Master's Dissertation: The Design of a Public Forum in Central Pretoria

Acknowledgements

I would like to thank my parents, Anton and Shelly Kleynhans for their unconditional support and understanding.

I would also like to thank Aldon Plaatjie, Noor Dali and Shabaaz Motala for the motivation and encouragement.

Dedicated to my friend Steven Carimo.

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The Design of a Public Forum in Central Pretoria.

by Justin Kleynhans Submitted in partial fulfilment of the requirements for the degree M Tech Architecture Professional (structured) – MTPSS0 Department of Architecture Faculty of Engineering and the Built Environment Tshwane University of Technology Supervisor: Prof. Gerald Steyn, PhD Architecture Design Supervisor: Mr. Pieter Greyvensteyn, MArch Architecture November 2017 Opinions expressed and conclusions arrived at are those of the author and cannot be attributed to the Tshwane University of Technology.

Figure 1: Photograph showing the relationship between the citizen and the state at the Union Buildings, Pretoria, 2016. Image by author.

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A b s t r a c t

Figure 2: Photograph showing planters as barriers being constructed in Church Square, Pretoria, 2017. Image by author.

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This dissertation proposes the design of a public forum as an exploration of the evolving relationship between protest, virtual space, and the physical built environment. Pretoria’s population is increasing as a result of rapid urbanisation, causing the gap between the development of the physical and the virtual space to broaden. Existing public space is becoming more inefficient, while the urban population and technology are progressing rapidly.

The need exists for public infrastructure that is linked to the virtual in order for society to progress in a proportional manner where architecture, urban design, citizens and technology develop proportionally. The design proposal aims to provide a means to defend democracy by aligning everyday public space with the collectiveness that occurs during protest demonstrations. This dissertation explores a design that brings into contact the premise of the unity and active citizenry under which protest operates, and the everyday urban experience. Taking into account how the progression of technology has influenced the way in which people gather and practice active citizenry in physical space, and also sustainable aspirations of public space, the structure functions as an augmented parallel reality within its context.

This design proposal is an exploration of a new typology of public space that could reflect the evolution of protest culture during the digital age, and challenges the general perception of protest.

The proposed site for the public forum in Central Pretoria, is the residual space along Helen Joseph Street. This street contains multiple nodes that house a variety of societal stakeholders. The design intends to function as a democratic extension within the physical manifestion of urban apartheid and respond to the local conditions of an African city in transition.

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Declaration Abstract

CHAPTER 01_INTRODUCTION

1.1. Background 1.2. Hypothesis 1.3. Rationale and concept 1.4. Research methodology 1.5. Assumptions 1.6. Delimitations

CHAPTER 02_THEORETICAL PREMISE

2.1. Protest Comparative Analysis: Fees Must Fall/EFF March/Egyptian Revolution 2.1.1. Socio-spatial characteristics in streets of discontent 2.1.2. Fees Must Fall movement 2.1.3. EFF State Capture March 2.1.4.Egyptian Revolution 2.1.5. Conclusion

2.2. Narrative

2.2.1. Greek processional route 2.2.2. Parc de la Villette, Paris (1982-1998) and the Manhatten Transcripts 2.2.3. Conclusion

CHAPTER 03_PRECEDENT STUDY

3.1. Steel Cloud (unbuilt), Los Angeles (1989) – Asymptote 3.2. The High Line, New York (2015) – Diller Scofidio + Renfro 3.3. Jamarat Bridge, Mina, Saudi Arabia, (2000-2005) 3.4. Metabolism: Kenzo Tange 3.5. Yona Friedman, Spatial City, 1960 3.6. Toguna hut, Dogon villages, Mali

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CHAPTER 04_CONTEXT ANALYSIS

4.1. Urbanisation 4.2. The Tshwane 2055 Vision 4.3. National Liberation Heritage Route 4.4. Protest Pretoria 4.4.1. Centrality 4.4.2. Value 4.4.3. Accessibility 4.4.4. Flexibility

CHAPTER 05_DESIGN CONCEPT

5.1. Parti and typology 5.2. The Kiss.

5.3. Urban proposal: Multi-nodal Linear Network 5.4.1. Physical network 5.4.2. Virtual network 5.4.3. Sustainability network

5.4. The Narrative of the Processional Route 5.5. Sustainability 5.5.1. Flexibility 5.5.2. Water harvesting 5.5.3. Solar energy harvesting systems 5.6.4. Waste management

5.6. Virtual 5.7. Composition 5.8. pockets

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CHAPTER 06_BRIEF AND COMPONENTS 6.1. Brief 6.2. Components

6.2.1. Circulation 6.2.2. Events (ordinary and extraordinary) 6.2.3. Site elements 6.2.4. Auxiliary modules 6.2.5. Sustainability 6.2.6. Structural system

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CHAPTER 07_DESIGN SYNTHESIS

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CHAPTER 08_TECHNICAL INVESTIGATION

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CHAPTER 09_CONCLUSION

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REFERENCES

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Figure 3: Photograph showing a police vehicle used during the apartheid-era on display at the Volkstem building, Pretoria, 2015. Image by author.

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c h a p t e r

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INTRODUCTION

1.1. Background

Student protests have significantly pioneered revolutions in public arenas throughout the world. As the guardians of the future, students hold the power to influence societal change. This dissertation is an expression of the significant role that architecture plays in the development of society, as well as its role within the cycle of innovation (Chousein, 2017). Architecture has the unique ability to test new ideas and theories that respond to the important theme of the ever-changing city. By exploring new possible interpretations, architecture can create hybridised situations that fluctuate between figurative and abstract references. This allows the field to test ideas, notions and theories that also mimic constraints faced by architects in practice (Spiller, 2014).

In his book, Democracy and Public Space: The Physical Sites of Democratic Performance, (Parkinson, 2009) argues that the need for traditional sites of democracy is becoming less relevant due to the rapid evolution of social media.

The technological age and innovation of the virtual space allows the average citizen to play a more proactive role in the political sphere. Social media is a great tool that gives people immediate access to resources and commentary. However, it only allows people to transmit narratives of real democratic action, which occurs in physical space.

The detachment between the physical space and the virtual space has led to confusion regarding the medium and the message.

Human beings are physical beings who take up physical space, and therefore require physical stages where democracy can be performed (Parkinson, 2012).

Figure 4: Image of Facebook post by Kgaugelo KG Moxwale where he discusses consciousness during Fees Must Fall, 2016. Image taken from: https://www.facebook. com/kgaug/posts/10210654429101601?comment_

Figure 5: Collage depicting various protests at multiple locations, Pretoria, 2017. Image by author.

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The protest phenomena of the Fees Must Fall movement that started in October 2015, succeeds the 1976 Soweto uprising as proof of the evolving relationship between physical and virtual space.

During Fees Must Fall, an unprecedented collective shift of consciousness was awakened when a national movement occurred at a global scale by means of social media. The relationship between the physical spaces that shaped this movement, as well as the virtual realm that has projected it into the broader context utilising the innovations of social media, inspired the exploration of this topic for the dissertation. The research and design proposal explores a new architectural typology that reflects this evolving global protest culture.

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Nelson Mandela captured the ideals the Freedom Charter on the wall of a holding cell (Figure 7) in the Palace of Justice (Pretoria), during the Rivonia trail (1963–64). The Freedom Charter was used to form the Constitution of South Africa. The dissertation hopes to provide a means to defend the Constitution. The holding cell has become forgotten since the advent of democratic South Africa.

