]
Fig.4.15 Fika Patso Dam construction Made available from: Nico Emmenes [09 April 2011]
Fig.4.17 -15 June 2011
Winter
The purpose of this inlet tower is to supply water from Fika Patso Dam to QwaQwa and Kestell via an under water pipe system (see figure 4.15).
page [037]
5. context studies 5.1 5.2 5.3
page [038]
[macro context] [meso context] [micro context]
context study __ [macro context]
5.1
Fig.5.1 World map Note: Location of site Photoshop Brush edited by Author
page [039]
context study __ [macro context]
Free State Embraced by several of South Africa’s provinces and sharing a border with the mountain Kingdom of Lesotho, the Free State lies in the heart of the country, between the Vaal River in the north and the Orange River in the south. The Free State is a rural province of wide horizons and blue skies, with farmland, mountains, goldfields and widely dispersed towns. This tranquil land of the windmill is famous for its warm South African hospitality and a mix of culture which is clearly evident in street names, public buildings, monuments and museums. Dressed sandstone buildings abound the highlands, while beautifully decorated Sotho houses dot the grasslands. Some of South Africa’s most valued San (Bushman) rock art is found in the Free State (Sa-venues, [n.d.]:online).
Fig.5.2 Free State map Note: Location of site
page [040]
context study __ [macro context]
Fig.5.3 Hemel op die platteland (Mortimer, 2000:online)
page [041]
context study __ [macro context]
Eastern Free state
Fig.5.4 Eastern Free State (Wikimedia, 2005:online)
page [042]
Fika Patso Dam
context study __ [macro context]
<http://www.sailblogs.com/member/freestateyachtclub/images/boats_scale.jpg>
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<http://www.sa-venues.com/attractionsfs/images/ free-state2.jpg>
Fig.5.5 Free State NOTE: Character of the Free State
page [043]
context study __ [macro context]
Fig.5.6 Free State beauty (Hougaard, 2007:online)
Fig.5.7 Free State beauty (2Summers, 2010: online)
Thabo Mofutsanyana District Municipality The mountainous Eastern Free State with the Drakensberg and Maluti Mountains bordering Lesotho, KwaZulu Natal and the Eastern Cape, also offer some of the most scenic and attractive tourism attractions in the region. (Free State Thabo Mofutsanyana, [n.d]:online). Although the district seems to be well known as a tourist destination, agriculture in the district is the biggest contributor to the province’s economy. Some of the well known towns in the district include Clarens, Ficksburg, Harrismith, and QwaQwa (Free State Thabo Mofutsanyana, [n.d]:online). “Here the Sotho people lived in relative tranquility grazing their cattle & drinking their ‘jwala’ before the settlers conquered the land”. (Free State Thabo Mofutsanyana, [n.d]:online). History painted on rock faces tells the stories of a land of plenty. Fossilised footprints tell of prehistoric creatures browsing along the inland lakes & rivers that were then still in their infancy (Free State Thabo Mofutsanyana, [n.d]: online). The commercial centre of the region is Bethlehem, with an attractive array of sandstone buildings throughout the town. Harrismith on the N3 between Gauteng & Kwazulu-Natal is also a key industrial centre. In QwaQwa further to the west, Phuthadtitjhaba houses a modern industrial area managed by the Free State Development Corporation (Free State Thabo Mofutsanyana, [n.d]:online).
page [044]
Fig.5.8 Free State beauty (Christopher, 2010:online)
Culture
<http://medias.photodeck.com/1aeb40ce-4401-11e0-9f645957067636bb/South%20Africa-1102-0100_xlarge.jpg> <http://wallpapers.free-review.net/42_~_Forest_Fire_the_Morning_After.htm>
Texture colour season
<http://preditor.ramsaymedia.co.za/assets/articles/images/resized/78721_resized_rosendal41of100.jpg>
<http://ih0.redbubble.net/work.7166721.1.flat,550x55 0,075,f.darling-free-state-south-africa.jpg>
Photo by Juane Venter [12 Maart 2011]
<http://www.theodora.com/wfb/photos/south_africa/near_harrismith_ free_state_province_south_africa_photo_friedrich_von_horsten-t.jpg>
eastern free state
context study __ [macro context]
Fig.5.9 Eastern Free State NOTE: Character of the Eastern Free State
page [045]
context study __ [macro context]
Fig. 5.10 QwaQwa map (GOOGLE EARTH [application], 2011:online)
QwaQwa area plan page [046]
context study __ [macro context]
Harrismith Kestell
Natal Drakensberg National Park Lesotho Fig.5.11 Fika Patso Dam Made available from: Nico Emmenes [09 April 2011]
page [047]
context study __ [meso context]
5.2
Fig.5.12 Fika Patso Dam (GOOGLE EARTH [application], 2011:online)
page [048]
context study __ [meso context]
The existing accommodation units were designed and constructed in 1986 just before the Fika Patso Dam construction started. This accommodation units were specifically designed for the personnel working on the Fika Patso project. The aim was to transform these units into tourist accommodation after construction was completed (Harrismith chronicle, 1984:1). This transformation process was unfortunately unsuccessful.
The authorâ&#x20AC;&#x2122;s proposed design will make use of these abandoned units by housing the occupants of the UFS Water Research Centre. These units are approximately 3 km from the proposed site as they are within view of each other. These units consist of a dining hall and all the necessary functions of a residential unit.
Existing Accommodation
Fig.5.13 Areal view of units
Fig.5.14 Fika Patso residential units (Panoramio, [s.a.]: online)
page [049]
context study __ [micro context]
5.3
Proposed site
Fig.5.15 Existing structure
page [050]
context study __ [micro context]
Fika Patso Dam information Province: Free State River: Namahadi River Wall type: Earth fill and rock fill Wall hight [m]: 60m Crest lenght [m]: 300m Spillway: side channel spillway Capacity [1000.cub.m]: 28000 Surface area of water [ha]: 132 Owner: Department of Water Affairs
Fig.5.16 Model explaining the site and context
page [051]
context study __ [micro context]
Fig.5.17 Panoramic shot of site
page [052]
context study __ [micro context]
Fig.5.18 Panoramic representation of the site
page [053]
context study __ [existing structure]
5.3.1 Existing structure [proposed site] The existing structure where the proposed design will react on consists of three massive columns leading toward a 80m high intake tower. This intake tower transfers water from the Fika Patso Dam towards neighbouring towns of QwaQwa and Kestell. The three individual columns will become the structural nodes which will anchor the design. These columns which are two and a half meter in diameter, indicate the forgotten landscape that it is reacting on, becoming a reference point that supports the proposed design that will ultimately become the intermediate reactor between nature and architecture.
Fig.5.20 Existing structure elevation
Fig.5.19 Existing structure plan
page [054]
context study __ [existing structure]
Water inlet
Water flows to pump station
Fig.5.21 Section and details of inlet tower
page [055]
context study __ [existing structure]
Proposed site
Fig.5.22 Reacting on Existing structure
page [056]
context study __ [climate conditions]
5.3.2 Climatic conditions sun angles
Temperature The weather conditions that characterise the Free State are typical of those of an interior plateau: summer rains, cold winters and plenty of sunshine – between 60 and 85 per cent of the days of the year are without significant cloud cover (GO Enviro Science, 2009:online).
Fig.5.23 Sun study
Jan. 77°
Feb. 69°
WINTER 38° angle
Mar. 61°
Apr. May. Jun. Jul. Aug. Sept. Oct. Nov. 53° 45° 38° 45° 53° 61° 69° 77° 84° SPRING/AUTUMN 61° angle
Dec. 88°
SUMMER 88° angle
Fig.5.24 Rainfall data (JRC, 2006:online)
Fig.5.25 Sun study
page [057]
context study __ [climate conditions]
Humidity
Water quality
The daily mean relative humidity for the most humid month, March, varies between 68% and 72%, and the daily minimum relative humidity for July and August varies between 32% and 38% (Department of Water Affairs, [n.d.]: online).
