Leading Architecture June/July 2020

QUOIN ROCK

DIE BRAAK

MELROSE LOW RISE

Wine & Design

The future of construction?

A condensed suburb

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JUNE/JULY 2020

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CONTENTS FIRST DRAFT

p08

JUNE JULY 2020

06 THE BRIEF Editor’s note and book review.

08 INTERNATIONAL The new ME Dubai hotel at the Opus in the United Arab Emirates, designed by Zaha Hadid

Architects, takes the form of a cube with an ‘eroded’ core to create a free-form void.

50 DRAWING BOARD What’s new in the world of architecture and design.

BLUEPRINT 10 THE OAK PAVILION

24 DIE BRAAK

34 SAFARI LODGES

The undulating form of the new pavilion over the northern patio at the Johannesburg Country Club in Auckland Park, designed

by Rebel Base Collective, adds to the layered conversation of the club’s architectural heritage.

Conceived as part of the inaugural Stellenbosch Triennale, Die Braak Pavilion, designed by Pieter Mathews and Associates Architects, prompts questions about the future of construction, the re-use of waste as building material, and the potential of architectural intervention to transform public space.

A new section focusing on safari lodges and their unique requirements when it comes to design, construction, materials and maintenance.

26 QUOIN ROCK

40 SANITARYWARE, TAPS AND MIXERS

16 MELROSE LOW RISE A residential development in the leafy Johannesburg suburb of Melrose, designed by W Design Architecture Studio, reimagines the residential development as a condensed suburb.

20 FERNDALE ON REPUBLIC

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ON SITE

The new design for the redeveloped Ferndale on Republic by MDS Architecture completely re-imagines a Johannesburg landmark to give it a new lease on life.

Family-owned Stellenbosch wine estate Quoin Rock has been transformed into a masterful architectural undertaking by architect Julia Gaiduk.

30 WESTEND BUILDING C Westend Building C, part of the modern Westend office development in Centurion, received its 4-Star Green Star SA Design certification from the GBCSA just before SA went into lockdown.

The pavilion was constructed of reclaimed materials from construction sites – shutter boards, scaffolding planks, hoarding nets – inviting conversations on the future of our environment and the notion of waste as a resource.

38 SUSTAINABILITY What you need to design efficient, sustainable buildings.

Fittings and finishes that say luxury, cleanliness and quality.

44 SMART HOME TECHNOLOGY New ways to integrate technology and architecture.

48 DESIGNS REVEALED A round-up of recently unveiled designs for exciting projects around the country.

58 FEATURED DESIGN Cannata and Make Studio’s ode to stone.

Pieter Mathews, MAAA, Die Braak [p24] EDITORIAL EDITOR: Graham Wood email: graham.wood@newmedia.co.za SUB EDITOR: Anita van der Merwe LAYOUT & DESIGN: Julia van Schalkwyk PHOTOGRAPHY Unless previously agreed in writing, Leading Architecture & Design owns all rights to all contributions, whether image or text.

SOURCES: Shutterstock, supplied images, editorial staff.

COVER PHOTOGRAPH: Dave Southwood ADVERTISING ADVERTISING EXECUTIVE: Johan van Heerden | Cell: 082 887 6627 email: johan.vanheerden@newmedia.co.za SUBSCRIPTIONS Felicity Garbers email: felicity.garbers@newmedia.co.za

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4 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

EVERY DESIGN STARTS WITH A SPECIAL STORY. AXOR MONTREUX

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THE BRIEF

BY E DI TO R G RAH AM WO O D

ED'S NOTE will now open in the UK summer in 2021. As lead architect, Sumayya Vally, says, “COVID-19 has brought the Pavilion themes of community and gathering sharply into focus.” As luck would have it, on our cover for this issue is yet another pavilion: the Oak Pavilion at the Country Club Johannesburg in Auckland Park, by Rebel Base Collective. Designed before the crisis, its dazzling undulating form, also creating a gathering place, was already engaging with questions of belonging, community and the relationship between the past and future – all highly pertinent. Pavilions, it seems – where architecture approximates sculpture – are playing a key part in exploring what architecture will be and do in the world to come.

Graham

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EDITOR’S >

In my editor’s note in the last issue, I was bemoaning the fact that we weren’t able to feature Die Braak – a pavilion commissioned especially for the Stellenbosch Triennale, which was cut short as a result of the nationwide lockdown. Well, as it turns out, architect Pieter Mathews, who designed the pavilion, managed to secure photographs of the project before lockdown, so I’m delighted to be able to feature it in this issue. The pavilion raises important issues relating to sustainability, construction and community, which are particularly important as we consider the transformations that lie ahead of us in the wake of the global COVID-19 crisis. Another pavilion we would have hoped to feature in this issue, the 2020 Serpentine Pavilion designed by Johannesburg-based practice Counterspace,

BEYOND THE WEST: NEW GLOBAL ARCHITECTURE

BEYOND THE WEST

New Global Architecture

BOOK SHELF

In the last decades, Western architecture has largely dominated the discourse and the built environment worldwide. Recently, architecture firms from non-Western countries have been establishing local and global recognition for themselves. Practices all over the world face challenges against a backdrop of rapidly growing cities, ecological demands, changing societies and climate, and emerging economies. Local architects often find strikingly different solutions to local requirements, including sustainability, transportation, migration, construction materials, and traditions. In Mexico, architects work closely with indigenous communities to create modular social housing that can be assembled in one week. In Namibia, a lodge in a wildlife conservancy is designed to echo a local bird’s nest, while in Vietnam, a library and public space have created a micro-ecosystem to house fish and grow food. Beyond the West journeys across Asia, Africa and the Americas to understand how local architects respond to a changing world, and focuses its wide lens on inspiring and truly global architecture.

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INTERNATIONAL

ME Dubai hotel at BY © ZAHA HADID ARCHITECTS PHOTOGRAPHY LAURIAN GHINITOIU

H

ome to the new ME Dubai hotel, the Opus is located in the Burj Khalifa district adjacent to Downtown Dubai and Business Bay on the Dubai Water Canal.

Exploring the balance between solid and void, opaque and transparent, interior and exterior, the design was presented by Zaha Hadid in 2007 and is the only hotel in which she created both its architecture and interiors.

Spanning 84 300m2 (907 400 square feet), the Opus was designed as two separate towers that coalesce into a singular whole – taking the form of a cube. The cube has been ‘eroded’ in its centre, creating a free-form

8 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

void that is an important volume of the design in its own right.

The two halves of the building on either side of the void are linked by a four-storey atrium at ground level and also connected by an asymmetric 38m wide, three-storey bridge 71m above the ground.

“The precise orthogonal geometries of the Opus’ elemental glass cube contrast dramatically with the fluidity of the eight-storey void at its centre,” explains Christos Passas, project director at Zaha Hadid Architects.

The cube’s double-glazed insulating façades incorporate a UV coating and a mirrored

frit pattern to reduce solar gain. Applied around the entire building, this dotted frit patterning emphasises the clarity of the building’s orthogonal form while, at the same time, dissolving its volume through the continuous play of light varying between ever-changing reflections and transparency.

The void’s 6 000m2 façade is created from 4 300 individual units of flat, single-curved or double-curved glass. The high-efficiency glazing units are comprised of 8mm Low-E glass (coated on the inside), a 16mm cavity between the panes and two layers of 6mm clear glass with a 1.52mm PVB resin laminate.

DU BAI , U N ITE D AR AB E M I R ATES

the Opus This curved façade was designed using digital 3D modelling that also identified specific zones that required tempered glass.

During the day, the cube’s façade reflects the sky, the sun and the surrounding city; at night, the void is illuminated by a dynamic light installation of individually controllable LEDs within each glass panel.

Furniture by Zaha Hadid Design is installed throughout the hotel, including the ‘Petalinas’ sofas and ‘Ottomans’ pods in the lobby, which are fabricated from materials that ensure a long lifecycle and its components can be recycled. There are ‘Opus’ beds in each bedroom while the ‘Work

& Play’ combination sofa with desk are installed in the suites. The hotel’s bedrooms also incorporate the ‘Vitae’ bathroom collection, designed by Hadid in 2015 for Noken Porcelanosa – continuing her fluid architectural language throughout the hotel’s interiors.

The ME Dubai hotel incorporates 74 rooms and 19 suites, while the Opus building also houses office floors, serviced residences and restaurants, cafes and bars including ROKA, the contemporary Japanese robatayaki restaurant, and the MAINE Land Brasserie.

Sensors throughout the Opus automatically adjust the ventilation and lighting according to occupancy to conserve energy,

while ME Dubai follows Meliá Hotels International initiatives for sustainable practices. Hotel guests will receive stainlesssteel water bottles to use during their stay, with drinking water dispensers installed throughout the hotel. With no plastic bottles in guest rooms and a program to become entirely plastic free in all areas, the hotel is also reducing food waste by not serving buffets and has composters to recycle discarded organics.

WWW.LEADINGARCHITECTURE.CO.ZA JUNE/JULY 2020 9

BLUEPR I NT

Above: The tapered profile of the vaults of the new terrace pavilion at the Country Club Johannesburg in Auckland Park, merges the roofline with the sky.

Right: The undulating roofline makes a bold architectural statement that ultimately harmonises with the original clubhouse building, allowing views through to the art deco veranda behind it.

10 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

PRO J EC T # 1 OAK PAVI LIO N AT CC J

Under the oak The undulating form of the new pavilion over the northern terrace at the Country Club Johannesburg in Auckland Park, designed

by Rebel Base Collective, adds to the layered conversation of the club’s architectural heritage.

PHOTOGRAPHY DAVE SOUTHWOOD

O

n one level, the new pavilion over the open terrace along the northern elevation of the clubhouse at the Country Club Johannesburg in Auckland Park, designed by Rebel Base Collective, simply creates a comfortable canopy to activate the terrace. But, at the same time, it had to carry out a complex conversation about heritage and a history of privilege, renegotiating the image of the club while helping to revitalise its offering.

The original clubhouse building

was designed by architect George Arthur Hamilton Dickson and dates to 1906. Over the years, additions and alterations created a layered architectural heritage. The veranda in front of the clubhouse had originally been open but had been enclosed with an art deco façade with a detailed plasterwork parapet and steel balustrade along the edge of the roof. The bricked patio in front of it served as a casual alfresco dining area before the new canopy was added.