However, Mandela’s lawyer during the Rivonia Trial, George Bizos has called for this cell to be recognised as a national heritage site(Smith, 2014). This historic cell, which has great relevance to the topic, is situated within the context of the design, and can enrich the aspirations of the thesis project. These aspirations are linked to the genius loci of the site, which should form part of the National Liberation Heritage Route.

Figure 6: Photograph of student within the Fees Must Fall protest making reference to the historic Soweto Uprising in 1976, 2015. Image taken from: https://mishkahabrahams. wordpress.com/2015/11/03/pop-culture-and-biko-influence2015-youth-protests/

Figure 7: Images showing the sequence towards the Freedom Charter in a holding cell at the Palace of Justice, Pretoria, 2017. Image by author.

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1.2. Hypothesis

Due to rapid urbanisation, an additional layer of public architecture can materialise the expressed aspiration for active citizenry and social cohesion. By occurring under the narrative of protest, everyday boundaries can be confronted, and prevailing thresholds can be lowered. This can result in a socially and environmentally sustainable public realm that reflects the democratic ideologies of South Africa within the global digital culture.

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1.3. Rationale and concept 1.3.1. Rationale

The design should confront boundaries, enhancing active citizenry and social cohesion by implementing inclusive public space. Linking the ordinary and the extraordinary, the physical and the virtual, the past and the future through the desification of nodes containing various societal institutions.

1.311.2. Concept: The Kiss

The concept of kiss draws metaphorically from the peephole in the door of the holding cell at the Palace of Justice. It serves as a tense connection between the two worlds located on each side of the door. It was designed to enhance the view of the guard, with a tapered edge that absorbs the interior of the cell while restricting the prisoners’ view of the exterior through a single concentrated view. The perceptions from these two environments, through this viewpoint is interpreted as the kiss. The relation between the concept and the topic is prevalent in political expressions involving the kiss. Political candidates kiss babies to garner public affection, and artists depict these candidates in a romantic embrace with their counterparts.

Articulation, engagement, interaction, juxtaposition, proximity, tension and the kit of parts are mentioned pertaining to the kiss in architecture and are explored in the design proposal (Porter, 2004).

The kiss is translated into architecture that creates events along a processional route between the environments of the group design, allowing for the proportional development of society.

Figure 9: Images showing the sequence towards the freedom charter in a holding cell at the Palace of Justice, Pretoria, 2017. Image by author.

Figure 8: Drawing depicting the design proposal as the overlap between the context and the nodes. Image by author.

Figure 10: Photograph of President Donald Trump kissing babies at a rally held in Colorado Springs, 2016. Image taken from http://www. dailymail.co.uk/news/article-3716148/The-man-America-s-future-hands-Trump-makes-baby-cry-grins-camera-Colorado-rally-photo-op.html

Figure 11: Image depicting the design of the peephole at the Palace of Justice, 2017. Image by author.

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1.4. Research methodology

The research methodology used for this thesis is a combination of the quantitative and the qualitative approach. It includes historical method of a comparative analysis of local, national and international protest events, which inform in terms of the current culture and the environments that have shaped these events. Information in terms of the narrative of the design is drawn from literature pertaining to the narrative of group designs in ancient Greek architecture. The theory applied in the design of Parc de la Villette by Bernard Tschumi in which the relationship between event, space and movement was explored. Literature on the National Liberation Heritage Route places the design proposal within a larger network for the site to form part of this larger route recognising African liberation heritage.

Data is studied by way of the descriptive survey method, and the historical method of systematically examining accounts of previous protest demonstrations in order to understand the study area. The naturalistic observation method of taking photographs on site, both on a normal day and during demonstrations, assists in observing the area under investigation. This provides valuable information about the relationship between spaces and human behaviour. The historical method involves the comparison of primary and secondary sources of information, and further informs the research direction. Photographs and footage of first-hand accounts of events at protest demonstrations are primary sources of information.

Secondary sources are the experiences of other individuals in the form of historic evidence from anti-apartheid protests in South Africa, as well as demonstrations abroad found in documentaries and research papers. These secondary sources

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assist in pattern identification in both local and international protests. A study of customary law in Africa provides insight into the cultural practices, which assists in localising the design solution. Visual data is also generated through explorative sketches and drawings.

The combination of both qualitative and quantitative research methods allows for data to be collected, integrated and interpreted. This facilitates an understanding from a variety of perspectives in terms of the history, use, form, and social values of the environment in which this study is conducted.

This ensures objectivity in the design solution.

1.5. Assumptions

This dissertation assumes: • Pretoria requires additional public infrastructure in order to serve a greater population due to rapid urbanisation. • Transport infrastructure in the form of a sky train has been implemented in central Pretoria, and is located along the proposed site. • The goals set out in Tshwane Vision 2055 framework, (City of Tshwane, 2015), will remain in place while the vision is constantly revised according to evolving needs.

1.6. Delimitations

The project is envisaged along the Tshwane Vision 2055 timeline. The context is adjusted to place the project in the future. A sky train is proposed as an existing piece of infrastructure to reflect the possible needs of a rapidly urbanised future. The sky train stations are located outside the proposed site, and provide a linear datum towards the Union Buildings. The sky train and its platforms do not form part of the design proposal, and is only representative.

Figure 12: Image showing envisioned sky train route as future existing infrastructure. Image by author.

Figure 13: Photograph protestors elevating themselves above barriers at Union Buildings during Fees Must Fall, 21 October 2015. Image by author.

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C H A P T E R

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THEORETICAL P R E M I S E

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2.1. Protest Comparative Analysis: Fees Must Fall/EFF March/ Egyptian Revolution

The experiences of protest events in Pretoria have made apparent the various perceptions of protest. Attending these events has brought about a change in personal perception. This change can be described in terms of the analysis of a sculpture, (Figure 14), The Kiss by Constantin Brâncuși (1910).

The Kiss depicts two figures in a strong embrace.

The manner in which these two figures are carved out of a single piece of stone as a homogeneous object lacking space between them, expresses the state of total absorption of one’s self into their individual personal spheres. This disconnect between private relations and the public realm is a successful commentary of the apparent sense of carelessness of issues prevalent in the world today.

The progression from this situation to a state of collective active citizenry could be considered the result of liminal thinking.

Figure 14: Photograph of The Kiss, Brâncuși (1910). Image taken from: https://i.pinimg.com/ originals/4f/6c/08/4f6c0846b65316ec82ed3e3a236c1000.jpg

Young people between the ages of 18 to 35 years old are identified as the most active participants in protests in South Africa (see figure 15). Figure 16 indicates that local governments’ consider their most desired resource to address the underlying causes of protest as being improved public participation protocols and systems for meaningful engagement.

Figure 15: Graph showing the most prevalent category protest actors. Source: https://www.salga.org.za/Documents/ Documents%20and%20Publications/Publications/Community%20Protest%202016%20WITHOUT%20BLEED.pdf

Figure 16: Graph showing what local governments consider to be most efficient resources to address the underlying causes of protest. Source: https://www.salga.org.za/Documents/Documents%20and%20 Publications/Publications/Community%20Protest%202016%20WITHOUT%20BLEED.pdf

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In his book, Democracy and public space: the physical sites of democratic performance, Parkinson (2012) explores the importance of physical space in demonstrations while acknowledging the evolution and influence of the virtual sphere in this culture.

