J.S.Coetzee
ARCHITECTUREPORTFOLIO
i
_justin sean coetzee ARCHITECTUREportfolio
_INDEX 01 Introduction 01 Poem 02 Manifesto 03 Justin Coetzee 04 CV 06 Perception 10 Design Projects First Year 2010 12 Plato’s Bed _ The Frame 18 Bridging the Void 24 Design Projects Second Year 2011 26 Kopanong Art Studio 34 Myanmar [Burma] Embassy 42 Janus House 52 Nexus Public Library 62 Design Projects Third Year 2012 64 Olympic Shooting Pavilion 74 Dwelling in Time 84 Dwelling in Memories 92 Mnemonic Drift: The Anti-Museum 116 Competitions 118 Lego-c In-house 122 The Decay of a Liminal Protest [Des Baker 2012] - Joint Winners 132 General Design 134 Corporate ID Unit 2 2012 138 General Art 142 Work Experience 145 House Wentzel 147 Doris Street Revamp 149 House Merrington 151 Themba Maternity Hospital 154 Menlopark Units 155 House Botma
_PORTFOLIO
162 Reflection
ii
LOST_FOUND Stand Still. The door opening ahead and the path beneath You. Are not lost. Wherever you are is called Here and you must treat it as a powerful stranger, You. Must ask for permission to know it, and be known The stone breathes. Listen. It answers. I have made this place around you. If you leave it, you may return, saying Here. No two paths are equal. No two openings are equal. If what a path or opening does is Lost on you, You are surely Lost. Stand Still The Space Knows Let it find you. Be Found.
_01 | poem
Where you are
BECOMING THE POET Poets deal with one fundamental issue: the transition from voice to language. From voice as a faculty of speech, to language, one of the most fundamental power structures of society. All good poetry is not about meaning, nor the narrative, but it is about trying to modulate the voice in a way that its potential is still there. Architecture has a similar task - architecture formalizes the moment in which the inborn characteristics of the human animal are somehow contained into structure. The way of the poetic in architecture is similar to, but different from narrative. It works by locating and positioning not merely in physical but emotional, political and cultural space and time. Architecture embodies poetic meaning, but architecture is not an experience that words translate later. Like the poem itself, it is its figure as presence that words translate later. This constitutes the means and end of the experience. Yet, acknowledging that human experience mediates and given our current and particular technological and political context, we still need to ask: What does architecture represent in our current society? Could it be possible that despite its common origin with instrumental and technological forms of representation, it may yet allow for participatory human action over the course and construction of time, rather than manifesting the very denial of man’s capacity to recognize existential meaning in works of art? Could it then embody values of a different order than those rooted in fashion, formal experimentation or publicity, and be cast in forms other than the gloss characterizing all present cultural mechanisms? Rather than naively expecting that architecture may be somewhat miraculously saved by the cultural differences that have recently become more explicit in our society, I believe we should recall that the present cultural fragmentation, despite its complexity, is the only future of a poetic architecture. A poetic architecture rooted in the fundamental elements of understanding through perception, sensation and affection - reaching the broader audience of society and addressing culturally and contextually relevant issues through the conducting of poetic space.
manifesto | _02
Who is Justin Coetzee?