Continued next page

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PRO J EC T # 1 OAK PAVI LIO N AT CC J The new intervention on the east side of the terrace balances the previous most significant addition to the club house, the the semi-circular Rainbow Room, which was added in 1962.

The most significant alteration to the clubhouse, however, had been the addition of the semi-circular Rainbow Room to the west of the terrace, which was added in 1962.

The brief called for a structure that would create a canopy over the terrace and convert it into a popular venue for dining and events. Rebel Base Collective felt that to be successful, rather than simply attempting a design that would blend unobtrusively with the existing architectural fabric, the intervention would have to be bold and transformative while engaging creatively and respectfully with the architectural history of the clubhouse.

Their canopy covers and extends the terrace, adding a water feature along the northern edge. The cards room on the east of the patio was repurposed to create a sushi and pizza area. An additional bar was constructed between the terrace and the Rainbow Room.

The art deco façade of the veranda prompted a contemporary reimagination of the glamourous style for the new pavilion over the terrace, reprising some of

the shipping and flight metaphors that informed it. The vaulted, undulating roof hovers above the existing art deco veranda with overhangs tapering south onto the upper deck, appearing to not quite touch it. A glass façade has been set behind the original art deco balustrade to leave it unmolested, intact and visible from the terrace.

The Edwardian shingle roof of the original clubhouse building is also visible through the vaultprofiled glazing.

The vaulted ceiling does an excellent job of letting in light and opening views over the lawn and forest beyond. The soft, tapered profile of the vaults merges the roofline with the sky while its directional lines to the north carry the eye out to the forest view over the lawns. A semi-circular cut-out in the eastern-most vault ensures that the grand old oak towering over the terrace is celebrated. Its strong presence, including views up into it branches, ensures a sense of familiarity and continuity in the transformed space beneath its branches. Clerestory windows let in light and open additional views at the top level. The vaulted ceiling is

perforated for acoustic performance.

The predominant material palette of steel (for the canopy) and concrete (for the pillars and bases) sets up a tension between the raw finish of the concrete and the refinement of the obsessively simplified and detailed steelwork.

The architects went to great lengths to conceal any functional details in the steelwork of the canopy, from reticulation and gutters to lighting and speakers, ensuring the purity and absolute simplicity of its form.

Part of the contrast between raw monolithic bases and pillars and the lightness of the canopy – its refined, engineered, machine-like finish – hints at a metaphorical approach: launching into the future while remaining grounded in the past.

The jet-like appearance of the metal vaults is not pure accident. But part of the contrast also addresses one of the central questions that arises when making a modern architectural intervention in a heritage context: how do you create something new that appears timeless?

How can something modern appear settled and at home in a historical setting, especially Continued next page

Left to right: The slim, delicate pillars enhance the pavilion's sense of lightness.

Despite its striking appearance, the new pavilion is sensitive to its setting, and from some angles blends in unobtrustively.

The new pavilion re-imagines the deco metaphors of flight and maritime travel from the contemporary moment.

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A semi-circular cut-out in the easternmost vault left the oak tree preserved and celebrated, still having a significant presence in the design of the new pavilion, providing a sense of continuity and a familiar atmosphere.

HULL CONSULTING STRUCTURAL AND CIVIL ENGINEERS

Email: hull@iafrica.com

Cell: 0832911256

Institute for Timber Construction Accredited Engineer Founder Member SA Thatcher’s Association South African Light Steel Frame Builders Association Member of the Concrete Society of Southern Africa

14 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

PRO J EC T # 1 OAK PAVI LIO N AT CC J

without devolving into pastiche and reductive conservatism?

Rebel Base Collective’s answer is surprising and complex: through meticulous craft and care. The skilled touch of the human hand and human ingenuity is at the root of the material choice and execution. The concrete has been left in its raw state to celebrate the skill that went into its making.

In a curious inversion of modernist machine aesthetics, the seamless finish of the steelwork – rather than being a simple celebration of technology and industrial advancement as the art deco and modernist references might have suggested – is a tribute to the touch of the human hand.

This approach also broaches the issues of social transformation.

Part of the rationale for adding a new pavilion is to bolster membership and ensure the sustainability of the club in the future, making it attractive to a new generation. Within the context of a bastion of social privilege, the new pavilion subtly asserts the labour, craft and skill that went into its making: it celebrates those who built it. Thus, it quietly but clearly asserts the ongoing presence of

the structure’s makers in a gesture of respect and inclusion.

This is not a merely rebellious or subversive gesture on the architects’ part, but a sincere attempt to reconcile questions of heritage and preservation with the imperatives of transformation and sustainability in a complex and contested setting. It is an intervention that is a practical success, a thing of beauty

and a wonder of complex social commentary.

PROFESSIONAL TEAM ARCHITECT: Rebel Base Collective ENGINEER: Mike Hull Consulting QUANTITY SURVEYOR: Hedley Pougnet from EthiQS MAIN CONTRACTOR: TSKBartlett ELECTRICAL ENGINEER: Keith Whitfield QUADAfrica Consulting STEEL FABRICATOR: QuickSILVA

Right: Clerestory windows let in light and open additional views, while the vaulted ceiling is perforated for acoustic performance.

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The condensed suburb Melrose LOW RISE, a residential development in the leafy Johannesburg suburb of Melrose, designed by W Design Architecture Studio, reimagines the residential development as a condensed suburb.

PHOTOGRAPHY REINIER HARMSE

P

rior to the discovery of gold on the Witwatersrand in 1886, the Johannesburg suburb of Melrose was part of one of the original farms that made up the city. The suburb had its beginning when one of the original randlords bought land in the north of Johannesburg in 1893.

He built his home there and planted trees on the land. The suburb was laid out in 1902.

Today, Melrose is known as one of the city’s ‘leafy suburbs’ – with large freehold properties, low-density luxury homes with expansive gardens and tree-lined streets.

While this traditional view of the suburb still holds true to a great extent today, the area has also undergone rapid development over the last 20 years and various new buildings have taken shape and influenced the area both in function and density.

In order to successfully redesign and develop suburbs (or a suburban property such as this) in a sustainable way, we need to maintain the good qualities but eliminate the trappings.

Continued next page

16 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

PRO J EC T #2 M E LROSE LOW RISE

Opposite page: These homes are designed as a single indooroutdoor space – the interior spaces enclosed with glass sliding doors.

This page: The development aims to provide the peace and quiet of a private garden.

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Density often means congestion, noise and pollution. Proximity means the functions and places you need are never too far away. Of course we can have the proximity without the high density, but how can we achieve both higher density and maintain a healthy suburb respectful of both its historical context and its future aspirations? This is the real challenge for developers, planners, architects and prospective residents in our cities currently.

Creating homes that provide the peace and quiet of a private garden, north-facing rooms and all other positives associated with freestanding homes, while also providing the shared

services for security, proximity to real-life city functions like public transport, offices, schools and shops are ideally suited to the ‘old’ suburbs where the infrastructure is in most cases far superior to the ‘new’ suburbs created in the early 2000s.

These homes are designed and viewed as one large open space – one half is the interior spaces enclosed with glass sliding doors, and the other half is garden space.

All primary functions are northfacing and open into the private courtyard. Essentially a scaled down or ‘condensed suburb’.

Planning layouts and specifically the size of courtyards considered

sun angles (winter solstice angle) to ensure controlled sunlight into each home throughout the year and also focused on an approach that gives priority to people rather than cars – the perception of space is a priority and also reinforces the success of the re-imagined suburb.

w design architecture studio Tel: +27 (0)83 445 0424 Email: jw@wdas.co.za www.wdas.co.za

PROFESSIONAL TEAM DEVELOPER + MAIN CONTRACTOR: The Parks Properties Pty Ltd ARCHITECT: W Design Architecture Studio cc STRUCTURAL ENGINEER: Hugo and Partners Consulting Engineers CIVIL ENGINEER: UDE Consulting LAND SURVEYOR: Brian Viljoen and Partners TOWN PLANNER: Breda Lombard Town Planners FIRE CONSULTANT: Fire Safety Designs Pty Ltd

Right: Melrose LOW RISE aims to achieve both higher density and maintain a healthy suburb respectful of its historical context.

18 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

PRO J EC T #2 M E LROSE LOW RISE

This page: All primary functions are north-facing and open into the private courtyard.

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Above: A fern sculpture was commissioned for the main entrances to enhance the new branding of the centre.

Below: The old arches and steel-framed windows were maintained to bring in natural light, while new bulkheads and shopfronts were introduced to link the old parts with the new.

20 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

PRO J EC T #3 FE RN DALE O N RE PU B LIC Family-orientated offerings, including coffee shops and restaurants, promote a family-friendly retail environment.

Below: Greenery was used as a central design consideration and the landscaping was key to softening the design and helping integrate old and new.

F

Joburg icon reimagined Re-imagined Ferndale on Republic gives this landmark a completely new lease on life.

PHOTOGRAPHY TRISTAN MCLAREN

erndale on Republic, previously known as the Brightwater Commons and the Randburg Waterfront before that, was initially created as a city waterfront development – a romantic notion in Johannesburg in the 1980s. The waterfront element was removed when it underwent a renovation and became the Brightwater Commons, which introduced landscaping and parks to the development, as well as a flea market.

Ferndale on Republic is a complete redevelopment, designed by MDS Architecture. Sean Pearce, a partner at MDS Architecture, says the development has been realised in phases.

“Ferndale on Republic is a mixed-use development with offices as well as large retailers, including Checkers, Pick n Pay and Food Lover’s Market. Family restaurants and coffee shops are located throughout the new development,” he says, adding that the Moolman Group has been instrumental in developing the new scheme.

It began with the refurbishment of the existing cinemas into Kagiso Media’s new Urban Brew Studios, a well-respected South African television production company. This 12 000m2 project then served as a catalyst for the upgrading of the existing buildings, as well as the addition of a new 23 000m2 community shopping mall.

Pearce says the design was influenced by his focus on comfortable architecture. “Having grown up in the area, I have many fond memories of the Randburg Waterfront when I first visited it over 20 years ago.

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It evokes wistful memories for many Joburgers, so I relished the opportunity to be able to completely reimagine the spaces and see it evolve into Ferndale on Republic,” he says.

THE BRIEF

The Ferndale on Republic Consortium, comprising Moolman Group, PHG Group & Braam van Huyssteen, wanted to reposition and rebrand the development as well as increase total GLA to around 53 000m2.