A comparative analysis of three protest events that occurred locally and internationally helps foster a better understanding of the current protest culture in a society undergoing a change in perception.

The study uses the experiences within the physical, as well as the role of the virtual space in protest as an area of focus for the comparative study.

By examining the protestors own language, and the theoretical basis and its position in relation to the logic of the manoeuvre within the built environment can inform the direction of the architectural solution .

• Proximity: The distance from the location to other sites with great historical or cultural value. Elements of national symbols of authority justify the cause and give it meaning.

2.1.1. Socio-spatial characteristics in streets of discontent

• Flexibility: Manoeuvrable spaces allow for protestors to easily flee from the police or other threats.

The comparative analysis of the physical influence of the urban fabric on these protest events is taken from the criteria used by (Bayat, 2009) in his essay, Life as Politics where he analysed the urban features of the Revolution Street in the Iranian Revolution of 1979. He identifies four socio-spatial characteristics in streets of discontent: •Centrality: Gatherings in spaces that allow for the swift buildup of a substantial number of protestors aid the advent of protest events. This localises the initiative and allows a safe way to pool protestors together.

It gives the event an iterative approach, as well as a mounting sense of momentum and confidence.

The availability of neighbouring spaces with blurred boundaries as accumulation areas that feed the climatic main event.

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• Accessibility: Protestors try to find spaces with a high degree of accessibility on a local scale and a city-wide scale.

The number of streets leading to the square and the site as a hotspot of mass transportation present opportunities as a highly accessible location. The number of alternative routes, access points, shorter block lengths, and increased visibility are spatial factors that affect how and where demonstrations take place. The inaccessibility of cars also assists pedestrians in fleeing violence.

Figure 17: The various participants encountered at protest demonstrations. Image by author.

2.1.2. Fees Must Fall movement

The Fees Must Fall protest on 21 October 2015 was a spontaneous, formulated motive. It was an erratic protest where protesters assembled and dispersed repeatedly according to police intervention. Physical contact with the establishment occurred in the form of rubber bullets and tear gas (see Figure 26, 27 & 28, page 23). Protestors used force to penetrate boundaries; vice-a-versa the police did the same to protect and enforce these barriers. The city was used as the very medium of warfare, and not just the containment thereof. This conflict erodes the public environment and renders the environment charged and uncomfortable atmosphere of a police state.

A photographic investigation of first-hand experiences of the build-up and the main event of the Fees Must Fall movement that occurred at the Union Buildings in October 2015, provides insight into the network and current protest culture. The cause, which already existed within mostly black institutions, gained sudden and significant recognition. Previously absent traditional universities joined the cause, subsequently making it a national movement that gained support on an international scale. The protest grew to include multiple locations throughout South Africa and abroad, all linked by the virtual space. In recent times, the participation of citizens who have previously been uninvolved in the democratic process has increased to occur on additional levels of society, as a succession to the historic protest event in democratic South Africa’s democracy. The cause is no longer separated by geographic location and societal divisions. Instead, it is a collective with a shared idea that breaches social barriers.

Figure 18: Photograph showing students taken selfies during in the streets, 2015. Image by author.

Figure : 19. Image with the slogan that indicates the changing culture of protest. Image taken from: http://ewn. co.za/2015/10/23/The-revolution-will-be-Tweeted

Figure 20: Photograph of woman documenting the Fees Must Fall protest as it dispersed into the streets fleeing police intervention, 2015. Image by author.

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Figure : 21(left). Diagram showing the locations of Fees Must Fall protests at various universities nationally with a concise description of events. Image taken from: http://m.news24.com/ news24/SouthAfrica/News/universitiesthe-state-of-play-20161008

Figure : 22. Screenshot of facebook post by Kgaugelo Moxwale describing the support of the event through the handing out of water to protestors. Image taken from: https://www.facebook. com/kgaug/posts/10210654429101601?comment_

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Figure 23(right): Image of Facebook posts by Lungile Gumede and Nokwanda Zungu discussing the Fees Must fall both on the day of the event as well as a year later. Image taken from: https://www.facebook.com/kgaug/ posts/10210654429101601?comment_

Figure 24: Photograph highlighting the various players in at the Fees Must Fall protest at Union Buildings, 21 October 2015.

Image by author.

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Figure 25: Drawing showing protesor movement during Fees Must Fall protest at Union Buildings, 21 October 2015. Image by author

23 fleeing police vehicle. Image by author

Figure : 26. Photograph showing student protestors

Figure 27: Photograph showing student protestors fleeing tear gas. Image by author

2.1.3. EFF State Capture March

The peaceful EFF march (2 November 2016) was a pre-emptive protest against state capture occurring on the day of the release of the then Public Protector, Thuli Madonsela’s State Capture Report. The protest started at Church Square and progressed towards the Union Buildings in Pretoria. Protesters gathered under the trees in the park at the Union Buildings, which provided shelter from the harsh sun. Mobile performance platforms migrated towards the Union Buildings where performance and dialogue continued. Onedirectional dialogue was projected towards the seat of government in attempt to penetrate boundaries.

This dialogue resulted in a non-violent protest as violence inevitably clouds the motive .

This protest was highly organised, and was enhanced by amenities—including portable toilets, drinking water points, moveable truck-mounted performance platforms, stands selling political items, and temporary structures providing shelter— that were provided. It is evident that the provision of certain amenities in the public environment supported the event with the lack thereof being identified by the organisers. An informal migrating marketplace was the only source of food within the immediate context of the processional route; all formal retail outlets closed their doors fearing the protestors. The event was peaceful and received a certain degree of acknowledgement from the state.

A perimeter was set-up around the protest area by the police allowing citizens to claim the streets and ensuring a car-free environment.

The usual barriers were imposed on the public realm, including the closure of public space within the Union Buildings complex .

Protestors gathered amoungst trees, which is culturally significant in African culture, where trees are considered meeting and gathering spaces .

Perhaps the protest was calm exactly because of this significance . The act of the protestors raising themselves above existing infrastructure —be it trees, cars or buildings—indicates the value of elevation.

Figure 29: Drawing depicting protestor elevating themselves above toilet structures and boundary walls. Image by author.

Figure 28: Drawing depicting showing movement of people towards the assembly point at Church Square and ultimately the Union Buildings, Pretoria. Image by author.

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Figure 30A: Photograph showing protestor movement in Church Square changing from static to mobile towards the Union Buildings, 2 November 2016. Image by author.

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Figure 30B: Drawing depicting showing protestors gathering below and elevating themselves within the tree canopy at Union Buildings. Image by author.

Figure 32: Photograph showing the arrival of the marching protestors and EFF marshalls at the Union Buildings. Image by author.

Figure 31: Drawing depicting the gathering of protestors at the boundary around the Union Buildings. Image by author.

Figure 33: Photograph showing the distance between barriers seperating protestors and the Union Buildings. Image by author.

Figure 34: Panoramic photograph analysis of Church Square as the main gathering space for the EFF protestors on 2 November 2016. Image by author.

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2.1.4.Egyptian Revolution

The Egyptian revolution that progressed on 25 January 2011 is a historic 18-day, social mediafuelled civil uprising that resulted in the resignation of President Hosni Mubarak. The exploration of a possible typology involves the use of literature of the event, and an investigation of the unscripted first-person film, The Square (Noujaim, 2013), which provides a first-hand experience of the collaboration and experiences of a group of people and their approach to maximise the effectiveness of the occupation of Tahrir Square during the Egyptian revolution in 2011. Protestors understood the power of a truly public square as a physical manifestation of democracy (see Figure 36A and 36B, page 30-31).