_03 | justin coetzee
CURRICULUM VITAE PERSONAL INFORMATION
EDUCATION
QUALIFICATION HIGHLIGHTS
Full Names : Justin Sean Surname : Coetzee Date of Birth : 27/03/1991 Home Address : 106 River Road Lyttelton Pretoria Gauteng 0140 Cellphone Number : 082 850 5291 E-mail Address : jusitn.s.coetzee @gmail.com Gender : Male Marital Status : Unmarried
Primary : Fleur Primary Secondary : HoĂŤrskool Waterkloof 2009 - Afrikaans A - English A - Maths A - Science A - Accounting B - L.O. B - Design A
Afrikaans [Native Language] English [Fluent]
Tertiary : University of Pretoria BSc(Arch) 2012
TECHNICAL/SOFTWARE SKILLS
RECOGNITION
2013 : Drawboxdesign studio Architects 082 339 5834 2009 : PKA International Architects [Shadow]
MS Office Adobe - Photoshop CS5/CS6 (all) - Illustrator - Flash Player - After Effects - Premier Pro - InDesign - Fireworks Autodesk - Revit Architecture 2012 - Revit 2013 - Autocad [Intermediate] -Ecotect Analysis 2011 [Basic] - 3DS Max [Basic] - Vasari [Basic] Rhinoceros 4.0 Artlantis Studio 4.0 Sketchup 8 Layout Corel Draw Suite
2012 : * PIA Design Prize - Best Architecture INTERESTS Student 3rd Year * Best Student OML Architecture Joint First Prize/Place Information design 2012 Des Baker Architecture Student Branding Competition Sports : * Golden Key Photography Membership Drawing 2011 : * Uys & White Prize Technology Best Student in all Modules 2nd Year Nature * PIA Design Prize Art Best Architecture Student 2nd Year Design * Joint 1st Vertical Vertical Studio In House Project 2009 : Pretoria Eistedfod Art - A+ Winner Fine Arts Category 2008 : Pretoria Eistedfod Art - A+; A++ Winner Fine Arts
Sports:
Bev-Cric Coaching Certificate Level 1 Bakers Coaching Certificate level 1
BSc(Arch) Degree - University of Pretoria 2012
EXPERIENCE
curriculum vitae | _04
_05 | timeline
Perception
timeline | _06
_07 | introduction
QUESTIONING PERCEPTION “ The world of perception, or in other words the world which is revealed to us by our senses and in everyday life, seems at first sight to be the one we know best of all. For we need neither to measure nor to calculate in order to gain access to this world and it would seem that we can fathom it simply by opening our eyes and getting on with our lives. Yet this is a delusion. The world of perception is, to a great extent, unknown territory as long as we remain in the practical or utilitarian attitude. Much time and effort, as well as culture, have been needed in in order to lay this world bare and that one of the great achievements of modern art and philosophy has been to allow us to rediscover the world in which we live, yet which we are always prone to forget.� The architecture contained within this document has been, largely influenced, and driven by the need to understand what it means to experience built space in terms of affect. If affect pertains to an affection that modifies both the mind and the body, it is at once a perception and a sensation, and tied to a dynamic approach. Over the course of producing this contained body of work I have been intrigued and fascinated by the world of perception, sensation and ultimately affection on the human condition through understanding the poetics of architecture. It becomes an investigation into the haptic realm of architecture and its effects on the interactive human environment. Perception is understood as a secondary rational organization of a primary, non-rational dimension of sensation, whereas sensation deals with the corporeality - the senses - and perception is the intellectualization of these senses [corporeality]. Sensation pertains to the physical human body; it is intrinsic, irrational and unstable. Perception is of the mind; rational, static and there is a clear distinction between subject and object of perception. The question is then: what kind of world do we dwell in when experiencing built space? Is there such thing as a pure sensory experience, or a purely perceptual one? What kind of built space allows for such an intemized space? This is where the notion of affect intervenes. Affect is inclusive of both the mind and body [perception & sensation]. The concept of affect pertains to an affection that modifies both the body and the mind through the idea of desire and potential. It is both external and internal. It implies a mixture of two bodies; one body acting on another body, affecting it, and being affected by it.. The search for this relationship within the world of architecture and our current society is embedded within the body of work presented. [quote: Maurice Merleau Ponty - the world of perception]
perception | _08
_09 | introduction
First Year 2010 perception | _10
_11 | design projects first year
PLATO’S BED _ THE FRAME | _12
_13 | plato
“Somewhere deep in the shadowy past, primitive man, desiring water, instinctively dipped his cupped hands into a pool and drank. Some of the water leaked through his fingers. In time, he fashioned a bowl from soft clay, let it harden, and drank from it; attached a handle and made a cup; pinched the rim at one point to make a spout, creating a pitcher.” Dreyfuss (2003:14) “You will remember that Plato questioned the idea of a bed, as postulated in the dialogue between Socrates and Glaucon in The Republic Book X (360 BC). You will remember that ‘the carpenter does not make what the bed is, or its nature’ and ‘if we want to understand the bed, it might be better to study the needs of the body in sleep and the way in which they can be met, than to study particular products of manufacture’.” (Murphy 1952:237-238) “Le bon Dieu est dans le detail” toegeskryf aan / attributed to Gustave Flaubert (1821-1880) “God is in the detail” toegeskryf aan / attributed to Ludwig Mies van der Rohe (1886-1969)
plato _14
Design a unit for a traveller where, for a short period, he or she can rest, work, cleanse him- or herself and, obviously, store luggage. Apart from the obviously functional requirements, you cannot neglect the traveller’s sensory and tactile experiences. The user and context are universal; that said, it is required that the traveller could be you and therefore you should represent yourself in the space. For this purpose you should make a figure model/s of yourself on scale 1:10 that at least shows a seated, standing and reclining position. The intention is for the unit to be entirely prefabricated and transported to wherever1 in shipping containers (interior dimensions 6050 x 2750 x 2750mm). At least two units must fit into a shipping container (should you be in doubt, allow at least 200mm all round for structure and cladding of the exterior, of which the detail is not relevant for now).