Says Pieter Lombard, CEO of Moolman Group, “In contrast to previous endeavours, this project is a complete redevelopment with a key focus on community. The new Ferndale on Republic is almost unrecognisable; totally repositioned to benefit retailers and shoppers alike and managed with attention to detail.”

Pearce says that while some parts of the existing building were retained, others were demolished to allow for more efficient parking and to link the existing building with the new enclosed mall.

Landscaping was a key design principle to soften the design and help integrate the old with the new.

THE SITE

Randburg is experiencing rapid development.

Ferndale on Republic has good access from both Republic Road and Hans Strydom, with a quieter entrance via Cross Street into the neighbouring Ferndale. An iconic ‘fern’ sculpture was commissioned for the main entrance off Republic Road to enhance the new branding of the centre. The existing Mercure hotel was subtly revamped to form part of the new entrance boulevard.

‘Green lungs’ around the perimeter create a relaxing, enjoyable and safe shopping environment.

22 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

DESIGN ETHOS

“We have created a convenient, neighbourhood shopping centre while providing a safe family destination. We wanted to retain some of the nostalgia of a waterfront, as well as the greenery and landscaping. For this reason, greenery was used as a central design consideration in line with the ethos of comfortable architecture,” says Pearce.

Large trees from the previous Brightwater Commons were relocated to the main entrances to create strong focal points and connect the developments. Feature lighting and pedestrian walkways are interspersed with creepers and living green walls. The development features ‘green lungs’ around the perimeter where people can relax and enjoy a safe shopping environment.

New iconic entrances have been softened with landscaping and feature walls covered in stainless steel cables, which will allow the building to soften over time.

Each entrance is a different colour to represent the four different seasons. The new Food Lover’s Market is surrounded by shipping containers with smaller food offerings, as well as a Seattle Coffee shop.

The new, efficient parking area is located at the heart of the development. The large space, with parking for over 3 200 vehicles, has been broken up by red brick paving and lighting, serving as a strong axial link. Tree-lined walkways and paved entrances extending into the parking areas all add to the pedestrian-friendly aspects of the new building.

Following staggered openings, including phase 1 of the new community shopping centre and the opening of Food Lover’s Market, the remainder of the community shopping centre, as well as the restaurant and value retail node, were completed in November 2019.

PRO J EC T #3 FE RN DALE O N RE PU B LIC The redeveloped Ferndale on Republic is a mixed-use development with offices as well as large retailers, family restaurants and coffee shops.

SHOPPING CENTRE

Part of the existing mall attached to the waterfront/ building was incorporated into the new shopping centre mall and has the sense of an old railway shed or building.

Red brick has been used to provide a warm contemporary aesthetic and the individual buildings create a village feel. The old arches and steel-framed windows were maintained to bring in natural light, while new bulkheads and shopfronts were introduced to link the old parts with the new.

“Shoppers walk through the existing mall and then into the new mall, creating a special connection between new and old. We worked with existing structures and high-level windows but introduced new shopfronts and bulkheads. The retrofitting and refurbishment create interesting interactions and spatial connections between the two structures,” says Pearce.

The interior features warm, natural elements and a lot of greenery. Lighting and signage, floor tiling and paving all contribute to a completely different experience.

Left: The interior features warm, natural elements and a lot of greenery.

Right: New iconic entrances have been softened with landscaping and feature walls covered in stainless steel cables.

FAMILY RETAIL

The co-owners made a concerted effort to promote family retail at Ferndale on Republic and, for this reason, pubs have made way for Spur, Panarottis and other family-orientated offerings.

The architectural design of the project allows for simple and logical movement patterns, resulting in an easy-to-navigate shopping experience.

Pearce believes that, in its new form, Ferndale Mall on Republic has a romantic attraction. “It is an evolution that retains the good things associated with the development. The design is efficient but sensitive to the residential area adjacent to the site, while taking advantage of accessibility and visibility from Republic Road,” he concludes.

PROFESSIONAL TEAM DEVELOPER: Ferndale on Republic Consortium DEVELOPMENT MANAGERS: Moolman Group MAIN CONTRACTOR: Probest ARCHITECT: MDS Architecture QUANTITY SURVEYOR: NWS STRUCTURAL & CIVIL ENGINEER: L&S ELECTRICAL ENGINEER: RWP MECHANICAL ENGINEER: Ingplan FIRE CONSULTANTS: Ingplan TIME MANAGEMENT & TENANT CO-ORDINATION: Orion HEALTH AND SAFETY: Cairnmead

Tel: +27 (0)82 561 1408 (Brent) Email: brentk@probest.co.za www.probest.co.za.

Tel: +27 (0)11 784 5221 Cell: +27 (0)83 625 3820 Email: kmcpherson@orionpm.co.za www.orionpm.co.za

Tel: +27 (0)11 463 4020 Email: mail@lsgauteng.co.za www.lsgauteng.co.za

Email: info@mdsarch.co.za Tel: +27 (0)11 884 7999 www.mdsarch.co.za

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Space of waste Conceived as part of the inaugural Stellenbosch Triennale, Die Braak Pavilion, designed by Pieter Mathews, prompts questions about the future of construction, the reuse of waste as building material, and the potential of architectural intervention to transform public space.

PHOTOGRAPHY ABRI KRUGER; PIETER MATHEWS

T

Top: The main axis of the pavilion was a pedestrian walkway cutting through the Braak, a public space frequented by a broad cross-section of Stellenbosch’s population.

Above: The armature of the pavilion defined its structure, encouraging the local population to participate in filling in its walls with materials such as discarded fishing nets, ropes, plastic bags and nylon packaging.

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he last inaugural launch event at the Stellenbosch Triennale, an event originally planned to run from 11 February until 30 April 2020, but closed early as a result of the COVID-19 outbreak, was the launch of a pavilion on the Braak, Stellenbosch’s town square. Die Braak Pavilion, a temporary structure designed by architect Pieter Mathews, was designed to provide a platform for education, talks, information gathering and dialogue during the Triennale.

Die Braak is the heart of Stellenbosch, situated at a key point between historic churches, the university and magistrate’s court. Once a vital public space, in more recent times functioning as a starting point for guided tours of the town, it has of late fallen into dereliction and disrepair.

As well as catalysing the revitalisation of the square, aiming to reactivate the public space of Die Braak and shifting the local population’s relationship with shared space, the pavilion also included an ecological dimension.

The word ‘braak’ means fallow land, a description often used in post-apocalyptic art and movies, here reminding us that if we do not care for our planet, it eventually will become ‘braak’. Echoing the theme of the Triennale, Tomorrow There Will Be More Of Us, the intervention invited participants to ultimately determine the aesthetic of the Pavilion, just as our choices would determine the ‘tomorrow’ of our planet.

The notion of ‘embodied experience’, explained by architectural theorist Juhaani Pallasma as a full sensory experience in time and place, was the foundation of the pavilion. It was intended as a space to be experienced, to be interacted with and contributed to. The Pavilion as a fusion between the disciplines of public art, sculpture and architecture.

The pavilion was constructed of reclaimed materials for construction sites – shutter boards, scaffolding planks, hoarding nets – inviting conversations on the future of our environment and the notion of waste as a resource. As such, it was an analogy for a planet of waste, devoid of resources.

PRO J EC T # 4 DIE B R A AK The pavilion was constructed of reclaimed materials from construction sites such as shutter boards, scaffolding planks and hoarding nets.

Rather than a finished object, the pavilion could be considered the ‘armature’ or skeleton intended to ‘grow’ throughout the Triennale as people participated in its making. By providing only the armature as defined structure, the Pavilion encouraged the local population to participate in the filling in of the Pavilion.

Its main axis was a pedestrian walkway frequented by a cross-section of Stellenbosch’s population, from students and magistrates to residents and homeless people. By inviting the participation of all sectors and stakeholders in the public life of Die Braak, the pavilion also aimed to become a meeting point and the beginning of a transformation in the nature of this central public space – from a polarising and divisive area to a safe and democratically inclusive space.

Waste materials such as discarded fishing nets, ropes, plastic bags and nylon packaging were woven and knotted as infill material. The reuse of waste material communicated the value of waste and the future of a waste economy. The Pavilion stood as a metaphor for the future of our planet’s depleting resources and the value of what we today refer to as waste. As people wove their own strands of waste into its structure, it became a metaphor for each person’s individual contribution

to the conservation of the planet. The outcome does not depend on a select few, but rests on the collective shoulders of every human being.

An afterlife for the Pavilion is envisaged: as a playground for a crèche or perhaps a shading device for local crafters. Conversations around everyday materials and their afterlives are integral to the message the Pavilion portrays.

PROFESSIONAL TEAM ARCHITECT: Mathews and Associates Architects SPONSORS: CS Property Group; Cape Nature

Vredelust renovation currently in progress

COMMITTED TO THE HERITAGE OF STELLENBOSCH

www.csprop.co.za T: +27 21 880 2672

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The new tinted glass and metal structures of the reinvented Quoin Rock Wine Estate reflects the magnificent surrounds, so that it disappears into the landscape.

Wine and design Family-owned Stellenbosch wine estate Quoin Rock has been transformed into a masterful architectural undertaking by architect Julia Gaiduk.

PHOTOGRAPHY SUPPLIED

26 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

PRO J EC T #5 Q UO I N RO CK

A

rchitect Julia Gaiduk has transformed Quoin Rock Wine Estate into one of the most masterful architectural undertakings in the Cape Winelands. The familyowned Stellenbosch estate has recently reopened after two years of reconstruction. This

reinvention lies in the seamless blend of exterior landscape with magnificent interior space.

Symbolism was a driving force of the reconstruction project, with architectural and structural elements drawing on the natural surrounds.

Gaiduk’s main objective was

to introduce a level of modernity and contrast by combining existing brick wall structural elements with completely new glass and metal structures.

From the dynamic use of water in the entrance space to the reflection of natural light in the reception area, every aspect of the

work is carefully considered.

Here a 5,5m bronze sculpture of the vine, the ‘Heart of Quoin Rock’, sets the tone for the symbolic ‘circle of life’ carried through to the internal spaces of the Wine Lounge and Gåte Restaurant.

Continued next page

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A 5,5m bronze sculpture, the ‘Heart of Quoin Rock’, sets the tone for the symbolic ‘circle of life’ carried through to the internal spaces.