The quality of raw water from the Fika Patso Dam is good with minimal variation throughout the year. The pH of the raw water is below 7, where the water is suitable for potable supply with conventional treatment. On-site pilot plant tests at Fika Patso were carried out, with a limestone stabilisation process that showed to be capable of bringing about effective partial stabilisation with 2 mg/L in a retention time of about 10 minutes. The pH increased to a desirable level of about 8.2. Importantly, the limestone system has the ability to handle fluctuations in water quality, as often recorded at the Fika Patso Dam. Chlorinated Fika Patso Dam water is soft, aggressive and corrosive and would benefit from stabilisation (Department of Water Affairs, [n.d.]: online).
Rainfall The QwaQwa area falls under a summer rainfall area of South Africa and receives an average rainfall [refer to images below] that â&#x20AC;&#x153;varies between 750 and 1000 mm and occurs mainly during the summer months, in the form of thunderstormsâ&#x20AC;?.The average number of rainy days varies from 19 days in December to three days in June and July. Hail associated with thunderstorms occurs from October to April. The frequency of hail is not very high (SA places, 2011:online). The data collected from the Fika Patsoâ&#x20AC;&#x2122;s water level, dating back to 2003 up to 2010, clearly states a steep rise in the water level in summer with an average of 78.5 % water level and an average decrease in winter with 54.3 %.
Wind Strong winds are common during spring and summer at high altitudes, especially in the afternoons and evenings. Primarily, the greatest percentage of winds occur in predominantly two wind directions, Northwesterly and Southeasterly directions. This is caused by mountainous peaks that surround and block prevailing winds from entering the proposed site.
Rainfall data of Fika Patso Dam [2003-2010]
Fig.5.26 Fika Patso Dam water level Made available from: Nico Emmenes [09 April 2011]
page [058]
Fig.5.27 Wind directions
context study __ [climate conditions]
Fig.5.28 Elements from the context that play an important factor in the design
page [059]
context study __ [fauna and flora]
Fig.5.29 Southern Bald [Ibis Geronticus calvus] (Barnes, 2000:online)
Fig.5.30 Black Harrier [Circus maurus] (Barnes, 2000:online)
Fig.5.31 Blue Crane [Grus paradisea] (Barnes, 2000:online)
Fig.5.32 White-bellied Bustard [Eupodotis senegalensis] (Barnes, 2000:online)
Fig.5.33 Yellow-breasted Pipit [Anthus chloris] (Barnes, 2000:online)
Fauna and flora Data on the distribution status, habitat preferences and breeding were obtained during several visits between December 1992 and March 1995. 179 Bird species can be found in the QwaQwa area. Some of the species include: Southern Bald [Ibis Geronticus calvus], Blue Crane [Grus paradisea], White-bellied Bustard [Eupodotis senegalensis] and E. caerulescens in the grasslands. The short, cropped, high-altitude grasslands also hold Yellow-breasted Pipit [Anthus chloris] (Joint research centre, 2006:online).
Fig.5.34 Striped Stream Frog [Strongylopus fasciatus]. (Minter, 2004:online)
Fig.5.35 Drakensberg stream frog [Strongylopus hymenopus] (Minter, 2004:online)
Fig.5.36 Boettgerâ&#x20AC;&#x2122;s dainty frog [Cacosternum boettgeri] (Minter, 2004:online)
Fig.5.37 Smallmouth Yellowfish [Barbus aeneus] (Minter, 2004:online)
Fig. 5.38 Rainbow Trout [Onchorhynchus Mykiss] (Minter, 2004:online)
Commonly found Amphibian and fish species in the QwaQwa region mainly consist out of the following [see the above images as reference]: Striped Stream Frog [Strongylopus fasciatus], Drakensberg stream frog [Strongylopus hymenopus], Boettgerâ&#x20AC;&#x2122;s dainty frog [Cacosternum boettgeri], Smallmouth Yellow fish [Barbus aeneus] and Rainbow Trout [Onchorhynchus Mykiss] (Joint research centre, 2006:online).
page [060]
context study __ [fauna and flora]
Fig.5.39 Vleigras [Agrotis lachnantha] (Moffet, 1997:30)
Fig.5.40 Mathubisa a dibata [Agrostis subulifilia] (Moffet, 1997:32)
Fig.5.41 Tweevingergras [Andropogon distachyos] (Moffet, 1997:40)
Fig.5.42 Giant thatchgrass [Hyparrhenia dregeana] (Moffet, 1997:144)
Fig.5.43 Mosuhela [Helictotrichon longifolium] (Moffet, 1997:136)
Fauna and flora The flora studied and collected in and around the QwaQwa region mostly consist of 102 species of grass. Grasses are flowering plants and for them to flourish in the coldest part of the country these grasses need to be tough. Cultures have found various ways for the use of grass. Traditional uses of grass include huts, musical instruments, brooms, etc.
Fig.5.44 Traditional uses of grass sketched from: (Moffet, 1997:235-253)
page [061]
context study __ [micro context]
Fig.5.46 Site model of Fika Patso Dam
page [062]
context study __ [micro context]
Fig.5.46 View 1
Fig.5.47 View 2
Fig.5.48 View 5
Fig.5.49 View 6
Fig.5.50 View 3
Fig.5.51 View 4
Fig.5.52 View 7
Fig.5.53 View 8
page [063]
6. precedent studies
page [064]
6.1
[analysed projects]
6.2
[inspirational projects]
precedent study __
page [065]
precedent study __ [blur building]
Fig.6.1 Blur building (Dillerscofidio, 2008:online)
http://www.youtube.com/watch?v=BUjnMI7XYB8&feature=related
page [066]
precedent study __ [blur building]
Fig.6.2 Blur building (Dillerscofidio, 2008:online)
page [067]
precedent study __ [blur building]
Fig.6.3 Blur building (Appstudio, 2010:online)
page [068]
precedent study __ [blur building] From piles in the water, a tensegrity system of rectilinear struts and diagonal rods cantilevers out over the lake. Ramps and walkways weave through the tensegrity system, some of them providing a counterweight for the structure. The form is based on the work of Buckminster Fuller (archspace.com, 2010:online).
“This was the way the Blur Building apart from involving all senses, also evolved to social interaction. After all, if the building could locate the person and know his/ her moods and preference, why not suggest that similar profiles meet”. (Neves, 2008:8).
In the end, there was nothing to see in the Blur Building: its architecture was almost transparent due to its very light tensegrity structure; it seemed devoted to obscurity. On the other hand, one should paradoxically agree with Reinhold Martin: “There is nothing but architecture in the work of D+S; architecture that refuses to hold steady”. We may also add that there was nothing to see, but to feel in the Blur Building (Neves, 2008:9).
page [069]
precedent study __ [blur building]
Diller and Scofidio define Blur as ‘decidedly low-definition’. Inside Blur there is nothing to see but our dependence on vision itself. “The building is formless, featureless, depth-less, scale-less, massless, surface-less and dimensionless. Movement within is unregulated”. [Unique buildings, 2011:online].