Participants describe this square as a piece of land to call their own and a place in which they could practice their rights (Noujaim, 2013). This further emphasises the importance of physical space in protest.

Information about the physical space was gained from the essay Space and protest: A tale of two Egyptian squares (Mohamed, van Nes and Salheen, 2015). This provides clues as to how the protestors approached the city, and ultimately the destination of the cause. In this essay, it is insisted that the built environment influences the development of protest.

The physical act of collective protest during the revolution in 2011 also influenced through tactical recommendations aimed at avoiding and reacting to violence. The virtual realm posed limitations for the Egyptian revolution. Anonymous organisers compiled and shared a 26-page manual, entitled How to protest intelligently - Important Information and Tactics, (Figure 35, page 29) to be shared via email due to Facebook and Twitter being monitored.

This once again indicates the organisational nature of protest and how recommendations can affect the progression of the event.

Figure 35: Photography showing celebrations at Tahrir Square after the resignation of President Mubarak, Cairo, 2011. Image taken from: http://media.npr.org/assets/img/2012/06/24/egypt_tahrir_wide-2f25cf2dd8824e5c0a1d9260c92c002692ce1fe2-s900-c85.jpg

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Figure 36: Image showing extracts from the How to Protest Intelligently guide, 2011. Image taken from: https://www.theatlantic.

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Figure 37A: Collage of stills from the documentary The Square, 2011. Image by author.

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Figure 37B: Collage of stills from the documentary The Square, 2011. Image by author.

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Thresholds were introduced between the freed Tahrir Square and the contested environment beyond.

These threshold made participants aware that they were entering a new environment and ensured a safe, environment free of weapons or violence. The square was occupied and temporary structures provided shelter including camp sites, a kindergarten, food stands, water points, waste management, platforms for performance and art and comfort areas. The erection of these structures and the introduction of thresholds indicates how even during protest, the tendency exists to formalise the environment to an extent.

Figure 38: Aerial photograh showing the various activities taking place to support the revolution during the occupation of Tahrir Square, Cairo, 2011. Image taken from: https://anniepaul.net/ category/twitter/page/2/

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2.1.5. Conclusion

Insight gained from the study of the three protest events made evident the value that physical space retains as incubators for collective causes. The approach followed by protest organisers as well as the police highlighted what public space currently lacks that is considered important during events where people take ownership of their environments. Limitations were evident in terms of barriers that exist the urban environment and the discontent projected towards these barriers

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2.2. Narrative

2.2.1. Greek processional route

Maré and Rapanos (2007) provide insight into ancient Greek architecture patterns and the perceptual totality that exists in group design of the processional route. They examine the procession of a to event and give insight into how architecture could enhance this process.

Maré and Rapanos (2007) write that ancient Greek architecture occurs at two hierarchic levels: • the upper, divine level is symbolised by elevated Doric temples and placed in dramatic juxtaposition to features in their natural setting.

• The lower human level is represented by the auxiliary buildings of the approach area.

A fixed route (the processional way) approaches the temple, located on an elevated site—the divine level. The procession to the temple prepares the participant for a climactic view of the temple at the end of the route. The approach to the divine level is formed architecturally by the process of a gradual accumulation of different layers that shape the processional way. The entrance allows for partial views of the temple from a distance, at a lower level, where its scale cannot be accurately perceived. The route changes direction multiple times with longer and shorter lengths that provide the viewer with changing views of the main features of the group design. The group design is both a regulated and a random complementary order that encourages communication between the divine and the human level. Design elements are dispersed amongst the incomplete approach structures, which contrasts the fully resolved totality of all the parts incorporated in the temple.

Figure 39: Drawing of the processional route at the Delphi.

Image by Athanasios Rapanos.

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Figure 40: Drawing of the processional route at the Acropolis, Athens. Image by Athanasios Rapanos.

2.2.2. Parc de la Villette, Paris (1982-1998) and the Manhatten Transcripts

The competition for the design of Parc de la Villette stipulated the objective of reflecting the era and the consideration of the future economic and cultural aspirations a significant arrondisment in Paris.

Tschumi aims to create a park that does not have any clear meaning but can rather be experienced by each spectator intuitively (Blundell Jones, 2012). The design identifies the complex relationship between spaces and their use, between the set and the script, between type and program and between object and events(Tschumi, 1994), see Figure 40.

The proposal addressed this complex relationship using three organisational systems of points, lines and surfaces, see Figure 41, page 37.

“La Villette could be conceived of as one of the largest buildings ever constructed — a discontinuous building but a single structure nevertheless, overlapping the site’s existing features and articulating new activities.” Bernard Tschumi.

Figure 41: Diagram of the theory showing points, lines and surfaces. Image taken from: http://emperors.kucjica.org/event-andmovement-in-architecture/

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2.2.3. Conclusion

The study of ancient Greek architecture patterns and the subsequent theories applied in the design of Parc de la Villette gives understanding two differing approaches to narrative in architecture.

The analysis of three protests reveals the organisational nature of these events. The dissertation compares the procession of the Greeks to the procession of protestors today. Both share the desire for contact with what they consider to be an extraordinary entity. The coordination of an experience prepares the user for an ultimate destination. In the present day, this is typically the seat of government or the institution being confronted by protestors and for the ancient Greeks it would be the sanctum of the Gods. Both the temple and the Union Buildings become the focal point, the higher power to which the user builds up a mounting sense of climax before contact is made.

The experience of Parc de la Villette is more openended and makes the users the coordinators their experiences. The visitor becomes the director of their movement and activity. Spaces are flexible and are zoned for activities and not designated for specific functions. This indicates that the daily function of public space is inclusive of the users’ free will.

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Figure 42: Diagram of the showing systems of points, lines and surfaces used in the design of Parc de la Villette. Image taken from: https://za.pinterest.com/pin/110478997080915601/

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C H A P T E R

Figure 43(left): Aerial view drawing of a Spatial City proposal by Yona Friedman. Source: Pro Domo, 2006.

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P R E C E D E N T S T U D Y

3.1. Steel Cloud (unbuilt), Los Angeles (1989) – Asymptote Figure 44: Sectional drawing. Image by author.

The Steel Cloud displays principles of design of an entrance to a city which is constructed above the highway approaching Hollywood. It is mostly made up of inclined planes which overlap one another.

The structure is devoid of walls which allows for a variety of uninhibited free-flowing activity. This architectural assemblage constantly overturns every concept of scale and organization by challenging the typical solid vertical forms of architecture. The composition of the horizontal sectioned structure is an ensemble where mobility and activity prevail.

It houses two aquariums likened to the hanging gardens of Babylon, which swing in the air. The cinemas are roofless providing a dynamic link to the sky above. Extracts of books in the Genealogical Library are projected in various languages on large screens. The structure uses the lost space above the highway to create a platform for activities depicted in a city (FRAC Centre, n.d.).

Principles to be used from the study of the Steel cloud include the structural considerartions for and elevated steel frame structre as well as the orgnisation of the various activities within.

Figure 45: Photograph of Steel Cloud model. Image taken from: https://www.archdaily.com/782384/interview-with-asymptote-architecture-we-are-spatial-engineers/56c7284ee58ecefa91000023-interview-with-asymptote-architecture-we-are-spatial-engineers-image

Figure 46: Drawing of the cross shaped plan of the Steel Cloud. Image by author.