What was previously known as the tasting room has been transformed into fine-dining Gåte Restaurant.

“Mostly natural materials and light colours were used in the restaurant interior. Two external existing brick walls were removed to open the internal space to the outside – we decided to bring the landscape inside,” explains Gaiduk.

“Symbols of wine production have been used as a core in the interior design. A custom-made oak bar counter became the central focus.

The prototype of the bar counter was a French oak barrel, and solid wood banded lights symbolised the fermentation process within the barrel. Three columns in the restaurant space are also framed with a solid wood oak panel — conceptualised as old vines.

“All restaurant furniture was

designed by us in order to create the most comfortable space, with each small element complementing the main concept of the interior design.”

The original shape of the building prior to renovation was altered by ‘slicing through’ with a completely new element – a pergola, whose crisscrossed I-beam structure is filled with a laser-cut panel that offers beautiful dappled shading outside the wine lounge and restaurant area.

The former warehouse of the winery has been artfully renovated into a venue hall. This extension was intended to mirror the silhouette of the existing building within a new metal structure, but the main structure of the extension had to ‘disappear’ into the landscape. The reflection of the landscape in the tinted glass panels achieved exactly that.

28 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

Now the Venue Hall stands as an eye-catching ‘mirror box’ set within the new metal structure, which repeats the shape of the original building’s façade and reflects the magnificent surrounds.

The Venue Hall includes marble flooring, glass walls, huge pivot screens with laser-cut panels hiding doors leading to an industrial kitchen. This is beautifully finished off with magnificent brass chandeliers. “Interior design here aimed to combine the existing industrial style of the warehouse with modern elements of public spaces. The eclecticism was chosen as an essential idea in the interior

design process,” adds Julia.

The fluidity of Julia’s creation has been enhanced by wooden furniture and cladding by Pierre Cronje Fine Furniture and by bronze sculptures and elements by Charles Haupt (Bronze Age Studio).

Tel: +27 (0)21 888 4740 Email:info@quoinrock.co.za www.quoinrock.co.za

PROFESSIONAL TEAM DEVELOPER: Quoin Rock Wine Estate MAIN CONTRACTOR: Tabor Construction Pty Ltd ARCHITECT: Julia Gaiduk STRUCTURAL & CIVIL ENGINEER: DAHCON

PRO J EC T #5 Q UO I N RO CK

Top: The Venue Hall repeats the shape of the original building’s façade.

Right: The view over the main entrance illustrates a seamless blend of exterior landscape with magnificent interior space.

Below: A pergola with a laser-cut panel offers beautiful dappled shading outside the wine lounge and restaurant.

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The floating forms of the building are eroded and cut into with windows and balconies in a play of solid and void.

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PRO J EC T # 6 WESTE N D BU I LDI N G C

Floating cubes Westend Building C, part of the modern Westend office development in Centurion, received its 4-Star Green Star SA Design certification from the GBCSA at a historic moment in time, just weeks before South Africa went into lockdown.

PHOTOGRAPHY TRISTAN MCLAREN

W

ith a useable area of 6 214m2, Building C is the third of six buildings to be developed by Abland Property Developers in the Westend Office Park, with MWLF as project architects and Solid Green as sustainability consultants. Grant Silverman, marketing director at Abland, says, “Abland Property Developers strongly believes that, in today’s times, it is essential that all its developments are designed in the most efficient way possible, to

be both good for the environment and reduce the occupation costs for the tenants that occupy these buildings upon completion.”

SHARED CONCEPT, INDIVIDUAL IDENTITY

Jeremy Williams, director at MWLF Architects, explains that the design themes started in the development’s first building are evolving as subsequent buildings are developed. “The concept is a family of buildings that share a

DNA, but with each building having a unique identity that responds to the movement of time and trends as the park evolves,” he says. “The buildings are designed economically to have efficient floorplates and to be able to accommodate a variety of tenants, with individual façade articulation creating design interest and highlighting the positive and negative forms of each structure.”

The six-storey Building C has a rectilinear floorplate with a central

core that allows lobby access to four flexible subdivisions of 325m2 per floor. Williams adds that the ground floor of the building contains a recessed parking level, forming a base upon which the projecting office floors and ‘floating cubes’ of white structure rest. “These floating elements are eroded and cut into with windows and balconies to articulate the form through a play of solid and void.

Continued next page

The building uses non-harmful materials in the interior spaces.

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“A concrete end wall acts as a holding element, framing the negative space and cube, and folding over to form a top to the building. This entire façade is then reversed and mirrored on the alternating façade, creating two asymmetric end fades. We also introduced a strong diagonal element in this building, which will be carried forward in Building D.” USER WELLBEING & PRODUCTIVITY

For years, it has been widely acknowledged that the design and management of buildings are critical to enhancing users’ health and wellbeing – both in terms of productivity, and mitigating disease and absenteeism. “In commercial building typologies, salaries are the biggest cost to companies, so an improvement in staff health and productivity will bring a direct return,” says Marloes Reinink, director at Solid Green Consulting. “And, in times of almost unprecedented economic uncertainty, this is an area that should receive increased attention

from business decision makers.”

Makhosazana Mthethwa, sustainable building consultant at Solid Green, explains that Westend Building C incorporates several green building principles that are geared towards user wellbeing, such as a balanced window-to-wall ratio that allows ample natural light into the offices. Furthermore, 89% of the office floorplates have access to external views.

“The building also uses nonharmful materials in the interior spaces,” says Mthethwa. “For the interior fit-out, and for any future refits and expansions, paints, carpets, adhesives, sealants and composite wood products will be specifically selected to minimise emissions typical of materials containing volatile organic compounds.”

The integration of physical activity is essential to achieving health and wellbeing, and Building C makes provision for a more active, less sedentary lifestyle through walkability and accommodating non-motorised transport options.

Sited just over 1km from Centurion

The concept of the development is a family of buildings that share a DNA, but each having a unique identity.

32 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

Mall and within 700m walking distance of the Centurion Gautrain Station, the building provides cyclist facilities on the upper basement level with two changing rooms and showers next to the main entrance lobby, and secure bicycle storage for both staff and visitors on the same level.

Preferred parking bays for fuelefficient vehicles like hybrid or electrical cars, as well as mopeds, scooters and motorcycles, have been provided on the lower, middle and upper basement levels close to the lift core and lobbies.

Car-share vehicles can also make use of these bays if there is a contractual agreement between the tenant and car-share company.

OPTIMISING RESOURCES

Behaviour of occupants is critical to reducing overall consumption, and energy and water sub-meters have been provided for all substantive energy and water uses to facilitate ongoing management of resource consumption.

The building recorded a simulated 53% reduction in energy

consumption when compared to a building constructed to SA National Standards. The lighting power density for artificial light is limited to 1.5W/m2 per 100 lux to ensure minimal energy consumption. This is achieved through the use of LED lighting for at least 95% of the offices. All spaces are individually switched, and occupancy sensors linked to the lighting system enable lighting of occupied areas only.

Hot water is provided through the use of a 5,5kW heat pump to showers in the upper basement level and for use in kitchens and wash hand basins. Water-saving initiatives include water-efficient sanitary fittings, and an air-cooled heat rejection HVAC system rather than a system using potable heat rejection water. The system uses refrigerants with an ozone depletion potential (ODP) of zero, and does not include any component systems that might pose a risk of legionella infection.

A 21m2 recycling and waste storage area is conveniently located for precinct service collection at the Upper Parking Level, with easy access to dedicated sorting bins. This area is linked to Westend Precinct larger waste and recycling centre, which facilitates sorting of paper and cardboard; plastic, glass and cans; metals; and general waste.

The project team estimated the Green Building cost premium to be as little as 1%. This is due to an already high-quality Abland baseline building standard that incorporates green design principles. Reduced potable water and energy consumption are also anticipated to significantly lower the building’s operational utility bills.

The project targeted a Green Star Innovation point for Financial Transparency. According to the GBCSA Technical Manual, the aim of this credit is to “encourage and recognise the sharing of costs/

PRO J EC T # 6 WESTE N D BU I LDI N G C

financial information related to the design, construction and operation of green buildings in the context of the Green Star SA certification process, that will create greater market transparency and awareness of the cost trends related to green buildings”. The data is also used as input in a research project by the University of Pretoria to provide insights into the cost of going green on buildings in South Africa.

Above: 89% of the office floorplates have access to external views.

Below: A concrete end wall acts as a holding element, framing the negative space and cube, and folding over to form a top to the building.

POST-COVID-19 BUILDING STRATEGIES

“Climate risks have become part of the mainstream building conversation over the last decade, further highlighted by serious energy and water-supply issues,” says Reinink. “In planning for a post-COVID-19 building strategy, health-related risks will join the Resilience conversation – requiring changes to design and construction methodologies for all building typologies.”

As the links between urbanisation, climate change and public health become more apparent, current building practices are expected to fall under scrutiny, and projects like Westend Building C will point the way forward.

PROFESSIONAL TEAM DEVELOPER: Abland Property Developers GREEN STAR AP: Solid Green Consulting ARCHITECT: MWLF Architects MECHANICAL CONSULTANTS: Midrand Airconditioning & Ventilation CIVIL & STRUCTURAL ENGINEERS: Civil Concepts QUANTITY SURVEYOR: Aecom ELECTRICAL ENGINEER: DJJ Conradie & Partners (DJJC) CONSULTING ELECTROTECHNICAL ENVIRONMENTAL CONSULTANT: EP3 Environmental CONTRACTOR: Mike Buyskes Construction

solid GREEN

consultancy for the sustainable built environment

Tel: +27 (0)11 346 9420 Email: info@mwlf.co.za www.mwlf.co.za

Tel: +27 (0)11 447 2797 Email: hello@solidgreen.co.za www.solidgreen.co.za

Tel: +27 (0)12 460 0008 Email: mail@civilconcepts.co.za www.civilconcepts.co.za

WWW.LEADINGARCHITECTURE.CO.ZA JUNE/JULY 2020 33

ON SITE

THE MODERN THATCHED ROOF Thatching is a universal and age-old practice and is one of the most sustainable industries in the world. It is perfect for rural settings because thatch darkens as it begins to age. The

colour allows the roof to blend in more with its surroundings and creates a sense of harmony and belonging.