Fig.6.4 Vernacular element sketched from (Urbarama, 2009:online)
Fig.6.5 Blur buildin (Dillerscofidio, 2008:online)
page [070]
Fig.6.6 Blur building (Dillerscofidio, 2008:online)
Fig.6.7 Blur building (Dillerscofidio, 2008:online)
precedent study __ [blur building]
Fig.6.8 Vernacular element skertched from (Urbarama, 2009: online)
Fig.6.9 Vernacular element skertched from (Urbarama, 2009: online)
Design Application The application of the precedent in this dissertation: By understanding the way a building interacts with its surroundings by creating a mimesis with material, response to climate, fabric and function. Interaction with nature
Fig.6.10 Vernacular element (Urbarama, 2009:online)
Fig.6.11 Design application
page [071]
precedent study __ [salk institute]
Fig.6.12 Louis Kahn (Reciklart, 2008:online)
http://www.youtube.com/watch?v=G1jbB60ndhc
page [072]
precedent study __ [salk institute]
Fig.6.13 Blur building (Reciklart, 2008:online)
page [073]
precedent study __ [salk institute]
Fig.6.14 Blur building (Luong, (n.d.):online)
Fig.6.15 Blur building (Luong, (n.d.):online)
Fig.6.17 Site plan (Archiplanet, (n.d.):online)
These offices (image on the left) offer each scientist an unobstructed view of the Pacific Ocean. An inspiring environment for scientific research is created by Kahn who has created spacious labs flooded with natural light (Louis Kahn, 2010:online). Fig.6.16 Blur building Sketched and edited from (Reciklart, 2008:online)
page [074]
precedent study __ [salk institute]
“In the laboratories the vertical ducts of the Richards Building have been turned on their sides, housed in the hollows of spanning box girders and vented from huge hoods at the flanks of the building. The pre-cast units of structure have thus continued to become larger as the crane can lift them. Order, once an affair of repetitive crystals for Kahn, is now felt in grand components, space-making themselves....All utilities are now directly channeled through the structure,...(the result being that) ‘served’ spaces, and ‘servant’ spaces are entirely integrated,...this ‘meaningful order’ was almost instantly arrived at in Kahn’s design.” (Scully, 1962:36-37).
Fig.6.18 Servant and served spaces (Casey, 2010:online)
page [075]
precedent study __ [salk institute] The mechanical systems were specifically designed for a research facility. The laboratories require constant ventilation, heating and air conditioning to avoid contaminating research (see image 6.16). The facility generates a lot of its own power but is also connected to two local utility circuits. A reverse osmosis system provides distilled water to taps in the laboratories (More AE designs, 2010:online).
Fig.6.19 Mechanical services (Archiplanet, (n.d.):online)
The interstitial spaces created by the Vierendeel truss system house and hide the mechanical systems of the building. These spaces allow the laboratories to be free of walls and columns and provide flexibility in the set up of the work spaces (Louis Kahn, 2010:online).
Fig.6.20 Blur building Sketched and edited from (Reciklart, 2008:online)
page [076]
precedent study __ [salk institute]
Design Application The Salk Institute inspired the author to apply similar interstitial spaces where the mechanical systems of the building are installed separate from the laboratory. This service areas will be located beneath the structure. This results in a laboratory with more open space.
Fig.6.21 Design application
• ‘Served’ spaces, and ‘servant’ spaces are entirely integrated
Served • All
utilities are now directly channeled through the structure
Servant
Fig.6.21 Design application
page [077]
precedent study __ [bridge school]
Fig.6.21: Li Xiaodong (Aga Khan, 2008:online)
http://www.youtube.com/watch?v=Jtp7EwvmJuM
page [078]
precedent study __ [bridge school]
Fig.6.22 Bridge school NOTE: The walkway beneath the structure (Aga Khan, 2008:online)
page [079]
precedent study __ [bridge school]
Connecting two areas of this small town that has been divided by a small river (see image below).
This bridge in the image below illustrate that the building can still function as a walkway when the building is closed. This results in an access medium between points A and B.
A
A
B
Fig.6.23 Bridge school NOTE: connecting the point A and B (Aga Khan, 2008:online)
page [080]
Fig.6.24 Bridge school NOTE: The walkway beneath the structure (Aga Khan, 2008:online)
Fig.6.25 Bridge school (Aga Khan, 2008:online)
B
precedent study __ [bridge school]
â&#x20AC;&#x153;The entire architecture was built under the steel frame structure. The inner space of steel frame is used as classrooms and a public space has set up between the two of them. Outside the classroom, there is a corridor which is covered with wood bars and fixed by steel keels. The design can cut off the outside interference but the distant landscape can be enjoyed at the same timeâ&#x20AC;?. (Glinet, 2010:online).
section
west elevation
east elevation
Fig.6.26 Bridge school (Aga Khan, 2008:online)
Fig.6.27 Bridge school (Aga Khan, 2008:online)
page [081]
precedent study __ [bridge school]
During the day the school opens up entirely, giving scholars access to the school. The bridge school also connects with the historic structures situated on both sides of the schoolâ&#x20AC;&#x2122;s entrances. This gives the building more than one function.
Fig.6.28 Bridge school (Aga Khan, 2008:online)
page [082]
precedent study __ [bridge school]
Design Application
service walkway
The bridge school inspired the author to apply a similar access route to act as a service walkway to the various services of the design. This service yard can then be accessed when the building is closed.
Fig.6.29: Using the Bridge school as inspiration for service walkway
Fig.6.29: Using the Bridge school as inspiration for service walkway
When the school is closed the bridge acts as an access point over the little stream without having to enter the school.
void The suspended bridge that connects point A and B.
Fig.6.29 Bridge school Sketched and edited from (Aga Khan, 2008:online)
Fig.6.30 Bridge school Sketched and edited from(Aga Khan, 2008:online)
page [083]
precedent study __ [mujer bridge]
os
en
Bu s,
re
Ai a
in
nt
ge
Ar
Fig.6.31 Puente De La Mujar Bridge (Calatrava, 2008:online)
page [084]
precedent study __ [mujer bridge]
http://www.youtube.com/watch?v=nxV6M6DLwbo&feature=related
Fig.6.33 Puente De La Mujar Bridge (Calatrava, 2008:online)
Fig.6.34 Puente De La Mujar Bridge (Calatrava, 2008:online)
Fig.6.35 Puente De La Mujar Bridge (Calatrava, 2008:online)
Fig.6.36 Puente De La Mujar Bridge (Calatrava, 2008:online)
Fig.6.32 Puente De La Mujar Bridge Sketched and edited from (Calatrava, 2008:online)
page [085]
precedent study __ [falkirk wheel boat lift]
Central Scotland
Fig.6.37 Falkirk wheel boat lift (Glasgow architecture, 2005:online)
page [086]
precedent study __ [falkirk wheel boat lift]
http://www.youtube.com/watch?v=fX6kJKjg 4y0&feature=related Fig.6.38 Falkirk wheel boat lift Sketched and edited from (Glasgow architecture. 2005:online)
Fig.6.39 Falkirk wheel boat lift (Glasgow architecture, 2005:online)
Fig.6.40 Falkirk wheel boat lift (Glasgow architecture, 2005:online)
Fig.6.41 Falkirk wheel boat lift (Glasgow architecture, 2005:online)
page [087]
precedent study __ [strandbeest]
Fig.6.42 Theo Jansen- Strandbeest (Chino, 2008:online)
page [088]
precedent study __ [strandbeest]
Fig.6.44 Theo Jansen- Strandbeest (Chino, 2008:online)
Fig.6.45 Theo Jansen- Strandbeest (Chino, 2008:online)
Fig.6.46 Theo Jansen- Strandbeest (Chino, 2008:online)
Fig.6.47 Theo Jansen- Strandbeest (Chino, 2008:online)
Fig.6.43 Theo Jansen- Strandbeest Sketched and edited from (Chino, 2008:online)
http://www.youtube.com/watch?v=a7Ny5BYc-Fs
page [089]
7. design development 7.1 7.2 7.3
page [090]
[touchstone] [concept] [conceptual drawings and model development]
design development __
Fig.7.1 Concept sketch
page [091]
design development __ [touchstone]
7.1 Touchstone The intention of the touchstone is to illustrate the initial conceptual thoughts that inspired the design process since it provided an abstract base from which the building and partially the theory originated. A sculptural piece was created to express the basic essence of the main design elements to be used in the project. It aims to fuse three main objects, the host, hybrid and synthetic, reacting onto one another poetically composed with distinct hierarchy, thus demonstrating the importance in relation to one another, creating a palimpsest. This component amalgamates the different objects, but is still reliant on them to generate its character and shape. Each of the pieces represents a topic that plays a critical part in the design production and these are:
Fig.7.2 Touchstone
page [092]
design development __ [touchstone]
Fig.7.3 Images of the construction
page [093]
design development __ [touchstone]
Fig.7.4 Touchstone - concept - application
page [094]
design development __ [touchstone]
page [095]
design development __ [concept]
The concept driving the design is nature as mimesis, this term is known as biomimetics. The natural process serves as the object that regulate the overall design, allowing the building to react to various conditions. When understanding and exploring nature’s secrets it can be applied in the simplest of manners by mimicking the ultimate design. The process is interpreted and expressed through an architectural solution that reacts on nature’s forces along with site while focussing on the dweller’s experience. It is the ability of natures recurring change that a building should react on and by understanding how nature react to these conditions architecture can mimic these designs to create a building that can live on its own.