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3.2. The High Line, New York (2015) – Diller Scofidio + Renfro Principles to be used from the study of the High Line include the repetition of landscape design conditions within an urban environment.

The manner in which the High Line Encourages connections to neighbouring buildings provided clues in terms of how the proposed design can acknowledge and be inclusive of the surrounding context.

Figure 47(top): Photography of the High Line. Image taken from: https://s3.amazonaws.com/production.files.thehighline.org/ page_panels/page_panels_template_b/image_3_1436827707.

Figure 48(right): Site plan showing the High Line in context with various pockets portrayed. Image taken from: https://www.detail-online.com/fileadmin/_migrated/

Figure 49: Drawing of the cross shaped plan of the Steel Cloud. Image taken from http://www.solaripedia.com/13/396/5801/highline_park_gansevoort_section.html.

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3.3. Jamarat Bridge, Mina, Saudi Arabia, (2000-2005).

The Jamarat is a large scale public assembly point where Muslim pilgrims embark on Haj right of passage to perform Rajm, where the ritual of “stoning the devil” is performed. The study of the design proposal aimed at accomodating an increasing number of pilgrims - 300 000 per hourperforming this ritual.

Crowd dynamics were modelled with the consideration of behaviours during the rituals of stoning, prayer and walking. The intervention entails the widening of the Al-Kubra stoning area, changing positions of the exit barriers and pillar locations.

Pilgrims can now access the multi-level structure by means of escalators and stairs (Doctor Crowd, 2012) The proposal provides valuable clues for in terms of the principles used in the expansion of the Jamarat Bridge. The approach followed in order to safely increase the capacity of the Jamarat Bridge informed the project on how the implementation of crowd control techniques in building typologies that involve large volumes of people.

Figure 51: Architect’s perspective drawing showing movement of pilgrims. Image taken from: https://www.wired.com/wp-content/uploads/2015/09/fiberglass-1024x768.jpg

Figure 50: An Empirical Study by Dirk Helbing, Anders Johansson, and Habib Zein Al-Abideen on the dynamics of crowd disasters at Jamarat. Image taken from: https://doctorcrowd.wordpress.com/2012/06/20/crowd-spatial-devices-the-jamaraat-

Figure 52: Diagrammatic drawing showing the movement of the pilgrims around the columns. Image taken from: https://doctorcrowd.wordpress.com/2012/06/20/crowd-spatial-devices-the-jamaraat-bridge/

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3.4. Metabolism: Kenzo Tange

The Metabolist vision of accelerated urbanism through organic growth provided guidelines to which the project was developed. The movement put forth proposals for urban utopias as symbols of Japan’s postwar cultural resurgence(Lin, 2010).

This group of young Japanese architects questioned the existing approach to urbanism. They believed the notion that the city is an organic process. The manifesto of this movement called for the radical reconfiguration of modernist cities and believed that urban planning could assist in the progression of societal change. The study of the ideals of this movement gave insight into futurist proposals that have not yet have come to fruition but still indicate forward-thinking ideas translated into architectural representations of space. Principles to be used from the study of the Metbolist ideals include the vision of a future which is invented with fragments of the past where concepts can be progressive while still assimilating tradition, is a shared goal between the Metabolist movement and the proposed project. “I feel however, that we architects have a special duty and mission... (to contribute) to the sociocultural development of architecture and urban planning.� Kenzo Tange.

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Figure 54: Photograph of Festival Plaza designed by Kenzo Tange. Source: Kenzo Tange and the Metabolist Movement: Urban Utopias of Modern Japan.

Figure 53: Image of model for Festival Plaza model by Kenzo Tange. Source: Kenzo Tange and the Metabolist Movement: Urban Utopias of Modern Japan.

3.5. Yona Friedman, Spatial City, 1960

Yona Friedman’s utopian projects inform the dissertation on issues of urban planning, infrastructure and the empowerment of the user (Spatial Agency, 2010). His ideas and projects highlight the possibility that an unusual approach could inspire future solutions. This was executed in the form of temporary, lightweight structures raised above the ground which could span across existing cities. Yona Friedman’s large spatial cities give insight into the idea of superstructures elevated above existing platforms. The structures, made up of many layers, make us of lost space within the city, promoting flexibility and meaning between human activity and the environment in which the activity takes place. With his idea he hoped to put forward a methodical approach to allow for city growth without expanding the city as urban sprawl. Growth of the city occurs above existing buildings instead of outwards.

Figure 55: Drawing of by Yona Friedman for Spatial City at Centre Georges Pomidou. Image taken from: Pro Domo, 2006.

Figure 56: Drawing of by Yona Friedman where he communicates three-dimensional urbanism that allows for the overlapping of different neighbourhoods. Image taken from: Pro Domo, 2006.

Principles to be used from the study of the Yona Friedman’s include some of his ten principles for mobile town planning where he states that: • Agriculture in cities is a social need.

• The city should be climatically conditioned.

• The new city must be an intensification of the existing city.

• Overlapping of neighbourhoods to achieve threedimensional urbanism.

Figure 57: Drawing of by Yona Friedman where he communicates three-dimensional urbanism that allows for the overlapping of different neighbourhoods. Image taken from:

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3.6. Toguna hut, Dogon villages, Mali

The Toguna is a traditional hut that is still found in Dogon villages in Mali. It is an open structure usually located in the centre of the village; a node within the community that is only accessible to the men in the village. Meetings are conducted, and customary law can be practiced here. The low thatched roof is supported by vertical carved posts that depict people with exaggerated genitalia. This symbolises fertility and the future of the Dogon community . The purpose of the very low plane is to force visitors to sit rather than stand, and settle disputes face-to-face (Foundation Dogon Education, S.a.). If a person were to rise up in anger, they would hit their head on the low ceiling.

The resulting atmosphere of neutrality within the space suppresses tempers and allows for restraint in behaviour, circumventing violence during tense discussions. This architectural element represents the values of secrecy, community and shelter within the Dogon culture and is a successful example of how a spatial arrangement can mute or amplify certain behaviours in order to facilitate successful dialogue (Foundation Dogon Education, S.a.).

Figure 58: Photograph of man laying inside a Toguna hut.

Image taken from: http://footage.framepool.com/shotimg/ qf/674479506-toguna-songo-dogonland-village-life.jpg

Figure 59: Drawing showing the positioning of the Toguna hut within the context of Dogon Villages. Image by author.

The study of the role the Toguna plays in Dogon communities as an architectural manifestation of collective discussion finding resolutions informed the design in terms of how architecture can accommodate these temporal actions. Although it is not an inclusive structure, the idea of a structure as a designated public meeting space within a community led to the exploration of a new typology of public space.

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Figure 60: Drawing showing the narrative of carved column.

Image by author.

Figure 61: Sectional drawing of Toguna hut showing the low overhead plane and carved columns. Image by author.

Figure : Locality diagrams showing site locatiion. Image by author.

Figure : Drawing showing everyday activities along Helen Joseph Street, Pretoria. Image by author.

Figure 62: Drawing showing the site location at various scales. Image by author.

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C H A P T E R

C O N T E X T A N A L Y S I S Figure 63: Drawing of Queen Street Mosque, Pretoria. Image by author.

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4.1. Urbanisation

The design proposes additional public infrastructure due to rapid urbanisation. Therefore, it is important to understand the characters and implementations needed to address this opportunity within Africa.