It’s almost inconceivable to think of safari lodges, game

parks, holiday resorts, etc in the African continent without thatched roofs. But especially since most of these lodges are located outside municipal areas and far from major

towns and/or cities, it is of the utmost importance to design thatched roofs thoroughly and effectively to reduce maintenance and to ensure a long lifespan.

Modern techniques have advance thatching to a very fine art but there are some important fundamental aspects to keep in mind when designing a thatched roof, such as: • Keep the design simple. The more complicated it is, the more maintenance it will require at a later stage.

• Make sure the contractor or engineer supplies the thatchers with structural drawings. This prevents unnecessary guesswork and specifies exactly how much material will be required.

• A thatched roof should have a minimum pitch of 45 degrees and minimum of 35 degrees over dormer windows.

• The smoother a thatched roof, the more velvety

34 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

SAFARI LO DG ES

its finish, the better the thatching and the better water will run from it – and the longer it will last.

• Flashed areas, features that penetrate or interrupt the roof should be avoided as far as possible.

• Chimney shafts should be designed to penetrate the roof plane at the ridge, thus avoiding the necessity of back flashing.

• Soil vent pipes are best located on external walls so that they penetrate the thatch near the eaves line.

• Rainwater must not be allowed to discharge from a high-level roof onto a thatched roof at a lower level.

• Thatched roofs are constructed with dripping

eaves, meaning rainwater gutters and down pipes are not provided. An eaves overhang should be at least 500mm and provision should be made at ground level, around the building, to prevent erosion due to water dripping from the eaves overhang.

The Thatchers Association of South Africa (TASA) has become a force and grows from strength to strength.

It is one of the founding members of the International Thatching Society, which is an international platform for exchange of knowledge and news about thatching and thatched constructions.

The long-term goal is to upgrade thatch to become a modern and competitive roof,

acknowledging the historic skills and techniques for future reference.

The Thatchers Association of South Africa has two publications, namely A Guide to Thatch Construction in South Africa, which clarifies by means of photos and descriptions the SANS 10407 (Thatched Roof Construction) Specification,

and the Pros and Cons in the Thatching Industry. The latter contains excellent information and advice on all aspects of building and maintaining thatched roofs. To promote the thatching industry, both publications are made available for free and can be ordered from the TASA office. www.sa-thatchers.co.za

A GUIDE TO THATCHING IN SOUTH AFRICA

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THATCHERS ASSOCIATION OF SOUTH AFRICA Mobile: +27 (0)83 283 8429 Email: admin@sa-thatchers.co.za www.sa-thatchers.co.za

WWW.LEADINGARCHITECTURE.CO.ZA JUNE/JULY 2020 35

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SAFARI LO DG ES

INHOUSE DESIGN FOR TENTED CAMPS Before December 2019, most of us knew Corona as a beer or, within the design circles, as a render tool. Life was planned according to your schedule and one could hop on a plane or drive to where the road took you.

With the COVID-19 pandemic and the impact of it that we all suffered in lockdown, freedom is a luxury none of us will forget.

If you own a piece of land, having your own lodge is within your reach. Investing in creating your own freedom is at your fingertips and Bushtec Creations can assist you to create your dream.

In partnership with Bushtec Safari, Bushtec Creations creates authentic, worldclass, award-winning full turnkey tented developments.

This can range from African bush tented camps, Safari tented lodges to luxurious desert tented camps or even tropical tented resorts.

A site visit is mandatory for the team to successfully examine all site layout options and advise clients of all necessary details to be taken into consideration throughout the development.

Bushtec Creations pride themselves on having their own in-house design teams who, through passion and

innovation, can design every detail of your tented dream from scratch – including each tent, an entire site layout and interior details of each tent. The team also does high-quality, realistic renders of each tent and site layout, in order to give clients a realistic visual and an expectation of the end result. They also work closely with architects appointed by clients on some projects in order to get to the client’s desired outcome, if required.

Bushtec Safari tents are renowned globally and have been designing, manufacturing and supplying tents for decades. Through experience

36 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

and dedication, they strive to continuously improve their service and our products beyond excellence. The material used for Bushtec Safari’s tents are of the best quality, fits in perfect harmony with the natural environment and is eco-friendly.

There are over 1 300 Bushtec Safari tent designs, all of which can be customised according to each client’s requirements.

Customisable options include various colours of material, hard doors and windows, fully tented structures or hybrid structures, including solid components in combination with tented materials.

Over the years, Bushtec Safari tents have proven to withstand elements in various environments, throughout all seasons and weather conditions.

Bushtec Creations creates full turnkey tented developments to the last detail, including all components needed for your camp, such as your tents, foundational structure which is mostly decking, swimming pools and firepits, water and electrical reticulation, as well as all interiors required. With all the experience needed, the latest technology and a very passionate team, you can rest assured Bushtec Creations will create an investment you will be proud of!

“If you own a piece of land that you want to develop, Bushtec Creations can make that happen for you. We can create your full turnkey tented lodge or resort in accordance with all social distancing requirements, yet it will still be your sanctuary where you can relax and enjoy your freedom,” says Bushtec Creations CEO, Louw Bekker. www.bushteccreations.com

011 018 7800 info@thermguard.co.za

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SUSTAI NAB I LIT Y

SUSTAINABILITY IS THE FUTURE OF CONSTRUCTION Globally, the built environment is the single biggest consumer of resources and producer of pollution emissions on the planet. Broken down, the figures are staggering with building and construction in Europe responsible for some 25-40% of total energy use, 30% of raw material use, 3040% of global greenhouse gas emissions and 30-40% of solid waste generation. The situation on the African continent is even starker, with the building sector accounting for 56% of energy consumption, 5% of all water consumption and 2440% of solid waste generation.

In order to meet the goals of sustainable building now, and in the future, construction companies need to balance the three sustainability pillars, namely people, planet and profit. All new projects and refurbishments must be looked at holistically and designed with the entire lifecycle in mind. The overriding

philosophy must be to improve comfort and wellbeing, minimise the consumption of natural resources, reduce the environmental footprint and improve the project’s financial viability.

Some built environment professionals still argue that traditional building practices and methodologies are significantly cheaper than the cost of constructing a green building, when in fact there is only a 5% premium. This is related only to the cost of construction, while over the lifetime of a green building, it will show significantly higher returns by reducing energy and water consumption between 30-60%, which results in increased productivity of employees by 25%, brings higher market value of 10%, and a higher rental rate ranging between 5% and 10%. Demand for sustainable buildings is on the rise.

38 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

With this in mind, Saint-Gobain ISOVER has manufactured a wide range of thermal and acoustic insulation solutions that support the design of energyefficient buildings in the residential, commercial and industrial sectors. “One of the cornerstones of our philosophy is to offer innovative solutions for new constructions and renovations to reduce the footprint of the built environment,” says Jolene Blundell, Insulation Product Manager at SaintGobain ISOVER. “These solutions make buildings more resource and energy efficient, and healthier for people. We take great care to assess the environmental impacts of our products over their entire lifecycle and ensure we deliver transparent information on their environmental performance to our customers.

This is done via third-party verified Environmental Product Declarations.”

Case in point is ISOVER Cavitylite, which was issued an international verified EPD in 2019. “Cavitylite was introduced in 2015, as part of our rolled flexible glass wool solutions, and has exactly the same density and performance as the Cavitybatt range. It is, however, produced in longer sections and pre-slit into 600mm widths for easy installation into drywall cavity sections, and rolled as opposed to being cut as individual batts. Furthermore, our ISOVER glass wool is traditionally manufactured with sand. In order to reduce quarry extraction, we have increased the use of recycled glass in the process, which helps protect biodiversity and

reduce sand consumption.

We can now proudly say that an ISOVER glass wool batch contains up to 80% recycled glass. A secondary benefit has also been realised by using recycled glass, as it melts at a lower temperature than primary raw materials. This has significantly reduced the energy consumption of the melting furnace and related CO2 emissions and, over its useful life, ISOVER’s glass wool saves more than 100 times the energy consumed and CO2 emitted in its manufacture, transport and disposal processes.”

Simply by rolling and compressing Cavitylite, Blundell notes that SaintGobain ISOVER is able to save 40% on transport and storage space. “Our patented process compresses the product by a factor of six at the moment of packaging. This improves handling, reduces the need for packaging materials and lowers the environmental impact of transportation.

Moreover, to further reduce transportation impacts, ISOVER plants are located close to all our markets and we remain the only local manufacturer of glass wool in South Africa. This also allows us to support employment of local communities.” www.isover.co.za

Gauteng 012 653 8204 / Cape 021 983 1140 / KZN 031 569 1800

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SAN ITARY WARE

GROHE SENSOR TAPS: TOUCH-FREE HAND WASHING When washing hands using a conventional tap, you must touch it with your dirty hands to turn it on – leaving behind germs, bacteria and viruses.

Automatic taps controlled by a sensor are therefore a good alternative for making hand washing more hygienic, especially in households where multiple people live. Since the tap is controlled via an infrared sensor, you don’t have to touch it at all and germs and bacteria have less chance of spreading.

HYGIENIC HAND WASHING WITH INFRARED TAPS GROHE’s infrared sensor taps allow for a completely new way of washing your hands.

The sensor registers when your hands are approaching and automatically activates the flow of water. If the tap’s sensor no longer detects movement, the water jet will automatically turn off.

Not only does this make GROHE’s automatic taps easy to operate, it also makes them extremely hygienic. Operating a tap with dirty hands leaves

behind germs, which can then be transferred to another person. Touch-free operation prevents this from happening.

SAFE DESIGN AND HYGIENIC CLEANING During the design process, the GROHE team contemplated how to achieve the best possible hygiene. The touch-free tap’s water supply was optimised so that cold and hot water are perfectly mixed. At the same time, dead spaces in the tap were kept to a minimum to reduce the risk of bacteria, such as legionella, from multiplying.

These sensor taps are equipped with additional functions that ensure even greater hygiene, which include regular automatic rinsing to prevent stagnant water. Additionally, both thermal disinfection and a cleaning mode can be used to temporarily deactivate the sensor for cleaning.

Furthermore, as the tap is rarely touched, cleaning can be carried out less frequently than when using a conventional tap.

THE USER-FRIENDLY OPERATION OF INFRARED TAPS GROHE’s automatic taps are not only hygienic, but also extremely convenient.