7.2 Concept
Fig.7.5 Exploring nature’s designs (Cohesive Blue Inc, [n.d.]:online)
page [096]
Fig.7.6 Exploring nature’s designs (Cyberneticzoo,2011:online)
design development __ [concept]
Fig.7.7 Kinetic flight NOTE: The mechanism behind the design
page [097]
design development __ [conceptual drawings and model development]
This visual report deals with the development of the design. It illustrates the ideas from concept phase to the final design by means of concept sketches and models. All sketches, models and photographs in chapter 6 by author
7.3 Conceptual drawings and model development
Fig.7.8 Concept sketch
page [098]
conceptual drawings and model development__ [plan 1]
Fig.7.9 Sketch exploring rhythms Fig.7.10 Concept sketch
The site has an existing structure, which consist of three columns and one inlet tower at the end of the structure. The concept sketches specifically focused on reacting on these nodes, articulating the vertical element. This existing structure reminds the dweller of the forgotten space beneath the water level, the space that once was.
Fig.7.11 Plan 1
The first plan only explored space that could be created in a linear shape. No articulation of space were designed at first, just seeking to explore space that connects these specific nodes [existing columns] with vertical space. page [099]
conceptual drawings and model development__ [plan 2]
This concept sketch explored the nature of growth over the horizontal scope. This would ensure that the building is in constant change, mimicking the water surface. Fig.7.12 Concept sketch NOTE: The organic skin
Conceptual drawings and model development This plan explored the joints in between every space. The existing columns are articulated by braking the specific spaces in between them, resulting in threshold that leads from one space to another, defining each space with a different function.
Fig.7.13 Plan 2
page [100]
conceptual drawings and model development__ [plan 3] Shifting the spaces of the grid
These concept sketches focus on the vertical space in between the specific joint. Fig.7.14 Concept sketch
By exploring the columns that act as joints in between each other, these public space will be separated from the more private functions that follow, consisting of a chemical laboratory and a ecological laboratory that will become the last transition from beginning to end. The interior space have for the first time been explored.
Fig.7.15 Plan 3
page [101]
conceptual drawings and model development__ [model 1]
This concept model focuses on creating functional spaces with a continuous landscape that flows over it. These functions reacts onto the existing vertical order thus introducing a horizontal datum into the design. These functions can be seen as static boxes covered by a movable skin [nature].
Fig.7.16 Section NOTE: Servant and served spaces
Conceptual drawings and model development
Fig.7.17 Concept model 1
page [102]
conceptual drawings and model development__ [plan 4] Exploring nature and the effect that it could have on the design. Water tension can force a skin of a building to react to seasonal chance.
Fig.7.18 Skin exploration and structure NOTE: How nature is introduced
Fig.7.19 Plan 4
page [103]
conceptual drawings and model development__ [model 2]
Fig.7.20 Concept sketch of site
Fig.7.21 Concept sketch of site
Conceptual drawings and model development This concept model explores the responsive element towards the environment and the impact that it has on the design. The skin has a responsive reaction toward seasonal changes, when the water level changes, so does the skin. When the water level is at its highest point the skin will react toward the natural force of water tension and adapt to regulate the climate in a passive manner.
Fig.7.22 Concept model 2
page [104]
conceptual drawings and model development__ [model 2]
Fig.7.23 Introducing levels
Fig.7.24 Horizontal edge
Conceptual drawings and model development
Fig.7.25 Concept model 2
page [105]
conceptual drawings and model development__ [model 3]
Fig.7.26 Building structure
Fig.7.27 Molding the shape
conceptual drawings and model development
Laboratory
services
Laboratory
services
Fig.7.30 Concept model 3
In this concept model structural elements were explored, designing the space within a structural grid. Each laboratory has its own service (AC, gas, temperature, purge room etc) and storage rooms situated beneath the specific laboratory, serving the laboratory from the ground up.
Fig.7.28 Concept model 3
page [106]
Fig.7.29 Concept model 3
conceptual drawings and model development__ [plan 5]
Exploring movement through order
Fig.7.31 Movement of the structure around the designs program
Introducing kinetics that can be regulated by nature
Fig.7.32 Plan 5
page [107]
conceptual drawings and model development__ [section]
Fig.7.33 Concept sketch
Fig.7.34 Concept sketch
Conceptual drawings and model development
Fig.7.35 Concept sketch
page [108]
conceptual drawings and model development__ [climate]
Fig.7.36 Concept sketch
Fig.7.37 Concept sketch
Sequence of the moving skin
open
closed Fig.7.39 Seasonal change NOTE: How the building transforms Fig.7.38 Seasonal change
page [109]
conceptual drawings and model development__ [functions]
Fig.7.40 Different function
page [110]
conceptual drawings and model development__ [functions]
page [111]
conceptual drawings and model development__ [plan 6]
Walkway overlooking the chemical laboratory and landscape Chemical laboratory
Fig.7.41 Concept sketches NOTE: The views from the walkway into and over the structure
Conceptual drawings and model development In this plan circulation was explored, discovering the problematic flow through the various spaces. The purple line indicates the circulation around the chemical lab, this became a problem for the simple reason that one now needs to move through this space [chemical laboratory] to get to the next space [ecological laboratory]. This was then solved by introducing a walkway that moves over the lab, leaving a visual connection from the walkway above, down onto the laboratory and over the landscape. This resolved the problem of intrusion on the sterile environment of a chemical laboratory.
Fig.7.42 Plan 6
page [112]
conceptual drawings and model development__ [plan 7]
Fig.7.44 Chemical lab plan development
Exploring the shape in between organic and rigid Fig.7.43 Perspective development
Conceptual drawings and model development In this plan a more organic approach was undertaken. The design starts off with a rigid geometric approach and as the building progresses it gradually starts braking free and become more organic. This is a result of the buildings functions, shaping it according to its nature. The plan ends with a organic form because of its ecological research (nature as target) as function, whereas the chemical laboratory needs to communicate with both rigid and organic, communicating with both.