Africa is one of the leading continents in terms of urbanisation. The pace of African urbanisation (40%) is on par with Europe, and greater than India (30%) and North America. African urbanisation is second only to China (45%). The rate at which the mass migration occurs—from rural to urban areas in search of greater prospects—not only presents challenges, but also presents great opportunity.

Existing public infrastructure must adapt in order to cope with the increase in population in order for society to grow as a community. Urbanisation in Africa is so rapid that regulators are not always proactive enough to plan ahead (Naidoo, 2017) states that Infrastructure investment is vital in supporting rapid urbanisation and creating the world’s future cities. The Gauteng province is increasing infrastructure investment to R30 Billion between 2013 and 2016, with an annual growth rate in infrastructure spending at 20,7% (Naidoo, 2017.

Figure 64: Graph showing population distribution in City of Tshwane. City of Tshwane, 2015.

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4.2. The Tshwane 2055 Vision

The proposed project is placed within the Tshwane 2055 timeline, comprising objectives to which the proposal shares objectives. Pretoria is rapidly becoming urbanised and although a greater involvement of citizens in society exists, public space has become insufficient for the vast growth of the city’s population. These amenities are no longer able to foster integration and sustainability within society because of the increased load on infrastructure.

City of Tshwane management has explored a framework that aspires to redevelop the Pretoria central business district (CBD). The framework creates a departure point along which the city can develop. However, the needs of society are not fixed, and need to be constantly revisited in accordance with the fundamental objectives initially envisioned. The Tshwane 2055 Vision (City of Tshwane, 2015) calls for optimal and sustainable development through smart growth management to ensure that the physical environment meets the demands of its growing population. Development should be guided so that resources and services are proportionate to the population it serves, as well as the environmental implications thereof.

The vision for Tshwane involves spatial justice that addresses the historic policy of unfair displacement between people and space. Implementing resilient social urbanism would encourage high levels of inclusivity in socio-political decision-making processes within the city. This can be achieved through a governance system that promotes active citizenry, where residents participate in the process of remaking the city. Social freedom encompasses the residents’ rights to privacy, freedom of conscience, religion, beliefs and expression, and

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association that supports political freedom. Social freedom also envelopes the citizens’ right to assemble and productively demonstrate and present petitions to the city of Tshwane where democratic choices can be made (City of Tshwane, 2015).

The Tshwane 2055 Vision proposes a ceremonial boulevard as an axis that runs through the site (City of Tshwane, 2015). The boulevard is intended to host public displays and celebrations, as well as inaugurations, parades, festivities, and other events within the open spaces containing focal points and prominent structures as a visual feast. The redevelopment plan recognises the ceremonial boulevard as a place that has hosted various marches throughout history and envisions it becoming one of the most important boulevards in South Africa (City of Tshwane, 2015). This forms a large- scale link between the historic civic environments in the city centre, connecting the beginning of the boulevard from Church Square concluding at the current seat of government at the Union Buildings, the end of this axis. The proposed design forms a part of this boulevard, strengthening the narrative of this procession route, a threshold between the past and the future.

Figure 65: Section drawing of the envisioned boulevard along Helen Joseph Street, Pretoria. Image by author.

4.3.National Liberation Heritage Route

The National Liberation Heritage Route (LHR), identified by the South African National Heritage Council (National Heritage Council, 2013), places great importance on the tangible liberation sites of the struggle in South Africa, through the formation of an intangible route (National Heritage Council, 2013). Recognition of these historic sites retains the memory of the aspirations of the time and the reality of the present. The proposed initiative aims to manage the legacy of the liberation struggle and includes the identification of a Liberation Heritage Route (LHR). This consists of a series of sites that express the key aspects of the South African liberation experience and is linked by a common historical narrative. The LHR will be an embodiment of collective experiences and ideals that distinguishing African liberation heritage as a mutual heritage of shared global values (National Heritage Council, 2013). While the proposal subsequently recognises and links these sites with an intangible route, it is indicative of the relationship between the physical sites of democracy and the virtual sphere. The design proposal of this dissertation intends to expand the LHR, with a contemporary addition as a living liberation site that recognises the processes to be followed in persecuting societal change by acknowledging contemporary causes in real time .

Figure : Section drawing of the envisioned boulevard along Helen Joseph Street, Pretoria. Image by author.

Figure 64: Graph showing population distribution in City of Tshwane. City of Tshwane, 2015.

Figure 66: Collage of apartheid architectural planning. Image by author.

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Figure 67: Map showing the various locations of violent(red) and non-violentprotests(blue) between 2012 and 2014 and the proximity of these events to various state institutions. Image by author.

Figure 68: Site analysis illustrating protest tactics and build-up areas to the main event at Church Square during protests. Image by author.

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4.4. Protest Pretoria

The urban structure of Pretoria was formed under the premise of segregation due to the ideology of apartheid. Although this ideology has since been removed, the physical dimensions are still very much intact (Frescura, 2001). Therefore, Pretoria was not designed under the premise of social cohesion. The context and site analysis identifies the phases of the existing protest route during both ordinary and extraordinary times. The criteria used to conduct research on protest tactics is used to evaluate the context from which the design expands on existing and discovered opportunities.

Existing protest routes occur in an environment of striated space—enclosed by fences, walls or other boundaries.

A figure- ground of the Pretoria CBD is analysed along the axis of Helen Joseph Street to identify the existing opportunities in the city, which present future opportunities aligned with the Asef Bayat’s criteria based on the Iranian experience.

4.4.1. Centrality

Spaces that can accommodate the building up of a considerable number of protestors in an iterative fashion.

Church Square is the heart of the Pretoria CBD, where two axes (Paul Kruger Street and Helen Joseph Street) intersect. Church Square has previously accommodated mass protests.

4.4.2. Value

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Sites should have historical or cultural value retaining a strong degree of national symbolism.

Church Square and Helen Joseph Street contain multiple civic buildings and historical landmarks such as the Palace of Justice, Queen Street Mosque, Sammy Marks, Womens’ Living Heritage Memorial and the

State Theatre, many of which are catalysts in the formation of democracy, as well as the commemoration of these events.

4.4.3. Accessibility

The hotspot of mass transportation with a high degree of alternative routes, access points and spaces tthat allow people to pool together and localise the initiative. The Tshwane BRT transit system has stations located on the northern and southern access points of Church Square. It is accessible at multiple points, one being the pedestrianised zones of Helen Joseph Street, which sees vast volumes of people. There is also a collection of alleyways and narrow streets connecting the street with the context and the new skytrain.

4.4.4. Flexibility

A space that is manoeuvrable allows protestors to easily flee from the police. The location should also allow for a high degree of visibility in terms of media documentation of the protest, which acts as a safety precaution that warns of any onset violence. Church Square and Helen Joseph Street are flexible spaces with a high degree of visibility from various locations in the city, forming a narrative axis as the starting point, with the Union Buildings as the terminus. It is often the location from which protests depart, and movement transitions from static to mobile along Helen Joseph Street towards the Union Buildings.

Figure 69: Macro scale site analysis. Image by author.

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Figure 70A: Site analysis showing the context the design intends to communicate with. Image by author.

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Figure 70B: Site analysis showing the liberation route and Mandela’s footsteps. Image by author.

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Figure 71: Long section and aerial analysis of the immediate context. Image by author.

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Figure 72: Short section through Thabo Sehume Street. Image by author.