You can easily preselect the temperature of the water jet and, as the tap is activated via the sensor, the water comes out at the desired temperature.

Using highly precise

The water temperature can also be adjusted manually using a small lever on the side

sensors, hand movements are reliably detected and activate the waterflow. The infrared sensor also detects when you move your hands away from the tap and automatically stops the waterflow.

of the tap.

Battery-operated models require little maintenance. The extremely durable batteries last about seven years when the tap is used an average of 150 times per day.

EASY ASSEMBLY AND INSTALLATION GROHE sensor taps can be installed without any prior plumbing knowledge, using the optional remote control or a smartphone/tablet app on select models. You can also change the pre-set sensitivity of the sensor and how long the water should continue to flow after no more movement is detected.

INNOVATION AND QUALITY: AUTOMATIC TAPS FROM GROHE GROHE offers sensor taps in various designs, which match any bathroom style. Their slim, modern design is impressive and blends perfectly with the overall look of your bathroom.

The infrared taps are part of GROHE collections, which include Bau, Eurosmart, Essence and Cube – making it easy to furnish the entire bathroom in the same style.

You can, of course, also rely on GROHE innovation and quality when it comes to its sensor taps. All GROHE sensor taps are manufactured in Germany and are therefore deserving of the ‘Made in Germany’ sign of quality.

The products are extremely durable and can be relied on to work just as well as the day you installed them. GROHE therefore offers you a five-year warranty on its products. www.grohe.lixil.co.za

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IMPROVING HYGIENE IN PUBLIC AND PRIVATE BATHROOMS In times when hygiene is given special attention, the importance of the topic of hand washing also increases – after all, hands are the most frequent carriers of germs.

GROHE touch free product solutions meet high hygiene standards in both the public and private sectors. GROHE offers a wide range of electronic fittings and control panels with integrated infrared sensors.

KEY BENEFITS OF GROHE TOUCH FREE TECHNOLOGY Touch free hygiene

Plug-and-play installation

• Hygienic hand-washing without touching the tap • Minimise transmission of germs • Automatic flushing to cut the risk of Legionella growth in periods when no water is used • Optimised inner water guide causes a significant reduction of dead space inside the tap, providing the perfect mixing ratio of hot and cold water and a minimised risk of microbial contamination • Thermal disinfection against germs such as Legionella

• Installation and putting into service are straightforward, the tap is ready for use in a few minutes • Settings can be easily adjusted via remote control • Selected products with Bluetooth® can communicate with smartphones, making it easier to transparently control consumption data and set a variety of functions • Taps are available both mains and battery operated, with low-energy electronics ensuring a long service life of 7 years (with 150 operations per day) without changing the battery

Sustainable ease-to-use • Touch free activation of the water flow with hand movement • Reliable and precise sensor technology • Automatic start-stop feature saves water as it ensures that water only flows when someone actually holds their hands under the spout

For further information contact: projects.africa@lixil.com www.lixil.co.za

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SAN ITARY WARE

STYLE, SUSTAINABILITY AND SMART DESIGN “Water is life’s matter and matrix, mother and medium.

There is no life without water.”

– Dr Albert Szent-Gyorgyi Water is our greatest resource. And though it flows freely from the taps in most of our homes and places of work, it’s the one thing we can never take for granted. At Hansgrohe, curbing the effects of the global water crisis has become a natural conclusion.

Hansgrohe explores the subtle art of waterflow,

sustainability, and style that is both forward-thinking and timeless.

SELECT RESPONSIBILITY AND DESIGN Hansgrohe’s award-winning design is combined seamlessly with water-saving technology that enhances your life, lowers water usage and even cuts your energy costs. You can turn on the luxurious Metropol Select basin mixer with a clearer conscience, as

it’s made with water saving in mind. And it all happens at the touch of a button.

The Metropol Select turns water on and off intuitively, and you can even use your forearm or elbow to start and stop the flow at will. It’s already been seen in some of the most exclusive hotels and boutique hideaways in Europe, and now the Hansgrohe Metropol Select is ready to style up South African hotels and dream homes.

Metropol’s unmistakeable geometric silhouette and open curves are living European design at its finest, with elegant, expansive surfaces, precise lines and gentle, polished reflections setting off any light that touches them. Metropol Select simply pushes all the right buttons – and now, so can you.

THE HEART OF YOUR HOME For the other special room in the house, Hansgrohe’s

42 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

Metris and Talis Select kitchen mixers are form and function intertwined in neatly packaged, timeless design. These premium kitchen mixers are the perfect fit for the design conscious and environmentally responsible.

Their flowing lines complement Hansgrohe’s stainless steel and granite sinks with button-operated waterflow. With barely a touch, water flows evenly, using Hansgrohe’s EcoSmart technology to conserve without compromising on comfort.

THE FUTURE OF WATER IS HERE Hansgrohe is redefining the way we use water in the hearts of hotels, homes and workplaces, delivering luxury at the touch of a button – all encased in sleek, sustainable design. www.hansgrohe.co.za

Beyond its striking aesthetic, the Talis Select S boasts a hygiene-friendly, elbow-operated stop-start function to prevent cross contamination. The stop-start function only provides water when it is needed which means that no water is wasted. It improves hygiene, saves money and protects the environment all at the same time. www.hansgrohe.co.za

hansgrohe.

Sustainable by design.

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SMART H O M E TECH N O LOGY

GUNNEBO LAUNCH H-SENSE INFECTION CONTROL ACCESS SOLUTIONS With many organisations planning to resume operations, the implementation of social distancing and infection control in these environments is a challenge currently faced by business owners.

Automation of infection control measures through touchless technologies provides an ideal response to this new challenge, as well as improving security and people-flow efficiency, now and for years to come.

The entrance of any building is the focal point to ensure an efficient and safe return to operations and the H-Sense Solutions, combined with Gunnebo’s SpeedStile range of pedestrian gates, fulfils these objectives.

The solution comprises a number of functionalities: H-Sense G is an automated hand-sanitising solution, H-Sense T automates the screening of body temperature, and H-Sense M detects the presence of a mask being worn correctly.

Through system integration, access can be denied should any of the preselected criteria for entry not be met.

H-Sense is now available as a factory-fitted option to Gunnebo’s pedestrian solutions or can be retrofitted to existing Gunnebo products.

A further feature that can be activated is the built-in Building Capacity Management (BCM) to control numbers as an effective means of ensuring social distancing. By activating this functionality, you eliminate the reliance on human intervention for capacity counting.

Typical areas of application include: • Commercial and office buildings • Retail outlets • Healthcare centres • Schools and universities • Leisure centres • Hospitality • Convention venues • Manufacturing plants • Public transport hubs. www.gunnebo.africa

THE ADVANTAGES OF SMART HOME TECHNOLOGY We already know how much convenience and efficiency have been brought to our lives by smartphones – and smart homes are the next logical step. What we want is to make our lives more comfortable, more convenient, more glamorous and, yet, simpler. The luxury we relish from the benefits of a smart home far outweigh the costs. Once we see the value of the benefits, we will happily start choosing which elements of the smart home we need.

1. THE WAY IT MAKES YOU FEEL Your home is an extension of who you are, just like your car and phone. Are you a trendsetter, a convenience fiend, a tech junky, a comfort craver, or are you a little bit of everything?

The comfort of a warm room due to your aircon being switched on before you wake; the convenience of the lights in the house automatically switching on when the sun goes down; the ability to set trends – these things all make you feel that your home is special.

2. THE VALUE IT ADDS TO YOUR HOME You can add value in the short term and protect the value of your home in the long term. A house with smart home technology will sell quicker than one without. Younger buyers are interested in technology and choose homes with tech over those without. The average South African lives in their home seven to ten years before moving. If you are putting in technology now, and update it, you won’t be stuck with a home that does not have what people are looking for in 7-10 years.

3. PRACTICALITY There are a multitude of ways in which automating, or remote controlling, can benefit your life practically. Whether it is to reduce your energy consumption with smart air-conditioning, being able to feel safe by switching on all the lights in your house with the touch of a button, not needing to raise and lower the blinds every day, or getting a notification that you have left your garage door open – you enjoy everyday benefits. The cost to deal with these little things individually isn’t worth the investment, but being able to take away all these problems, at once, is worth spending on. www.myplaceafrica.co.za

44 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

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ALBERTON

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STIJL MEN HAIR LOUNGE Architect Nadine Engelbrecht and interior designer Jacques Smit converted a 1979 suburban Pretoria residential house into a masculine rough and rugged hair salon for Stijl Men.

PHOTOGRAPHY ANITA JANEKE; NATHAN SMITH

Architect Nadine Engelbrecht and her client, Stijl Men – bearded barbers who greet customers with a beer before a styling session – decided to adaptively reuse an existing residential structure to create a men’s hair salon. This was achieved by keeping the existing structure, but stripping it down to its core elements, exposing the existing stock bricks and timber roof trusses to create a raw and rugged environment suited to the client’s requirements.

New additions were added in lightweight materials, such as steel and polycarbonate, to create a juxtaposition between the old brickwork and the new structure. The polycarbonate walls allow for private interior spaces with an abundance of daylight. At night, the light reflects outwards to engage with the street.

The existing structure consisted of two wings.

A new steel box was punched through the structure to join the two wings and create one unified space. The steel box acts as a transition space, creating a lower volume from which you move into the surrounding interior spaces. The steel box also accentuates the central entrance, which engages with the parking area that is the link between the new men’s salon and the existing women’s salon in the opposite building.

Open glass ends on either side of the steel boxes give the passers-by glimpses of the activities inside, drawing them into the space.

Where existing windows and doors were removed, black brick was used to fill the gap and highlight the change, making reference to what once existed. Roof tiles were replaced by roof sheeting with sufficient insulation. All services were intentionally surface-mounted to ensure the stability of the existing structure remained uncompromised. www.nadineengelbrecht.co.za

46 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

I NTE RI O R

WWW.LEADINGARCHITECTURE.CO.ZA JUNE/JULY 2020 47

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DESIGNS REVEALED

6 ON NANSEN A new housing development for students and young professionals is currently under development and set to open in Observatory, Cape Town, in December 2020.

Situated close to the country’s leading universities, including UCT, the 98-unit project will offer comprehensive accommodation packages and state-of-the-art security. The young founders behind 6 on Nansen by Proper Living are British-born South African YouTuber and entrepreneur, Caspar Lee (25), and Cape-Town based entrepreneur Benji Schaffer (23).