_15 | plato
Design boasts a compact environment for the nomadic lifestyle of its user. It provides for all the basic needs the user might have and is easy to maintain, store and transport. A total of 6 units can be fit into a shipping container to enhance the efficiency of the system
plato | _16
_17 | void
BRIDGING THE VOID | _18
_23 | void
THE CITY’s FURNITURE The operation of a bridge disrupts the opposition between culture and nature, which posits landscape as an unbuilt, original condition upon which architecture, as part of culture, is built. They argue the spatial and functional characteristics of the places onto which they are grafted - Linda Pollak
void | _24
Project Intention: A new bridge over Lynnwood Road (to replace the existing), with: *a gallery *an apartment for a visitor *link between South and Main Campus.
_21 | void
Project interpretation: The intention with the replacing of the Lynwood Bridge crossing from Main Campus to South Campus was to provide an extension of the landscape beyond the boundaries enforced by the human interactive conditions. Various important nodes were identified that had to correlate with the Architecture department as well as the Art Department. An informal public gathering space was created with the stairway leading up to the bridge itself (more a landscape thatn a bridge, the liminal exploration and experience becomes intertwined with the natural). The axis extending from the Old Arts Building on Main Campus to the bridge is juxtaposed by the extension and fluidity gained from the dynamism of the bridge.
Final Perspective of Landscape Bridge
void | _22
_19 |
Second Year 2011 | _20
_25 | second year design projects
KOPANONG ART CENTRE | _26
“... a discontinuous void”
_27 | art
The Pretoria Art Museum identified a need to create a catalytic space on the fringe of the city. The site has emerged as an urban island due to the nature of its use. It has increasingly become a purely transitional space within the dense urban environment. Commuters and pedestrians travel through this ‘island’, creating a link between the dense urban CBD and the fringed housing zone of Sunnyside. The site forms part of the Pretoria Art Museum precinct, occupying an entire city grid unit. The understanding of the site in its current state and current means of use is what ultimately led to the investigation into the relationship between society and the faculty of public art. Located on the existing site, in the South-East corner, are two buildings which act as supporting facilities to the Art Museum. These include the semi-submerged lavatories as well as storage facilities along with sleeping quarters for the groundkeeper. Considering the existing use and typology in relation to the Modern language of the Museum, the suggested development should act as a focal point for catalytic urban rejuvenation and should address the urban ‘island’ which has manifested through considering and understanding the communities involved. The design language should respond to the existing architecture and ask questions about the way in which architecture and art can solve the issues of a community devoid of architectural and artistic complexity.
art | _28
_29 | art
The design philosophy grew out of the search for true meaning in art. Art played an important role throughout history, especially in Ancient Greek times, where gods [know as the nine muses] were worshipped for their influential roles in the faculty of art. Within the city and society there is a void of appreciation. The society does not appreciate what they see, feel, hear, smell or taste, and this is not regarded as problematic. The social void is extend as far as the limited understanding that the public have in relation to the meaning of art. This existing void should be filled by the Art Centre “a discontinuous void�
art | _30
_31 | art
studio 2 light study
entrance threshold Proposed studio and gallery spaces situated on site creating view corridors and links between the novel and the old.
storage
entrance
gallery passage
open-air gallery
black timber exterior cladding
reading room
The design intention is to address as many muses as possible within this relatively scaled space. Art is catered for in the form of the art of knowledge [reading], and open-air gallery for dramatic arts, dancing, singing and comedy as well as a public speaking forum. Formal art galleries are also implemented within the spaces acting as passages, creating the discontinuous void, cutting through the existing storage facilities, juxtaposing the new and the old. Off-shutter concrete was the preferred material which was clad with light white oak timber panels on certain walls in conjunction with ‘fire blackened’ timber panels to symbolise the void and enhance its discontinuity. The old existing storage facility remains in its current state with regards to materiality, to heighten the juxtaposing of time. The off-shutter concrete continues into the interior, acting as the support structure for the artworks themselves [backdrop]. The void is discontinued through the implementation of a minimal, yet complex system of organized spaces which enhance artistic exploration and endeavour on a small but meaningful scale.