C H A P T E R

Figure 73: Diagram of the proposed structure kissing the context. Image by author.

Figure 74: Diagram the three-dimensional atmosphere envisioned. Image by author.

The design concept imagines a three- dimensional protest route that kisses the solid fabric of the Pretoria CBD, and acknowledges and reconfigures the traditional architectural and urban syntax with a democratic extension. The design encounters, rather than submits to the authority of walls and boundaries.

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D E S I G N C O N C E P T 58

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Figure 75: Perspective drawing showing how the design intends to kiss the Womens’ Living Heritage Memorial. Image by author.

5.1. Parti and typology

The proposed design is a reaction to infrastructure demands rapid urbanisation. It is the democratic addition of public space by using protest as the narrative. Protest events are typically filled not only with unity and involvement, but also with an apparent growing consciousness of the built environment by protestors. The proposal has no intention of formalising or concretising the act of protest, but rather intends to deformalise the everyday public realm with the underlying theme of protest of confronting boundaries with unity involvement and consciousness. This can be merged with the everyday as the principles the design uses to achieve social cohesion and a democratically effective public environment.

Figure 76: Parti diagram. Image by author.

Figure 77: Initial concept drawing. Image by author.

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5.2. The Kiss.

The concept of kiss intends to generate architecture that has an emotional connection with its environment. The existing and the proposed environments will remain separate, but still drawn together where the past is drawn into the future. It will demonstrate a new mode of public space.

Porter (2004) provides insight into the kiss as an architectural concept: “when one element comes deliberately close to another—without ever quite touching—so that the poignancy of the moment is not lost on the observer or user, showing mutual respect through restraint immediately before the point of contact, holds both parties in perfect tension for a moment in time and space.”

The design concept will transform the built form of central Pretoria into a flexible frontier zone that is transitory, contingent, and never complete. This is achieved through the inversion of the urban syntax (Weizman, 2006). It will be architecture that is both executed and functional as a medium of expression, that challenges the consciousness of the public and dislodges perspectives as a means to defend democracy. Architecture is linked to the operational institutions of power (Hirst, 1993). The proposal attempts to exploit this situation and creates scenarios for the conscious redefinition and reterritorialisation of public space (in which both the ordinary daily lives of citizens and the extraordinary protest events can occur within the shared virtual and public realms), both in close proximity (Reyes, 2016).

The resulting complex adaptive system makes the total of the action larger than the sum of its components. Juxtaposition of the design as a borderless environment of smooth space within the striated context, will allow for free movement and activity rather than containing and organising citizens according to existing borders. (Weizman, 2006). Strengthening the interaction amongst these environments will try to achieve perceptual totality of the group design with the intention of aligning public space with the current age.

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Figure 78: Concept drawing showing the kiss on section.

Image by author.

5.3. Urban proposal: Multi-nodal Linear Network

The identified institutions of power will be linked with the extraordinary nature of protest and the ordinary daily function of the city into a network of nodes that represent these various stakeholders in society. The path within the network will form a processional route with protest narrative. The nodes will be considered event areas or pockets that could facilitate the build up towards the procession of protest.

Figure 79: Drawing showing the nodes at Church Square, Queen Street Mosque, State Theatre, Sammy Marks and the Womens’ Living Heritage Memorial. Image by author.

5.4.1. Physical network

• The structure will cross boundaries, free movement and activate the roof tops and negative spaces within the context.

• The design becomes a three-dimensional experience with elements of stairs, sky bridges, ramps, and walkways as installations interlaced with ground functions.

• Multiple access points act as means to build up protestors, but also as a means of escape.

The structure is universally accessible.

• The structure capitalises on the protestors’ value of elevation.

• The sky train network allows for mobility within the larger context.

5.4.2. Virtual network

• Radio station • Communications tower • Intangible narrative

Figure 80: Drawing depicting various negative space as well as streets and alleyways within the site. Image by author.

Figure 81: Initial concept drawing showing exploration at urban scale. Image by author.

5.4.3. Sustainability network

• Water harvesting • Solar energy harvesting • Green spaces (comfort): the design provides shade, drinking fountains, toilets, seating, and microclimates.

Figure 82: Drawing exploring the design as a scaffold for an evolving society. Image by author.

Figure 83: Photograph of concept model showing various platforms elevated above Helen Joseph Street.

Image by author.

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Figure 84: Drawing depicting the linked negative spaces as holes in the city. Image by author.

Figure 85: Drawing illustrating the design as crossing barriers of vehicular routes and the activation of vacant exsiting rooftops.

Image by author.

Figure 86: Sectional drawing depicting the design as an attachment to the sky train structure. Image by author.

Figure 87: Conceptual drawing of structure hovering above Church Square with sky train structure. Image by author.

Figure 88: Diagram showing the various themes located at the identified nodes in Helen Joseph Street. Image by author.

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Figure 89: Drawing showing further development of the design as an attachment to the sky train structure with skyparks. Image by author.

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Figure 90: Initial concept site plan drawing showing how the proposal intends to densify the Central Pretoria. Image by author.

5.4. The Narrative of the Processional Route

The narrative of the processional route is drawn from research into ancient Greek architecture patterns. The defiance that occurs during protest, and the manner in which these events confront boundaries, influences the narrative determined for the proposed processional route. Reyes (2016) describes this defiance as the act of humans as users of public spaces, creating and attaching meaning to their actions. The narrative of the route will be linked in the mind with no clear physical link, as is the case with African oral tradition. The proposal uses this narrative to bring the progression through boundaries into both the ordinary and extraordinary.

The organisational structure of the group design ensues along the processional route as the datum running from Church Square towards the Union Buildings.

The proposal is located on a selected portion along the route as a means of prolonging the build-up of protest in the early stages of the procession.

Instead of fixed horizontal or vertical movement, the route will be coordinated as a hybrid network. The changing lines of movement along physical spaces will allow these routes to be ideologically linked to communicate and introduce these nodes along the route. The route will progress in multiple directions and lengths, which allows for communication between the linked physical spaces. The route crosses boundaries and challenges hierarchies.

Lowering the thresholds of traditional decisionmaking to a divine level will advance unpredictable encounters. In turn, this will reconfigure the narrative of everyday public environment to include the extraordinary protest events. The design will attempt to accommodate several given situations or scenarios, where the order in which these events actually occur cannot be predicted (Weizman, 2006).

Figure 93: Diagram of the procession route with pocket areas. Image by author.

Figure 91: Drawing of possible connection to existing buildings.

Image by author.

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Figure 92: Drawing showing processional route exploration.

Image by author.

5.5. Sustainability

A sustainable design can be achieved by balancing not only the social fluctuations that occur within the urban environment, but also by implementing public space as a generator of sustainable energy.

Systems are introduced as a constant reminder of the desire for harmony with the environment, rendering the proposal a celebration of a new urban population moving towards a sustainable and collective future. A flexible design allows it to easily adapt to future requirements.

5.5.1. Flexibility

Flexibility is achieved through the structure’s ability to adapt and be adapted to accommodate for future requirements yet to be determined.

5.5.2. Water harvesting

As the public environment collects vast amounts of surface water, the proposal will collect and utilise this water within the design. surface water will be harvested and integrated of this harvested water into the services of the structure.

5.5.3. Solar energy harvesting systems

Improve economy of the vast structure with modular solar array attachments along the structure.

Grouping within the system allows for easy management and for a flexible system.

5.6.4. Waste management

A recycling system, along with sorting areas makes the structure inclusive of existing trade and environmentally responsible.