Ecological laboratory [organic]
Public [rigid]
Chemical laboratory [merged]
Fig.7.45 Plan 7
page [113]
conceptual drawings and model development__ [plan 8]
Exhibition space Chemical lab
Service
Service
Fig.7.46 Section A:A
Fig.7.47 Section B:B
Fish farm
Fish farm
Section B:B
Section A:A
B B A A
Fig.7.48 Perspective
Exploded perspective page [114]
conceptual drawings and model development__ [plan 9]
Fig.7.49 Development phase
Fig.7.50 Exploring the structure
Conceptual drawings and model development reception
office
office
office
water filtration area
auditorium
exhibition space
chemical laboratory
ecological laboritory
Fig.7.51 Layout of the design
page [115]
conceptual drawings and model development__ [skin]
Fig.7.52 Section
Fig.7.53 Roof development
Fig.7.54 Roof development
Conceptual drawings and model development
Exploring the skin
Fig.7.55 Roof/skin development
page [116]
Fig.7.56 Roof/skin development
conceptual drawings and model development__ [skin] Movable facades
Fig.7.57 Exploring the facades
Fig.7.58 Exploring the facades
Exploring the skin
Fig.7.59 Roof/skin development
Fig.7.60 Roof/skin development
page [117]
conceptual drawings and model development__ [perspective]
Entrance
Fig.7.61Design phase
page [118]
conceptual drawings and model development__ [perspective]
Perspective UFS Water Research Centre
Fig.7.62 Design phase
page [119]
8. design synthesis 8.1 8.2 8.3 8.4
page [120]
[theoretical application] [analytical discussion] [design composition] [design components]
design synthesis__ [theoretical application]
8.1 Theoretical application The UFS Water Research Centre not only becomes a research hub but an architectural space that connects man and nature, giving new meaning to the â&#x20AC;&#x2DC;forgotten spaceâ&#x20AC;&#x2122;. To explore the awakening of space, the author will now explain the theoretical application and steps taken to achieve a new horizon in architecture.
page [121]
design synthesis__ [theoretical application]
8.1.1 Place [reacting on the man-made]
New landscape
Landscape prior to dam construction Fig.8.1 New landscape
Tadao Ando instructs by focusing on architectureâ&#x20AC;&#x2122;s power a new landscape can be produced (Ando, 1996:459). page [122]
design synthesis__ [theoretical application]
Fig.8.2 Sequence of chance
Site before construction - Genius loci is visible
Construction is completed - Genius loci is lost [forgotten space]
Reacting onto the man-made - Creating a new genius loci [place]
The existing man-made structure echoes the traces of the landscape prior to dam construction - the forgotten space. The existing structure acts as vertical nodes emphasising the existence of the landscape in its now preserved state. The architecture will react onto these nodes by creating horizontal space within a borderline. This space will then result in the reactivation of place.
Fig.8.3 Existing structure
Hierarchy
nature programme nodes man-made forgotten space
page [123]
design synthesis__ [theoretical application]
Existing linear path
It is important to understand place, for the site gives the logic to generate a design. These specific nodes are the tectonics behind the architecture, creating a linear horizontal space. This borderline articulates space by breaking the linearity with viewpoints, thresholds and pauses. The dweller can then easily orientate and experience space within a path.
Fig.8.4 Linear axis
8.1.2 Transparent logic [character of the existing]
Fig.8.6 Spaces that can be created within a straight line
Fig.8.5 Existing nodes/ Columns
page [124]
Movement through and pass spaces
design synthesis__ [theoretical application]
Place has different characteristics and this will determine our experience. The dweller experiences place and space through senses (sight, touch, smell) and these senses are stimulated with each transitional space taken. Movement on a linear path (borderline) have been explored numerous times by the author achieve the space needed for the dweller to understand and experience the space at the same time. Node [vertical column]
Node [vertical column]
Node [vertical column]
linear axis space forming
space forming
Fig.8.7 Flowing space Fig.8.8 Flowing space
Showing how movement connects space
showing how space is influenced by its borderline
page [125]
design synthesis__ [theoretical application]
Change in nature
Fig.8.9 Seasonal change in nature
Fig.8.10 Seasonal change in nature
8.1.3 Nature [inviting nature in] nature
programme Fig.8.11 Nature reacting over the design
Fig.8.12 Fusion
page [126]
design synthesis__ [theoretical application]
Fig.8.13 Seasonal change in the architecture
In architecture transformation can have an effect on the function of a building, e.g. day and night. In nature fauna and flora adapt to its surroundings according to seasonal change. By mimicking nature the design transforms with nature in a seasonal way, by exploring water levels and rainfall. The summer rainfall area of the eastern Free State became the seasonal element of change to regulate the buildings function. With the increase and decrease in the water level of Fika Patso Dam the water tension would passively force the building to open and close. A slow but functional way of adapting to climate change.
Fig.8.14 Kinetics behind nature
Exploring natures mechanisms and introducing it into architecture
page [127]
design synthesis__ [theoretical application]
8.1.4 Abstraction [Allowing architecture to grow over the site, resulting in an awakened space]
Fig.8.15 Concepts development
page [128]
design synthesis__ [theoretical application]
â&#x20AC;&#x153;At the core of architectural creation is the transformation of the concreteness of the real through transparent logic into spatial order. The starting point of an architectural problem - whether place, nature, lifestyle, or history - is expressed within this development into the abstract. Only an effort of this nature will produce a rich and variable architectureâ&#x20AC;?. [Ando, 1991:459].
Fig.8.17 Nodes (existing columns)
Fig.8.18 Divining space
Spatial order is gained through the transparent logic,
Fig.8.19 Forgotten space
With place and nature being expressed. The above will contribute to the efficiency of the architecture and result in a rich and variable architecture.
Fig.8.16 Creating space Fig.8.20 Nature
page [129]
design synthesis__ [analytical discussion]
8.2 Analytical discussion The proposed site is situated just outside QwaQwa, nestled between the valleys of the Drakensberg Foothills. The man-made site resulted in a loss of character and space. As the proposed design is developed to reactivate the site, nature will be incorporated as generator for revival.
The site already reads as a man-made void within the natural landscape, but by reacting onto the man-made, a positive presence will be placed within a negative context. The new design echoes the forgotten landscape, preserved beneath the water.
8.2.1 Reaction to the meso context: Proposed site
natural landscape
void man-made forgotton space
hybrid man-made Fig.8.22 Change in genius loci Fig.8.21 Area plan
page [130]
design synthesis__ [analytical discussion] The proposed design provides an alternative environment, creating a symbiotic relationship with the surrounding context. Once the existing structure is reacted on, the site can essentially be divided into a host [nature] versus the bionic [architecture]. This will result in an integrated system forming a hybrid [mediator].
8.2.2 Reaction to the micro context
bionic
hybrid
Proposed site
host [nature] Fig.8.24 Proposed design
Fig.8.23 Proposed site
page [131]
design synthesis__ [design composition]
8.3 Design composition [mass + function distribution] 1. auditorium 2. reception 3. foyer 4. kitchen 5. exhibition space 6. office 7. chemical laboratory 8. ecological laboratory 9. water filtration system 10. rest rooms 11. chemical laboratory services 12. ecological laboratory services 13. fish farm/ floating foundation 14. wetlands
Fig.8.25 Accommodation list
2
Fig.8.26 Functions
5
6
6
11
6
1 12
9 Fig.8.27 Plan
page [132]
design synthesis__ [design composition]
The mass of the building is broken up at the various pressure points, articulating the vertical columns.
Fig.8.28 The buildings mass is broken up by the vertical columns
The vertical column creates a pause in the horizontal space where viewpoints and vertical circulation are introduced.
Fig.8.29 Pause in the horizontal space
The roof is introduced to act as an extended landscape where nature grows over the design moving and breathing in symbiosis with the architecture.