art | _32
_33 | embassy
MYANMAR EMBASSY | _34
“...the shadow proves the sunshine�
_35 | embassy
A barren cavity within the dense compaction of the residential flank of Brooklyn and Waterkloof, becomes symbolic for the country of Burma/ Myanmar - a country going unnoticed for the beauty it could offer., a self-inflicted cavity. The site has remained barren for a considerable amount of years as Burma/Myan,ar struggle domestically with politics as well as internationally. Myanmar has become distorted over the years by its own governmental military regime, impacting all sectors of life negatively. This site becomes the ideal platform for [when Myanmar and South Africa reach some political agreements] the embassy of Myanmar. Located on the southeast corner of Crown Ave and Julius Jeppe Str in Waterkloof. The site has become densely populated by various shrubs and trees and formed a public barrier, just as Myanmar has. The site is surrounded by private residences and private residential businesses as well as a school to the west. The site borders the delineated Brooklyn commercial sectors and the formalised grid residential sectors of Waterkloof. It is the ‘turning point’. The Embassy would act as a symbol for what Myanmar could be in the future of the 21st century world, filling the cavity, responding to the various elements encircling it and broadcasting a message of renewal.
embassy | _36
Within our everyday life-world, we are surrounded by concrete ‘phenomena’. These include people, animals, flowers, trees, forests, stone, earth, wood, water, towns, streets and houses, doors, windows, furniture ... but it also comprises more intangible phenomena, such as the experienced emotions these concrete ‘phenomena’ impose on us on a daily basis. Jorge Luis Borges stated: “the taste of the apple...lies in the contact of the fruit with the palette, not in the fruit itself”. In a similar manner architecture could do/ does the same: the artistic dimension of an artwork does not lie in the actual tangible entity/thing; it exists only in the consciousness of the person experiencing it. NORTH
EAST
_37 | embassy
In order to create an architecture which appeals to and addresses the senses, four principles were implemented: structure and form [addresses detailing and joints]; form and space [affects senses before reason]; space and light [light as a model for progression] and colours and materiality [materiality enhancing tactility]. Theses act as spatial systems to coherently allow for the enhancement of the emotional within the architecture. The Embassy becomes a haptic realm for journey and understanding and experience
void space
ground floor
first floor
The structure and materiality of the Embassy is simple in use, yet complex in meaning and experience. To enhance the conceptual argument the materials used are timber and concrete. Timber is used as symbol for the primitive architecture found in Burma and its past, whereas concrete would act as a symbol for future development - the juxtaposition of these two elements will be evident in how the materials age over time. A deliberate breakaway from ‘honest materials’ was implemented. The timber cladding is in actual fact carbon fibre cementitious concrete cladding, which looks and feels like timber. This envelops the building, only to break away and reveal ‘honest’ concrete as support structure. Voids appear within the building as well, separating private and public domains.
A-A
embassy | _38
_39 | embassy
embassy | _40
_41 | janus
JANUS HOUSE | _42
_43 | janus
In ancient Roman religion and mythology, Janus (Latin: Janus) is the god of beginnings and transitions,[1] thence also of gates, doors, doorways, endings and time. He is usually a two-faced god since he looks to the future and the past. The interpretation of Janus as the god of beginnings and transitions is based on a third etymology indicated by Cicero, Ovid and Macrobius, which explains the name as Latin deriving it from the verb ire (“to go”). It has been conjectured that it derives from the Indo-European root meaning transitional movement, Iānus would then be an action name expressing the idea of going, passing, formed on the root. While the fundamental nature of Janus is debated, in most modern scholars’ view the set of the god’s functions may be seen as being organized around a simple principle: that of presiding over all beginnings and transitions, whether abstract or concrete, sacred or profane. Interpretations concerning the god’s fundamental nature either limit it to this general function or emphasize a concrete or particular aspect of it (identifying him with light the sun, the moon, time, movement, the year, doorways, bridges etc. or see in the god a sort of cosmological principle.