Their shared vision for Proper Living is for it to become a contemporary model for 21st century living for the sophisticated youth market in the R6 000 to R11 000 monthly rental bracket.

Residents are not required to be students to rent an apartment.

Both Lee and Schaffer believe young professionals and students should have the option to co-exist and enjoy sophisticated accommodation. The rooms have been designed with space and functionality in mind, and options vary from studio apartments, to two-, three- and four-bedroom apartments. Shared communal spaces will offer areas for relaxation and connection. Safety is a key selling point for the development as Proper Living has introduced a next-level security system that includes 24/7 guarding and rapid response, state-of-the-art surveillance, and biometric fingerprint scanning. Swift by Proper Living is a holistic digital app platform that has been designed to further facilitate safety, and connects residents, management and service providers.“ Safety is a concern for many South Africans, and not only is the Swift app there to help residents feel more secure, it also makes their lives easier with the best in tech globally.” www.properlivingproperty.com

48 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

D ESIG NS REVE ALE D MARINE VIEW Once completed, Marine View – situated on Beach Road, Mouille Point, on the Platinum Mile – will feature 23 luxurious apartments, all boasting views of the ocean or across the Green Point Park towards Table Mountain. Marketed by Dogon Group Properties, developed by Careline Living Spaces and designed by AMA Architects, the units at Marine View are designed to maximise on living space and views.

The development is expected to be completed by mid-2022. www.dogongroup.com

BUILDING B, IRENE LINK PRECINCT The next phase in the Irene Link Precinct in Centurion, Gauteng, is this 6 752m2 modern four-storey office building, which was designed as a permeable glass envelope that sits lightly on a naturally ventilated basement. Due for completion early next year and still with available lettable space, Building B is adjacent to the striking Barloworld Logistics building. It has its own visual identity while continuing the precinct’s architectural conversation between concrete, high-performance glazing, and steel and aluminium screening.

As seen from the N1 highway, the northern façade consists of two bold floating off-shutter concrete boxes in a glass façade, flanking a voluminous

three-storey atrium into which visitors arrive via landscaped steps from the parking area.

The design ensures copious natural light and ventilation, and unrestricted views from the highway side to the pedestrian southern side. On the fourth floor an airy roof terrace provides a spectacular outlook over Irene and surrounds. Energy-saving and waterwise principles were prioritised in the design and a four-star certification from the Green Building Council SA is in the works for Building B. Correct building orientation minimises energy requirements, with LED lighting, power and water backups, and indigenous landscaping adding to its considerable green credentials. www.giflogroup.co.za

American tulipwood Multiply by Waugh Thistleton Architects

Design that doesn’t cost the Earth

Architects, interior designers and furniture makers all over the world have embraced American hardwoods for the range of colours, grains and textures they offer. Not only do American hardwoods offer consistency in grade, quality and supply, but they’re also carbon negative. Rest assured in the knowledge that each kilogram of U.S. hardwood product stores the equivalent of 1.835 kilograms of CO2 for as long as its remains in use.

For more information:

DRAWING BOARD

PRO M OTI O N

PROUDLY SOUTH AFRICAN FROM THE GROUND UP While the technology that makes our products keeps changing, the basic ingredients for great quality tiles remain the same: clay, fire, air and water. Ceramic Industries combines these four natural elements to produce fashionable, resilient, safe, long-lasting products that are a favourite with South Africans.

The company began in 1976, and today over 1 100 people in seven South African factories make up the Ceramic Industries team. We work hard to make Ceramic Industries a great place to work, with ongoing training and a commitment to teamwork across all the factories. There are also many opportunities for our employees to advance their careers in a field that combines science, engineering

environment.

Our caring employees do great things in and out of working hours – we upgrade the infrastructure of day-care centres in communities around our factories, offer knowledgesharing sessions at schools, do neighbourhood clean-ups, host sports days and much more. So much, in fact, that we have to produce a quarterly newsletter, Rainbow Bridge, to cover it all!

We may use some of the most advanced Italian machinery in our factories, but it’s local knowledge that has made us the success we are today. By understanding the technical requirements and the tastes of the different segments of our local market, we’ve been able to make hugely popular South African products – today,

and design.

It’s always been our aim to be a company that’s aware of our place in our community, and our outreach programmes show we’re rooted in our

one out of every two ceramic tiles bought in the country originated in one of our factories.

Our investment in machinery has also made our

50 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

factories more earth-friendly, reducing emissions and water use. Heat from the kilns at most factories is now recycled for use in other processes, while water is recycled for use in multiple applications. And what about that South African soil? Even the quarries we use

as a source of raw materials are restored to their original state as far as possible. www.ceramic.co.za

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SIKA PRODUCTS USED AT CAPITEC HEADQUARTERS IN STELLENBOSCH A company that embraces change is a company that accepts the inevitable. Capitec headquarters in Stellenbosch, just outside Cape Town, embraced change in 2018 by making a decision to consolidate its head office into one building.

As it was previously spread across a few buildings in a business park, consolidating into one custom-designed and Capitec-owned building would increase its efficiencies.

Leading South African architecture studio dhk designed the three-storey building with unique features.

Capitalising on the property’s 360-degree views, it was designed with a loop, adopting a fluid curvilinear form that shifts along its length. WBHO, Mazor Aluminium and Compass Glass were the main contractors in

their respective professions.

Glazing of the glass on the Capitec building was one of the final finishes required, and that task went to Sika. The glass is a beautiful feature that enhances the entire look of the building, so a range of Sika products were used to ensure stability and security of the glass.

Sikasil IG-25 Structural Secondary Seal was used in manufacturing the doubleglazed insulated glass. Sikasil SG-500, a two-part structural silicone, bonded the insulated glass units to the façade frame. Sikahyflex-305 AP Weather Sealant and the surface preparation primer, Activator-205 Cleaner for Aluminium, were both used to weather seal the bonded insulated glass units on the façade. A total of 3 850m2 of

glass was used on this building project and the value of the products used on the glazing of the glass is estimated at R1.58m.

Major challenges of this project were to meet daily insulation and manufacturing targets, while managing the transportation and handling of panels. Despite the difficulties, one of Sika’s reliable technical consultants, Chris Sharpe, ensured that damaged panels were replaced and new installations effected smoothly.

No doubt the technical training

and support afforded the contractors by Sika contributed greatly to the success of the project.

The Capitec Headquarters is one of the most architecturally beautiful corporate buildings in the country. The ability to accommodate all the business branches in one building enables an effective and efficient working unit. Looking at the result, most would agree it was definitely a necessary and worthwhile project. Bank on it! www.sika.co.za

Sikalastic-560

A cold-applied, one-component, liquid applied waterproofing membrane

CET TECHNOLOGY: Higher elastic and crack-bridging properties High colour stability / non-yellowing Higher duribility Faster drying time Environmentally friendly CAN BE USED: For exposed waterproofing on roofs For external waterproofing under tiles (e.g. on balconies) On horizontal and vertical surfaces Call us for more info: 010 823 8688 www.sika.co.za

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TWO MUCH-LOVED VINYL COLLECTIONS GET A 2020 REFRESH With their popular LVT collections, soft-flooring specialist Belgotex has always had your home and décor spaces covered, as well as your high-impact commercial zones. Now, two of their modern vinyls have been updated to offer more colour, comfort and choice – with the same warranties, guarantees and service you’ve grown to trust. If you’re after a hardwearing, natural-looking and cost-effective flooring solution, Belgotex’s updated colour selection and new sizes will make your decision a simple one.

PENNINSULA Belgotex knows how important it is to create new products that improve your life. And they’re equally committed to making their existing products even better. Available in an extensive range of finishes and based on a variety of different timbers, Penninsula offers textured planks for a more rustic appearance, or a

52 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

smoother look for more contemporary style. And irrespective of whether your home is traditional, modern or your own unique design, the wide colour palette will suit any environment.

PORTLAND Because Belgotex believes in the beauty of wood without the cost to nature and your pocket, Portland is a highly durable collection with an ultra-realistic wood look.

Featuring a natural wood grain texture in either straight, curly or wavy grain patterns, and even the occasional band-sawn effect, it will add warmth, depth and authenticity to your space. A contemporary colour range will completely change the look and feel of your interior into a place where you can reconnect with your authentic self.

With Penninsula and Portland, every time you enter your house, you’ll know that you’re home. www.belgotex.co.za

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GROWTHPOINT’S HEAD OFFICE DEVELOPMENT FOR EXXARO RECEIVES AFRICA’S FIRST WELL CERTIFICATION Growthpoint Properties has developed the first building on the African continent to achieve a WELL certification, further differentiating its workspaces and taking its portfolio of office properties to the next level.

The Growthpoint-developed Exxaro headquarters in Pretoria, an 18 500m2 office building opposite the Centurion Gautrain Station, is the very first building in Africa to be awarded a WELL certification. It received a Silver Level WELL Core and Shell Certification by the US-based International WELL Building Institute (IWBI).

The close collaboration between Growthpoint, Exxaro and the development’s entire professional team crafted this innovative, green, aesthetically compelling, high-performance building.

Because people spend 90% of their time indoors, there is no doubt that our built environment has a big impact on our health, wellbeing and productivity.

The WELL Building Standard is the first global rating system to focus exclusively on how buildings, and everything in them, can enhance our health and wellness. WELL was developed by integrating scientific and medical research with leading property expertise.

The global WELL portfolio includes more than 4 000 projects in 61 countries. With Growthpoint’s ground-breaking WELL certification, South Africa has become part of the leading community of nations with buildings that put the wellbeing of people first. Pretoria is now the home of one of only 300 WELL-certified buildings worldwide.

“Receiving Africa’s first WELL certification is another

proud milestone on our journey to provide work environments that contribute to the positive health, wellbeing, safety and performance of the people and businesses in our buildings, contributing to both human and environmental sustainability,” says Rudolf Pienaar, Growthpoint’s Chief Development and Investment Officer.

Growthpoint is already an established leader in green developments. It owns the biggest portfolio of green-certified buildings in Africa, providing quality spaces that work best for its clients.

With Growthpoint’s commitment to innovative and sustainable property solutions that provide space to thrive, it identified the opportunity to push the boundaries of building design in South Africa yet again by aiming for a WELL Certification. Exxaro’s head office development provided the ideal starting point for Growthpoint to create a model of sustainability and wellbeing for its occupants.