Fig.8.30 Roof acting as extended landscape
page [133]
design synthesis__ [design composition]
First Floor Level Fig.8.31 First Floor Level
Ground Floor Level Fig.8.32 Ground Floor plan
page [134]
design synthesis__ [design composition]
Sub- Floor Level one Fig.8.33 Sub -Floor Level one
Water Floor Level Fig.8.34 Water Floor Level
page [135]
design synthesis__ [design composition]
Plan to section
A
A
A
First Floor Level
Ground Floor Level
-Not to scale-
-Not to scale-
Section A:A
Section A:A
-Not to scale-
02
Construction
-Not to scale-
Fig.8.35 First Floor Level NOTE: Plan section levels
01
Fig.8.39 Existing columns
page [136]
A
Fig.8.36 Ground Floor plan NOTE: Plan section levels
03
Fig.8.40 Beam structure
04
Fig.8.41 Vertical structure
Fig.8.42 Services
design synthesis__ [design composition]
A
A
A
Sub- Floor Level one
A
Water Floor Level
-Not to scale-
-Not to scale-
Section A:A
Section A:A
-Not to scale-
-Not to scale-
Fig.8.37 Sub -Floor Level one NOTE: Plan section levels
05
06
Fig.8.43 Floor system
Fig.8.38 Water Floor Level NOTE: Plan section levels
07
Fig.8.44 Wall system
08
Fig.8.45 Roof structure
Fig.8.46 Skin structure
page [137]
design synthesis__ [design components]
8.4 Design components
Fig.8.47 Skin
page [138]
design synthesis__ [design components]
As one approach the proposed site the design exposes itself and one is greeted by the presence of a skin-like element growing over the existing tectonic structure. This element is introduced as an abstraction of nature powered by the forces of nature. The skin moves in a seasonal manner as the elements of nature change, resulting in a design effected by the way nature adapts. The skin seemingly melts away into the surrounding context of nature, reacting and moving to its ever changing character.
8.4.1 Skin [intelligent]
Fig.8.48: BMW concept model (BMW, (n.d.):online)
Fig.8.49 Intelligent skin NOTE: How invisible the skin is (Ecoist, 2009:online)
page [139]
design synthesis__ [design components]
ENTRANCE page [140]
Fig.8.50
design synthesis__ [design components]
THE UNIVERSITY OF THE FREE STATE WATER RESEARCH CENTRE
Fig.8.51
page [141]
design synthesis__ [design components]
STRUCTURE OPEN [WINTER] page [142]
Fig.8.52
design synthesis__ [design components]
STRUCTURE CLOSED [SUMMER] Fig.8.53
page [143]
design synthesis__ [design components]
PERSPECTIVE FROM WETLANDS page [144] Fig.8.54
design synthesis__ [design components]
PERSPECTIVE WITH SKIN OPEN page [145] Fig. 8.55
design synthesis__ [design components]
CREATING A NEW HORISON Fig.8.56 Perspective of the UFS Water Research Centre
page [146]
design synthesis__ [design components]
Fig.8.57 Perspective of the UFS Water Research Centre
page [147]
design synthesis__ [design components]
Ecological Laboratory page [148]
Fig.8.58 Interior perspective
design synthesis__ [design components]
Water filtration
Green house
Chemical resistant floors, epoxy coated concrete slab
Chalkboards
Storage
Exit 1, selfclosing door
Fire shoot
Exit 2, selfclosing door
Fig.8.59 Ecological Laboratory plan NOTE: The layout of the floor plan
Ecological Laboratory [plan] Fire shoot Hydroponics
Ventilation openings
Each table is equipped with water, electricity and gas
page [149]
design synthesis__ [design components]
Chemical Laboratory page [150]
Fig.8.60 Interior perspective
design synthesis__ [design components] Acid dilution basins Test Room [fire blanket, fire extinguisher, eyewash, body drench, first aid kit, goggles and aprons]
Black epoxy resin table tops are required
Storage Ventilation openings
Test Room
Office 3 Office 2
Exit 2, selfclosing door Fig.8.61 Chemical Laboratory plan NOTE: The layout of the floor plan
Chemical Laboratory [plan] Each table is equipped with water, electricity and gas Chemical resistant floors, epoxy coated concrete slab
Exit 2, selfclosing door
page [151]
design synthesis__ [design components]
NATURE [RE]ACTIVE ARCHITECTURE
page [152]
Fig.8.62
design synthesis__ [design components]
PERSPECTIVE AT NIGHT
Fig.8.63
page [153]
design synthesis__ [design components]
NORTH ELEVATION -not to scale-
Fig.8.64
page [154]
design synthesis__ [design components]
EAST ELEVATION -not to scale-
Fig.8.65
page [155]
design synthesis__ [design components]
SOUTH ELEVATION -not to scale-
Fig.8.66
page [156]
design synthesis__ [design components]
WEST ELEVATION -not to scale-
Fig.8.67
page [157]
9. technical report 9.1 9.2 9.3 9.4 9.5 9.6 9.7 9.8 9.9 9.10 9.11
page [158]
[structural precedent] [sub-structure and floors] [walls] [roof/skin] [fish farm/ floating foundation] [wetlands] [services] [fire regulations] [water purification] [eco-design] [drawings]
technical report__ [UFS Water Research Centre]
Fig.9.1 Technical skin
page [159]
precedent study __ [milwaukee art museum]
Fig.9.2 Santio Calatrave (Calatrava, 2008:online)
http://www.youtube.com/watch?v=dwR_m8IK4qc
page [160]
precedent study __ [milwaukee art museum]
Fig.9.2 Milwaukee Art Museum (Calatrava, 2008:online)
page [161]
precedent study __ [milwaukee art museum]
The city of Milwaukee was looking for a “strong architectural statement in an exciting yet functional building” that would “set an architectural standard for the next millennium” . Calatrava’s response was to design “a glowing ‘lantern’ on the downtown lake front, radiating light in all directions” . He chose to execute this concept through a pavilion featuring a “vast,glass-enclosed reception hall” with a “transparent, boat-like prow of unique design, facing the lake” and a “huge, wing-like sunscreen.” (Nichols, 2004:online).
Fig.9.3 Santio Calatrave Sketched from (Calatrava, 2008:online)
page [162]
precedent study __ [milwaukee art museum]
Fig.9.5 Santio Calatrave (Calatrava, 2008:online)
Fig.9.5 Santio Calatrave (Calatrava, 2008:online)
Fig.9.6 Santio Calatrave (Calatrava, 2008:online)
“Calatrava’s designs are often inspired by nature, featuring a combination of organic forms and technological innovation. The Milwaukee Art Museum expansion incorporates multiple elements inspired by the Museum’s lakefront location. Among the many maritime elements in Calatrava’s design are: movable steel louvers inspired by the wings of a bird; a cabled pedestrian bridge with a soaring mast inspired by the form os a sailboat and a curving single-storey galleria reminiscent of a wave.” (Calatrava, 2008:online).
Fig.9.8 Santio Calatrave Sketched and edited from (Solaripedea, 2008:online) Fig.9.7 Milwaukee Art Museum plan Sketched and edited from (Solaripedea, 2008:online)
page [163]
precedent study __ [milwaukee art museum]
Fig.9.9 Movement (Calatrava, 2008:online)
Fig.9.10 Closed (Calatrava, 2008:online)
Fig.9.11 Open (Calatrava, 2008:online)
The movable Burke Brise-Soleil constitutes the signature element of the Calatrava addition, resting on top of the breathtaking glass and steel atrium above the Quadracci Pavilion. This element features two very large wings,each wing is supported by a rotating spine, to which all fins are connected (Nichols, 2004:online).
Fig.9.13 Burke Brise-Soleil Sketched and edited from (Solaripedea, 2008:online) Fig.9.12 Movement Sketched and edited from (Solaripedea, 2008:online)
page [164]
precedent study __ [milwaukee art museum]
Fig.9.14 Structure open (winter)
Fig.9.15 Structure closing
Fig.9.16 Structure Closed (summer)
Design Application The Milwaukee Art Museum inspired the kinetics within the design. The Author applied the ever changing movement of nature as the kinetic force behind the design. â&#x20AC;&#x153;The walls between art and engineering exist only in our minds.â&#x20AC;? Theo Jansen (BMW South Africa, 2006:online).