janus | _44
The Affect of Synergy : adapting [to] the contradiction. A house designed for two friends, completely contradicting in nature and personality. The notion behind the intended ‘double-house’ is pulled from the understanding of the Greek god Janus. Two faces, quite different from each other, but they have to live in a symbiotic relationship for the better of the whole. The site is the same site as for the Myanmar Embassy, thus the residential capacity of the area is supported by yet another residential development. The intended argument is for a complete synergetic system to be developed and designed, in order to allow for full integration with the residential area as well as to be as sustainable as possible. In a synergetic relationship with the surrounding environment, tangible and intangible. One house is created, facing North to optimise natural sunlight during winter and summer. The single house is split into the two halves [two faces], one segment for the financier and one for the writer. Sustainable features are mainly the water harvesting systems for the entire house and the solar panels. As the site is currently naturally populated by trees and overgrown grasses, this natural landscape is kept in tact, so as not to disturb the micro ecosystem. A permaculture system is introduced to minimise dependency on supermarket products as well as to utilise the fertile soil conditions. The synergetic response ultimately becomes a way of adapting to the contradiction of the two personalities as well as the contradictions faced in terms of sustainable living.
_45 | janus
HOUSE WRITER: The writers’ house adapts to his/her personality and mode of living. The house for the writer is largely an open plan dwelling, allowing for clear comfortable access throughout the house. Upon entrance from the permaculture garden, the user enters the large open dining/kitchen/lounge area and he/she can move right through to the patio area. This adaptation with the landscape [bringing the landscape into the interior of the building, forms part of the synergy effect. Zoning was dealt with by separating private areas from public by controlling the open-plan regime more strictly. Bedrooms are situated to the north, whilst the service spaces are located to the south. A main corridor from east to west acts as a binding core to the building and ultimately to the entire building.
HOUSE FINANCIER: Seeing that the financier is used to a rigid rational way of living and planning his/ her life, the house, in its simplicity, functions accordingly. Spaces are rigidly organized and zoned according to a hierarchical system. Access to interior spaces are strictly controlled in contradiction to the writer’s house. Upon entrance of the house, a similar strategy is used to pull the landscape into the house, by opening up the lounge/dining area. This is for the most part the only open-plan zone in the house. As with the writer’s house, bedrooms are zoned to the north whilst service spaces are located to the south. Both houses have comfortable secondary access to permaculture gardens and the garden shed/storage space. The financier’s house is synergetically bound to the writer’s house through the east west corridor.
janus | _46
_47 | janus
Northern facade. The northern facade consist mainly of a steel structure with aluminium frame windows for optimum natural light penetration. The northern section of the houses is largely tectonic in nature, whereas the southern sections are stereotomic in nature, adding to the notion of synergy and the adaptation of the contradiction.
water harvesting tanks
sloped east west corridor roof, supporting PV panels
janus | _48
MODEL PHOTOGRAPHS
_49 | janus
janus | _50
_51 | nexus
NEXUS - URBAN LIBRARY | _52
_53 | nexus
An urban cavity situated on the border of the CBD, submerged into the fringed delineated grid system on the Eastern half of the Apies river and Nelson Mandela Drive. This cavity is surrounded by densely populated precincts, mid-height [7-16 storeys] buildings, as well as low height [1-6 storeys]. Retail zones alos populate the surrounding areas. Other main informants include Pre-, primary and secondary education facilities. The derelict site is re-used and transformed to act as an urban nexus, connection point on the fringe of the city. A public library is proposed to connect with the education facilities as well as with the inert community. The public library acts as a public platform for gaining knowledge and accessing collaborative environments. A revitalisation proposal. The Figure Street: Streets fit into 2-dimensional walls and these walls are experienced as the sides of urban canyons such is in the Pretoria CBD. The street dweller is oriented towards the street, not the buildings [not before his destination has been reached]. His eyes direct his course through an open channel. The street ‘canyon’ is the realm of man’s presence & therefor perceived as the figure, not the ground. The integration of a building’s front facade into the continuous wall of the street can submerge its/the identity of an individual building. Reconciliation with the form of a continuous, longitudinal oriented street with varying degrees of canyon walls.
nexus | _54
zoning barriers
barriers/views/access
integrated approach
The city has been shaped by the natural water system in and around Pretoria. The city grew from an agricultural town into a modern day metropolitan. With passing time the emphasis on the river has decreased. Historically the town depended on the water Furow, which became part of the urban planning. The water source originated at fountains valley; connected to church square and from there distributed to the rest of Pretoria.