“For some time now, we have been integrating design innovation and sustainability to create positive places for people and businesses. When your people perform at their best, your business does too.

With our experience of using the WELL Building Standard, Growthpoint has proven it can deliver healthy buildings for the future, which help companies implement proven wellness strategies and performance,” notes Pienaar.

“With the COVID-19 crisis, there will be increased importance placed on the design and operation of buildings for occupant health and wellbeing. Our experience

54 LEADINGARCHITECTURE & DESIGN JUNE/JULY 2020

will prove to be an invaluable asset to businesses in South Africa. This crisis has clarified the urgent need for work environments that have a positive impact on physical and mental health, and workplaces that protect our families, businesses, communities and the public. Human health factors, such as good ventilation and air quality, are going to be the defining feature of Premium-grade office properties in future.”

In line with both Exxaro’s and Growthpoint’s high environmental standards, the design for the leading-edge HQ development initially targeted a 5 Green Star rating from the Green Building Council South Africa.

Working with IWBI and with input from the entire professional team – including Aurecon, AECOM and AMA Architects – Growthpoint navigated the complexity of aligning the building’s design with the requirements of both the Green Star rating system and the WELL Building Standard.

The WELL certification scheme is performance-based, with targeted criteria in the categories of air, water, nourishment, light, fitness,

comfort and mind. The development had to meet 26 preconditions for WELL Certification, and because it was designed for a high Green Star rating, many of these were already in place.

“The two certifications proved to be complementary, even though one focuses on the environment and the other on people,” explains Pienaar.

“Professional team collaboration ensured that the building achieved both its WELL Certification and 5 Green Star rating for design. Its ‘As Built’ Green Star rating application is currently in progress.”

While occupied by Exxaro, the signature building is owned by Growthpoint. Pienaar points out, “Growthpoint has assembled an office portfolio of quality, efficient, sustainable, high-performance workplaces, and we are thrilled that it now includes the first WELL-rated building on the African continent. This asset signifies the calibre of office building that we target for our portfolio.

It is the type of workspace that we believe our clients are going to want to safeguard and enhance their employees’ health and wellbeing and their business performance.” www.growthpoint.co.za

Sustainability, done WELL

Growthpoint Properties is committed to delivering work environments that have a positive impact on the environment, and the physical and mental well-being of the people who occupy these spaces.

Leaders in sustainability, we own the largest portfolio of green-certified buildings on the continent, and we are pleased to add South Africa’s first WELL certified building and the first Green Star rated healthcare facility to our list of sustainability milestones.

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QUICK LEFTOVER PAINT DIY IDEAS TO ADD AFROCENTRIC TOUCHES TO YOUR HOME When someone says Afrocentric design, what often comes to mind is great use of geometric forms and organic shapes. Bold, rich shades that make use of a variety of clay tones, beautiful terracotta, rich mustard yellows and the versatility of the use of black and white. This coupled with fun, striking, unapologetic prints certainly set this trend apart from the rest.

Colour expert Palesa Ramaisa shares her advice on a few ways to embrace this décor style and incorporate Afrocentric touches to your home.

CREATING THE AFROCENTRIC AESTHETIC Depending on the look you are trying to achieve, there are several directions you can take if you are after this type of style in your home. “In terms of colour, black would be the easiest suggestion – however, black can often be

overpowering, resulting in making a room look even smaller. My recommendation would be to rather make use of black via decorative pieces,” says Ramaisa.

“Clay tones work well on both walls or decorative elements like woven pieces, wooden finishes and textured straw rugs for your wall. The below combination would work well with the darker options being used as accent shades in moderation.”

Texture is also a good way to add earthy character to the home. Creating texture on a wall with paint is not an easy feat, but you can create the illusion of texture with the paint technique you use.

“Techniques like painting a two-toned wall or using a stencil or pattern on the wall will instantly give your room more texture and interest.

With these techniques you can either use contrasting or tonal colours for a softer effect,”

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advises Ramaisa.

Striking black and white contrasts can also add a modern African twist. “Consider options like Dulux Song Porcelain and Black Mica, or White on White and Darkened Storm.

But remember, as a rule of thumb when it comes to print (pattern) and paint combo, always try to have one light neutral shade and one strong bold shade to create a print that is balanced and doesn’t overwhelm or distract the eye. Also make sure that the neutral shade selected does not have a strong undertone that may clash with the bold tone selected.”

FUTURE OF AFROCENTRIC TRENDS The modern twist on simplifying African prints is something that is currently being done successfully in the fashion and deco industry, with

even a few interior finishes such as wallpaper slowly introducing a modern interpretation to recent ranges.

Crocheting fun designs on old scatter cushions is something that is starting to pop up – this is a good way of reusing old slip-on covers.

Macramé is huge currently – people are going as far as creating unique plant holders, wall art and rugs. Repainting an old but loved furniture piece or interior element such as doors, which are often forgotten, will forever be a good solution as well.

“With the current trend looking at simplified, modern and clean designs, I see prints being more and more simplified going forward.

People should also bear in mind that there is a fine line between bold, fun aesthetics and tacky, overbearing looks,” says Ramaisa. www.dulux.co.za

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BRUT INNOVATION While the COVID-19 pandemic and national lockdown halted production for local companies like waterproofing and decorative products manufacturers Coprox, innovative new applications for their products provide a light at the end of the tunnel.

Coprox products traditionally provide waterproofing solutions, and have done so since the company’s original formula, Coprox Masonry Waterproofing, was developed in 1949. Coprox Masonry Waterproofing has crystalline properties that are activated wherever moisture is present, migrating into the capillaries and shrinkage cracks of brick, mortar, screed and plaster to impede the progress of moisture in or out of the protected surface. It does, however, allow air to pass through, so that the structure can breathe and dry.

Coprox products are used around the world both during construction to prevent rising, falling and penetrating damp, and on existing structures to remedy damp problems. They have been used to waterproof structural, retaining and boundary walls, floors, showers, basements, wine cellars, underground parking, ponds, swimming pools, reservoirs and water features.

Over the years, Coprox has developed a wider range of products.

Coprox Waterproof Dualcoat is an easy and effective cement-based waterproofing wall and floor coating ideal for water-bearing positive-side surfaces or interior surfaces such as bathrooms, showers and kitchens.

Coprox Waterproof Cement Additive is an excellent primary waterproofing treatment when mixed with mortar, screed, concrete or plaster. It is also an excellent remedy for the plugging of leaks.

Coprox Cobond is an easy-to-use co-polymer latex liquid that can be used on its own or mixed with other Coprox products. When mixed with Coprox Masonry Waterproofing, Coprox Cobond is a seamless waterproofing membrane system suitable for waterproofing waterbearing positive-side masonry surfaces such as balconies, copings and the abutments of slabs, walls of swimming pools, ponds, reservoirs and water features. Adding Coprox Cobond to Coprox Waterproof Dualcoat helps minimise crazing and cracking.

Other Coprox products include Coprox Waterproof Crack Filler, Coprox Waterproof Tile Grout and Coprox Wall and Floor Clear Sealer.

One of the most exciting properties of Coprox’s waterproofing products is the fact that they eliminate the need for plaster and paint, providing an attractive and unique naturally aged, mottled and rustic finish. Walls can be decorated and waterproofed in one application. Masonry Waterproofing, Waterproof Dualcoat and Tile Grout are available in a wide range of colours.

Jack Migdin, CEO of Coprox International, says that around the world he has noticed Coprox products being used in new and innovative ways.

Its beton brut or raw cement finish lends itself to surfacing

for kitchen countertops and bathroom vanities.

In the Netherlands, for example, Coprox products have been used in various product and furniture designs. A number of unique shop displays effectively feature its concretetextured finish. One of its most effective new applications has been in a range of furniture designs, particularly tabletops.

But it has proved popular for indoor dining tables and even coffee tables.

The possibilities seem endless, says Midgin, as South Africa emerges from lockdown and construction projects gradually resume. www.coprox.com

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FEATURED DESIGN

An ode to stone

W

ith a partnership like Cannata – one of South Africa’s most notable stone and marble fabricators – and celebrated local creatives Make Studio, magic is sure to happen.

And it has, resulting in a stone bathroom collection so unique it immediately conjures up a deep and primal connection to these age-old materials.

For the Dialogue Room – Cannata’s new, dynamic showroom space – their second marble and stone collection presents an electric collaboration with longstanding clients Make. Sensing the gap for a sensational but locally crafted bathroom collection, Make has designed a range of bathroom vanities, mirrors, lights, side tables and accessories that casts a whole new light on stone.

Beyond their reverence for the material, Make’s curiosity for understanding the very nature of stone, combined with Cannata’s 100+ years of expertise in this area, lead them to push the envelope,

exploring both the excavation and fabrication processes associated with stone. The result is two unexpected ranges within the Hydrous collection, namely Evolve and Erode.

The palette throughout the ranges is anchored by the use of polished Rosso Levante marble and water-jetted Brown Antique granite.

Make Studio’s choice in these stone varieties was inspired by Cannata’s annual look-book, produced in conjunction with Haardt Design, which is a kind of stone trend forecast and inspiration guide for the coming year.

The two seemingly disparate collections play off of one another in a way that highlights the unseen capabilities of stone. Despite their differences, these two collections are anchored by brass trims and detailing, courtesy of specialists Patina Patina, with taps and mixers

by Lavo Bathroom Concepts.

Evolve, featuring Rosso Levante marble, has an elegant aesthetic, showcasing high levels of precision,

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detail and artistry, and resulting in a clean-lined, refined look and feel.

Erode, starring Antique Brown granite, on the other hand, harnesses the stone’s natural, untreated appearance, amplifying and celebrating its raw textures, eroded crust and irregularities.

Each range within Hydrous includes a vanity with integrated basin, mirror, pendant light, wall light, side table and then, later, a collection of accessories that includes a robe

hook, tissue box, jewellery holder and toothbrush holder.

Make’s Ruvimbo Moyo-Majapa and Lauren Bolus have spearheaded this design process, while the entire Make team of about 10 designers have worked exclusively on pieces from the collection. The process, and the resulting products, reflect their passion for these age-old natural materials. www.thedialogueroom.co.za www.makearchitects.co.za

+27 (0)12 671 1117 info@bushteccreations.com ©

bushteccreations.com

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