Fig.9.17 Structural mechanism
Fig.9.18 Design application
page [165]
The following chapter will discuss the structure development of the UFS Water Research Centre. The buildings structure consists out of three main systems namely: 1. The Sub -beam structure 2. Wall and roof 3. Skin
9.2 Technical section 9.4 Roof and skin 9.3 Walls
9.2 Sub -structure 9.6 Wetlands
9.5 Fish farm/ Floating foundation Fig.9.19 Refer section
page [166]
technical report __ [sub-structure and floors ] 2
1
1. 254 x 146 x 31mm I-beam 2. 914 x 305 x 289mm castellated I-beam 3. 356 x 171 x 45mm castellated I-beam 4. 45mm suspended steel rods 5. 2mm steel sheeting [container profile]
3
5 4 Services
Fig.9.20 Refer section
Fig.9.21 Services
9.2 Sub-structure and floors
3 2 Guide block- moving direction limit
1
Stainless plate accommodate movement Fluoro resin plate accommodate movement Shearing pin horizontal force resistance
6
Polyurethane disk supporting bridge substructure load and accommodate rotating strain Fig.9.22 Bridge bearing
Fig.9.23 Beam structure
page [167]
technical report __ [walls] A. 102mm Galvanised Ultra steel track [acoustic seal] B. 102mm Galvanised Ultra steel stud
1. Vitrex Enamel infill panels 2. 12 mm Firestop base layer 3. 15 mm Gypsum board 4. 152 x152 H- column 5. Insulation 6. Waterproofing 7. Rheinzink panel 8. Concrete stabilan slabs 9. Epoxy wash Fig.9.24 Refer section
9.3 Walls
7
1
4
Exterior
3
5
B 1
6 2
1 A
Interior
9
8 Fig.9.26 Gypsum board
Fig.9.25 Wall structure
page [168]
Gypsum board with structure
Set board 6-10mm clear of floor
technical report __ [roof and skin]
Fig.9.28 Perspective of UFS research centre Fig.9.27 Refer section
9.4 Roof and skin GINA principle Geometry and Functions In “N” Adaptions) “Industrially produced hybrid fabric made from a stabilizing mesh netting support and an outer layer that is both water-repellent and resistant to high and low temperatures is suitable for this application.” (BMW GINA, 2008:online).
http://www.youtube.com/watch?v=hpo8uOof7Rk
Fig.9.29 BMW concept model (BMW, (n.d.):online)
page [169]
technical report __ [roof and skin]
Fig.9.30 GINA Skin NOTE: How transparent the skin is.
Fig.9.31 GINA Skin transparency NOTE: How transparent the skin is.
Fig.9.32 GINA Skin transparency NOTE: How transparent the skin is.
(BMW, (n.d.):online)
(BMW, (n.d.):online)
(BMW, (n.d.):online)
Arm joint system
Fig.9.33 Arm joint system
With the increase and decrease in the water level of Fika Patso Dam the water tension would passively force the building to open and close. A slow but functional way of adapting to climate change.
page [170]
Fig.9.34
Spine detail, this element will move the arms of the skin of the building according to fluctuating water levels
Fig.9.35 Spine
technical report __ [roof and skin]
01
02
03
04
Forces applied on structure Fig.9.36 Refer section
Fig.9.37 Structure changing
As the fish farm/ floating foundation moves up and down according to seasonal rainfall the building will respond to these changes.
Winter profile [open]
Fig.9.38 Open skin NOTE: The forces present
Summer profile [closed]
Fig.9.39 Skin closed NOTE: The forces present
page [171]
technical report __ [roof and skin] 1. Double glazing 2. Aluminium glass frame 3. Custom steel arms welded to roof and skin profile 4. 100 x 100 mm Hot rolled square tube 5. GINA skin
5 Fig.9.40 Refer section
4
4 3
2
1 3
Perspective Connection detail
4 5 3
2 1
Fig.9.41
page [172]
Elevation
Fig.9.42 Roof and skin detail
technical report __ [fish farm/floating foundation]
Fig.9.43 Refer section
â&#x20AC;&#x153;Surface tension transforms water into a sort of transparent skin, strong enough for rather large insects to walk upon. This is the same principle that makes it possible for water to transport anything Fig.5.44 Water tension from logs to aircraft carriersâ&#x20AC;?(Consigli, 2008.21). (Cohesive Blue Inc, [n.d.]:online)
9.5 Fish farm/ floating foundation As the water level falls so will the fish farm
Fig.9.47
Exploring nature as inspiration
Fig.9.46
4200 400
Fig.9.45 Section through fish farm
Water tension will force the fish farm upwards as the water level rises Fig.9.48
page [173]
technical report __ [wetlands] â&#x20AC;&#x153;BioHaven TMWild Floating Islands are a floating habitat, effective in maintaining the health of waterways due to a combination of specially selected plants, high surface area substrate, and a microbe and aeration system. These wetlands that remove pollutants including nitrates, phosphates, ammonia and heavy metals from various waterways. The microbes work with the substrate and plant roots to remove excess nutrients from the water, thereby greatly reducing algae growing and eutrophication. Fish benefit from improved water quality, as roots underwater provide a food source and habitat. The island also provide shelter, nesting, spawning, feeding and resting for a diverse population of birds, frogs, lizards and vertebrates species.â&#x20AC;&#x153; (Margolis and Robinson, 2007:172). Fig.5.50 Wetland effect (Margolis and Robinson, 2007:172).
Fig.9.49 Refer Section
9.6 Wetlands
Fig.9.51 Wetland
Fig.9.51 Wetland
http://www.floatingislandinternational.com/products/leviathan-technology/
page [174]
technical report __ [services]
Servant space
Fig.9.52 Refer section
Fig.9.54 Section of service NOTE: Laboratories are supplied with gas, water and electricity from the the service boxes up.
Fig.9.53 Servant space
Water and electricity supplied by inlet tower. Inlet tower
Electricity
Fig.9.55 Inlet tower NOTE: That Electricity is supplied from underneath the water
The inlet tower will pump water from the dam up into the tower, be filtered down and used in the building.
Black and gray water will be handled separately.
9.7 Services 01
On land
Black water will be pumped directly to a septic tank where it will flow over into a franch drain
Fig.9.56 Black water system
02
On land
The chemical water [gray water] is pumped to a gray water tank, when full pumped to a holding tank [on land]. When the holdingtank is full it will then be pumped clean by the municipalit.
Fig.9.57 Chemical water system
page [175]
technical report __ [services]
Construction
01
02
Fig.8.59 Existing columns
03
Fig.8.60 Beam structure
Fig.8.61 Vertical structure
Vertical circulation Cable pulley system Elevator structure
Articulating the existing columns
Elevator Bridge bearing
Water level Existing columns
Fig.8.58 Vertical circulation
page [176]
Fig.5.62 Column system
Fig.5.63 Exploded view
technical report __ [services]
Fig.5.64 Exploded view
Services Walkway
Services
Services Walkway
Sub- Floor Level one Fig.5.65 Service walkway
The service walkway is located below the UFS Water Research Centre. Without having to entre the building the walkway can be accessed. This results in a open plan design, without services being in the way, functioning entirely on its own even when the building is closed.
Fig.5.66 Service walkway
page [177]
technical report __ [fire regulations]
The Verti-Scape Escape Chute will be used in the proposed design instead of the usual fire regulated stair case. This chute can evacuate at a rate of 25 evacuees per minute, or 365 in 15 minutes. This evacuates will slide down the chute into save waters beneath the proposed design. The Verti-Scape Chute is usually used in Industrial Applications where workers with a single entry and exit point can be trapped by fire or chemical accident, the installation of a Verti-Scape Chute provides and alternative emergency egress method. Escape Chute System have now developed â&#x20AC;&#x153;pierScapeâ&#x20AC;? where in conjunction with a 25 man life raft, provides a simple secondary emergency egress system for the Off Shore Oil and Gas Production Platforms (The Verti-Scape Escape Chute, [n.d]:online).