‘Street canyons’ respond to the site conditions in acting as a public platform. The existing Moth building on the site allows for efficient re-use allowing for remembrance and nostalgia.
_55 | nexus
light study
construction
zoning diagram
integration approach
The argumentative premise allows for the design to flow out of a merging of different entities. One being the urban landscape within which it is submerged, with all of its urban ‘canyons’. Secondly is the dynamic movement of a culture of people through, around and between urban obstacles - the ‘canyons’. Thirdly the notion of creating an urban hub from a simple platform such as an urban library, trough unconventional methods and ideas. The design connects [nexus] the urban city grid to the west of the Apies river and the delineated grid to the east of the river. It merges gently with the existing Moth building, hardly touching, so as to not hinder the act of remembrance and nostalgia. The building is intended not to act as a ‘canyon’, but rather as an open field with various elements providing shade and comfort. Separated from the urban density, stepping away from the deliniatory river, and blending seamlessly into the urban fabric.
nexus | _56
The Library is situated on the edge of Nelson Mandela drive, stepped back and down into the naturally sloped site, in order to avoid creating an urban ‘canyon’. The re-used Moth Club building has been transformed into a public art gallery for local artists from the surrounding regions. A connection has been introduced to the eastern part of the side, connecting the local shebeens and shops as well as preschools. This allows for the integrated connection. The zoning is diverged into public and private functions, with a clear formalistic distinction visible, where the private areas and offices are situated to the east and the more public functions located on the western side. An open courtyard allows for public storytelling, performances as well as public speaking. The open courtyard also links with the notion of nexus, connecting the open space on the western part of the site. The library book storage spaces occupy the large passage area, with spaces for reading, studying, copying, internet service etc. To the east, connected to the pre-school is the childrens library. Construction material consists mainly of structural off-shutter concrete and timber beams and cladding.
_57 | nexus
north
details A-A east
west
nexus | _58
model representation
_59 | nexus
nexus | _60
_61 | nexus
Third Year 2012 nexus | _62
_63 | pavilion
OLYMPIC SHOOTING PAVILION | _64
_65 | pavilion
\COLLAGE\: construction of the mind: The City of Tshwane has bid to host the 2024 Olympic Games and a branding strategy had been developed to enhance the image of the City in its derelict future context. After the year 2012 people started migrating to the periphery of Tshwane as the city and other towns could no longer provide for their needs and the cost of living overshadowed the will to live in such a state. By 2018 people began to gradually migrate back into the city and these derelict towns, due to the overgrowth of natural systems within the city, enabling the city, Pretoria to become a self-sustained organism. The city provided for the people again. The city became an overpopulated dense hub for growth. The Apies river running through the city has become the main source of fresh water and green agricultural spaces were developed to the west and east of the city, whilst the fresh water channel and harvesting of grey water occurs to the north of the city. The system is sustained by the continual engagement by the local communities.
pavilion | _66
The Heritage building is in a poorly maintained state as well as the existing site. This led to the notion of using the site as it was found, minimising the changes to the landscape, and allowing for the architecture to, in all instances, work symbiotically with the landscape
The site under investigation for the Olympic Games 2024 sits on the edge of what was [in the future proposed context] Nelson Mandela Drive [west of the Apies river, the main water mass in the city]. The site forms part of what can be seen and interpreted as the gateway of the city from the south, as the city pours out trough the koppies situated to the southwest and east. The site was previously known as Berea Park and has deep historical routes and important heritage buildings on site, the old Berea Clubhouse. This presents the site as an important landmark within the city, as it was the first sports field within the city. The site would be redeveloped to house the pavilions of various sporting rituals, including table tennis, diving, archery, rowing, fencing, judo, wrestling and tug-of-war. The shooting pavilion was strategically place to the north of the site along with the other trajectory sports. The physical sports were zoned to the middle of the site and the water sports to the south close to the main water body. The site was redeveloped to integrate seamlessly with the city as a gently moulded landscape with water featured edges. Post-olympic the site becomes a public park as well as a water purifying site, to serve the entire city. The process becomes a public act of engagement. The shooting pavilion is responsible for distributing water t the west of the CBD in the post-olympic society.