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5.6. Virtual

The design should remind the participant that the event is relevant within a broader, global scale by linking the design to the virtual sphere.

The design will be ideologically linked with the intangible narrative of the architecture and the proposals relationship with the Liberation Heritage Route. A communications tower will provide an accessible public independent virtual network. An independent radio station will be part of the public environment as a transparent information source that is functioning within the public realm. Media vantage points offer opportunities for documenting the procession from multiple locations. Virtual zones. The structure intends to form the backdrop of the narratives of events that will be communicated on social media platforms.

Figure 94: Telecommunications tower concept drawing. Image by author.

5.7. Composition

The composition of the design is a gradual accumulation of different layers as an architectural assemblage of a kit of parts along the processional route. It endeavours to demonstrate the iterative nature of protest. The ability of this collection of parts to be easily removed and dismantled allows for easy adaptation to a constantly changing environment, and ensures that flexibility of the public space is inclusive of ideas yet to be determined. Kays (2017) describes the repetition of tangible elements as shifting the focus from the object, and placing it on the intangible narrative of the design.

Figure 95: Drawing showing the exloration of how the design can accumlate additional layers over time. Image by author.

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Figure 96: Collage showing process drawings. Image by author.

5.8. pockets

Pocket One: Church Square

Pocket Two: Queen Street Mosque

Pocket Three: Womens’ Living Heritage Memorial, State Theatre, Sammy Marks.

Figure 97: Drawing showing sectional exploration of themes and how they are linked to the nodes. Image by author.

Figure 98: Drawing depicting various pockets and the degrees of design resolution thereof. Image by author.

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Figure 99: Drawing showing the densification of nodes. Image by author.

Figure 100A: Photograph of concept model.

Image by author.

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Figure 100B: Photograph of concept model. Image by author.

Figure 101: Drawing of multiple axis within the design.

Image by author.

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Figure 102: Drawing showing sectional exploration of themes and how they are linked to the nodes. Image by author.

Figure : Sectional drawing showing structural exploration in relation to sky train. Image by author.

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Figure 103: Sectional drawing showing developement of structure as reaches in between existing buildings. Image by author.

Figure 104: Sectional drawing showing how the structure ‘kisses’ the context at Sammy marks. Image by author.

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C H A P T E R

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Figure 105: Drawing showing possible connections between elements of the kit of parts. Image by author.

BRIEF AND COMPONENTS

6.1. Brief

Protest tactics determine the programme for the design. The architecture should reflect the ability of a collection of individual elements to confront boundaries. The concept of “swarming� in the military tactics of the Israeli Defence Force (IDF) refers to the overall, combined intelligence of a system, rather than the intelligence of its components. It is a system that learns through its interaction and adaptation to developing conditions (Weizman, 2006). The design is an assemblage of various repeated parts that together form the whole. These repeated modular elements will allow for flexibility of the design where the structure can be modified. It also emphasises the temporary nature of the structure.

6.2. Components Figure 106: Exploration of protest activities that can inform the brief. Image by author.

Figure 107: Further exploration of activities into an accomodation list. Image by author.

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6.2.1. Circulation

Circulation is an important aspect of the design as the element used to construct the free space.

Elements include modules of staircases, sky bridges, ramps, and lifts.

6.2.2. Events (ordinary and extraordinary)

The following elements would facilitate events at the various nodes: • Activate existing rooftops with more roofs hovering over and providing shelter.

• Meeting spaces below treetops in the sky parks.

• Platforms for performance or soap boxes.

• Observation points to take in the view of the city, or as vantage points to observe or record protest action within the structure and the street below.

• Virtual zones as hotspot areas for people to communicate events to the virtual sphere.

• Seating as rest areas that encourage chance encounters.

• Spectator space to observe people during either the ordinary, or the extraordinary.

• An expanded informal market along Helen Joseph Street introduced in the structure with modular vendor stands.

6.2.3. Site elements

• Benches • Water fountains

6.2.4. Auxiliary modules

• Radio station • Toilets • Waste management

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Figure 108: Drawing as exploration of elements included in kit of parts. Image by author.

6.2.5. Sustainability

• Surface water harvesting and consumption • Solar harvesting arrays • Green spaces

6.2.6. Structural system

A steel frame structure with triangulation as the structural system ensures strength, permeability and transparency. The structure is a composition of a variety of types of columns and trusses.

Figure 109: Column connection module.

Image by author.

Figure 111: Walkway module. Image by author.

Figure 112: Skytrain walkway structure module position within module array. Image by author.

Figure 110: Column module type 1, 2 and 3. Image by author.

Figure 113: Toilet modules. Image by author.

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Figure 107: Radio structural module composition. Image by author.

Figure 105: Reflected view of Walkway structure module array. Image by author.

Figure 106: Walkway structural module. Image by author.

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Figure 104: Vendor module. Image by author.

Figure 108: Staircase module. Image by author.

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C H A P T E R

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Figure 109: Render showing the structures connection to the ground where column bases form benches and drinking fountains. Image by author.

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DESIGN

SYNTHESIS

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Figure 110: Perspective view of media walkway where maximum visibility of the ground plane occurs. Image by author.

Figure 111: Perspective view showing escalator and ground plane intervention. Image by author.

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Figure 112: Section drawing AA. Image by author.

Figure 112: Section drawing AA. Image by author.

Figure 113: Ground floor plan. Image by author.

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Figure 114: First floor plan. Image by author.

Figure 115: Protest platform render.

Image by author.

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Figure 116: First floor plan. Image by author.

Figure 117: Third floor plan. Image by author.

Figure 118(right): Market rendering. Image by author.

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Figure 119: Long section drawing at Womens’ Living Heritage Memorial. Image by author.

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Figure 120: Three-dimensional section drawing at Womens’ Living Heritage Memorial. Image by author.

Figure 121: Rendering showing sky park. Image by author.

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Figure 122: Aerial render at Womens’ Living Heritage Memorial. Image by author.

Figure 123: Perspective of Pocket three showing access, walkways, radio station and skypark. Image by author.

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Figure 124: East facing aerial perspective from Church Square. Image by author.

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Figure 125: View looking towards Church Square showing solar catchment modules. Image by author.

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Figure 126:Aerial perspective towards Sammy Marks Square. Image by author.

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Figure 127: Render showing ground level atmosphere at Living Womens’Heritage Memorial. Image by author.

Figure 128: Drawing showing the area explored in the technical investigation of the design Image by author.

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T E C H N I C A L INVESTIGATION

The technical investigation of the design displays the ‘kiss’ as the integration of the components from the kit of parts, into a homogenous object.

It demonstrates modular architecture at an urban scale to ensure that the flexibile nature of the design is evident.

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CONCLUSION

The design of a public forum in central Pretoria is a bold attempt at exploring a new typology of architecture, which is a true reflection of democracy in South Africa that mediates between the city scale and the human scale. The challenge lies in avoiding the formalisation of protest, yet justifying the proposal of a permanent structure for a temporary event. The topic calls for a solution that enhances the extraordinary nature of protest within the ordinary everyday functions of the city. Hence, deformalising the everyday (in which protest has the ability to lower thresholds and challenge hierarchies and social barriers) can be projected into the norm. It blurs the line between the collectiveness experienced during the extraordinary protest event, and the lack there of in the ordinary experience.  

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Figure 129: Concept sketch. Image by author.

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REFERENCES

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