9.8 Fire regulations
01
Fig.5.67 Verti-Scape Escape Chute (The Verti-Scape Escape Chute, [n.d]:online).
02
03
04
05
01 03
02
Fire chute locations
04
05
06
07
Fig.9.68 Areas where these fire chutes are located
http://www.youtube.com/watch?v=I8g7AXTzD_I&NR=1
page [178]
Fig.5.69 Verti-Scape Escape Chute (The Verti-Scape Escape Chute, [n.d]:online).
technical report __ [water filtration system] The existing inlet tower would be converted into a natural filtration system where water will be pumped from the dam and poured from the top down using gravity. This water filtration system is based on the experiment below where it starts off with rocks then smaller rocks then pebbles and finally sand. The inlet tower is 80m high and consist of various levels that is only used for a inlet pipe. These areas can be made useful by installing the filtration system on a portion of every level, it is easily accessible and a contribution toward the water research centre. The water that is filtered will be used by the centre.
Detail of inlet tower
Fig.9.71 Existing structure NOTE: The areas located within this structure
Fig.9.70 Refer section
9.9 Water filtration system
Control room Existing pipe Boulders Rocks Pebbles Diatomaceous earth Coarse sand Silica fine sand
Fig.9.73 Water filter section
Fig.5.74 Water filtration experiment (Island Time, 2011:online).
Fig.5.75 Water filtration experiment (Island Time, 2011:online).
http://www.youtube.com/watch?v=fIu_ihvxTJM page [179]
technical report __ [eco -design]
9.10 Eco-design
p.m.
[summer]
Water level rises, resulting in a closed structure.
Fig.9.76 Summer profile
Closed skin: Shaded structure.
Cooler internal climate. Decrease in solar radiation. Fig.9.77 Climate section
page [180]
a.m.
technical report __ [eco -design] p.m.
a.m.
[winter]
Water level drops, resulting in a open structure.
Fig.9.78 Winter profile
Open skin: Less shaded structure.
Warmer internal climate. Increase in solar radiation. Fig.9.79 Climate section
page [181]
technical report __ [drawings]
9.11 Drawings
page [182]
technical report __ [plan]
Ground Floor Plan not to scale
page [183]
technical report __ [plan]
Sub -Floor level one not to scale
page [184]
technical report __ [plan]
Water -Level Floor plan not to scale
page [185]
technical report __ [plan]
First Floor level not to scale
page [186]
technical report __ [plan]
Ground Floor Plan [Zone B-C] not to scale
page [187]
technical report __ [plan]
Sub -Floor level one [Zone B-C]
not to scale
page [188]
technical report __ [plan]
Water -Level Floor plan [Zone B-C] not to scale
page [189]
technical report __ [plan]
Ground Floor Plan [Zone D] not to scale
page [190]
technical report __ [plan]
Sub- Floor Level one [Zone D]
not to scale
page [191]
technical report __ [section]
Section A:A
page [192]
technical report __ [section]
Section B:B
page [193]
technical report __ [section]
Section C:C
page [194]
technical report __ [section]
Section D:D
page [195]
technical report __ [elevations]
North Elevation not to scale
East Elevation not to scale
page [196]
technical report __ [elevations]
South Elevation not to scale
West Elevation not to scale
page [197]
10. conclusion
page [198]
conclusion__
When amalgamating two contrasting systems a progressive hybrid is born, a hybrid in constant transformation with nature. As the design allows nature and architecture to become a symbiotic fusion of one another, it is clear that the self sustaining hybrid becomes a living organism with a important function; research.
Fig.10.1 (UNICEF, 2010:online)
page [199]
11. bibliography
page [200]
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Reciklart. 2008. Louis Kahn. [online]. Available from: <http://reciklart.over-blog.es/5-index.html> [Accessed 18 July, 2011].
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Raj. 2008. Leonardo da vinci. [online]. Available from: <http://www.geekpreneur.com/what-leonardo-da-vinci-taught-me-about-freelancing> [Accessed 05 Julie, 2011].
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Solaripedea. 2008. Milwaukee Art Museum Takes Flight. [online]. Available from: <http://www.solaripedia.com/13/375/5130/milwaukee_art_museum_ map.html> [Accessed 14 August, 2011]. South African Tourism. [n.d.]. Sterkfontein Dam Nature Reserve. [online]. Available from: <http:// www.southafrica.net/sat/content/en/fr/fullarticle?oid=338676&sn=Detail&pid=309652> [Accessed 09 July, 2011]. Thabo Mofutsanyana. [n.d.]. District Municipality. [online]. Available from: <http://www.fdc.co.za/index.php?option=com_content&view=article&id=76& Itemid=306> [Accessed on 09 July, 2011]. UFS. 2011. University of the Free State. [online]. Available from: <http://www.ufs.ac.za> [Accessed 26 April, 2011]. page [204]
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11.4 Journal articles Arefi, M. 1999. Non-place and placelessness as narratives of loss: Rethinking the notion of place. In Journal of Urban design, 4(2): 181-182. South Afria: Department of Water Affairs. 2010. Comprehensive Water Conservation and Water Demand Management Business Plan. Bloemfontein. Quinlan, T. 1988. “The Perpetuation of Myths: A case study of ‘Tribe’ and ‘Chief’ in South Africa” In Journal of Legal Pluralism and Unofficial Law. Vol 27: 79-115.
11.5 Unpublished work Gerritsen, P. 2009. Deconstruction of the tectonic structure as a way of decoration. Delft: University of Delft. Neves, J.D. 2008. The Blur Building Reflections on a design for all the senses. Rio de Janeiro, Brazil: Pontifícia Universidade Católica. (Unpublished thesis).
Wikimedia. 2005. Thabo Mofutsanyane District Map. [online]. Available from: <http://commons.wikimedia. org/wiki/File:Map_No._15_of_Schedule_2_to_Notice_1998_of_2005.png> [Accessed 24 August, 2011].
Prof. Nichols, A. 2004. Milwaukee Art Museum. Case Study. Madison :University of Wisconsin. (Unpublished case study).
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Slater, R. 2003.Tracking Livelihoods in Diappolo: Reflections on longitudinal study in QwaQwa. Manchester: University of Manchester.
World Wildlife Fund. [n.d.]. WWF. [online]. Available from: <http://www.wwf.com> [Accessed 26 April, 2011].
Tselanyane, J.M. 1989. The settlement of Bakwena in QwaQwa. Bloemfontein: University of the Free State. (Unpublished thesis).
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Wood, P. 2002. Drawing the line: a working epistemology for the study of architecture drawing. Auckland. The University of Auckland. (Unpublished thesis).
11.5 Personal interviews Burger, T. 2011. [Civil Engineer: miletus]. Personal interview about Fika Patso. (23 May 2011). Harrismith. Van As, J. 2011. [UFS Department Zoology and Entomology], Personal interview about water research. (02 April 2011). Bloemfontein.
11.5 Personal Emails Burger, T. 23 May 2011. Re: Fika Patso contours. Fika Patso [online]. Available from:<design@miletus.co.za> [Accessed 23 May 2011]. Burger, T. 25 August 2011. Re: Fika Patso Photo`s. Fika Patso [online]. Available from:<design@miletus.co.za> [Accessed 25 August 2011]. Emmenes, N. 12 April 2011. Re: Fika Patso dam. Fika Patso [online]. Available from:<nicoem@mwebbiz.co.za> [Accessed 14 April 2011]. Van Staden, L. 25 March 2011. Re: Fika Patso drawings. Fika Patso [online]. Available from:< Lukie@aurecongroup.com> [Accessed 27 March 2011]. Van Staden, L. 25 August 2011. Re: Fika Patso Structure. Fika Patso [online]. Available from:< Lukie@aurecongroup.com> [Accessed 26 August 2011]. page [205]