_67 | pavilion
In response to the site and the context within which the Olympics would take place the meaning of architecture is considered, as it emerges both implicitly and explicitly within the framework of the 2024 condition. In terms of process and product, the notion of collage was considered; a collage is constructed with meaning through juxtaposition and context. A collage does not convey an essential meaning, as its meaning arises through the deliberate techne of its making, and not through the reflection of any pre-existing qualities, as there are none. This investigation originates from the premise that the architectural act can never be fully understood in terms of its architecture alone. To ignore the greater social, cultural and historical framework that sustains both the maker and the made is to deny architecture its full depth of meaning. Built spaces are significantly concerned with the passage and movement of users through them. Historically architectural spaces were conceived of and materialized through static organisational models that deal more with the idea of permanence and stability rather than dynamism. The notions of perception and sensation are directly intertwined with the fabric of architectural space and the rituals of movement and usage of space. Perception is a secondary rational organization of a primary, non-rational dimension of sensation/sense experience[le sentir]. The primary sense is the one we share with animals; it’s unreflective & instinctive. Sensation deals with corporeality-the senses-and perception is the intellectualization of that corporeality. Sensation pertains to the physical body, the senses; it is intrinsic, irrational and unstable, often dynamic. Perception is of the mind; it is rational, extrinsic, static and with velar distinctions between the subject and the object of perception. If perception is of the mind and sensation of the body, what relates the mind-body to architectural spatial experiences? Affect is inclusive of both the mind and the body. Thus creating a notion of the perception-of the mind- and the sensation-of the body. Affect is both internal and external. It is the state of a body insofar as it is subject to being affected by another body, by the action of another body. Therefore, affection implies that there ought to be an exterior quality, a mixture of two bodies; one body acting on the other, affecting it, and the other being acted on by the first, being affected by it. In other word, within affection there is an affect.
pavilion | _68
exploratory sketches
\CONVOLUSION\ Through the investigation and implementation of these notions of perception, sensation and affection within architectural space and their relation to the ritual of the event of shooting as an Olympic sport, ‘DEEP SKIN’ should be reached – as conceptualized in the theories of the Convoluted Flesh. ‘DEEP SKIN’ should be reached by readdressing issues of the facades and their relationships, the interior, fixedness, festiveness, the below, the above, the being and the ritual of the event. Their interpretation through perception, sensation and affection is what will lead to a ‘convoluted DEEP SKIN’ within the phenomenological world of architectural experience and action. Architecture becomes action-dynamic-forces affection through perception and sensation, allowing the penetration of the ‘SKIN’ into a deeper realm than the thin skin.
East elevation perspective
_69 | pavilion
The implemented architecture choreographs space by adapting spatial to the ritual of shooting. The existing heritage building was re-used to form the entrance to the pavilion ,forcing athletes and spectators to enter through the same space from within the heritage building. Narrow passages allow for linear movement to the shooting range and spectator seats respectively. The seperation fo the athletes and onlookers occurs on a subtle basis by lowering floor levels and juxtaposing height differences. The spectators move into a holding space [resembling the holding chamber of a gun], and from there enter trough a very narrow entrance into a diverging seating stand looking onto the shooting range. The act of shooting and the ritual thereof is pulled through into the physical space making as well as the atmosphere of these spaces, with concrete and stone being main structural materials.
pavilion | _70
_71 | pavilion
North elevation perspective
pavilion | _72
_73 | time
DWELLING IN TIME _74
_75 | time
In our times of accelerated speed, architecture has become obsessed with newness and contemoraneity, appealing to the eye but failing to create emotions and atmospheres. It is therefor time to reconsider the alternative tradition of modern architecture: buildings that appeal to all the senses, that show concern for materials and textures, and that, by accepting life with all its imperfections, are intrinsically rooted in time. [image: nerdy album art - dan assel]
time | _76
The element of time and what it represents in architecture and specifically this design came from the studies of Michael Wesely’s long exposure [between 2-4 years] photographs of construction sites, such as the MOMA in New York. The photographs become a collection of time. Exposure time in normal photographs are usually something very aggresive-ripping something out of the flow of time. With this long exposure photographs [LOW END] there is no decisive moment, no aggression, just a purely changed space and special light. This is what the intention is of dwelling in time. The intention is to emphasize the fragility of life and the limited time frame within eternity - Life writes the photography - whereas photography is writing with light. architecture tries to create settings for the eye that seem to originate in a single moment of time and evoke the experiences of flattened temporality and absence of life. Vision and immateriality reinforces the feeling of the present tense, whereas materiality and haptic experiences evoke an awareness of temporal depth and a continuum of time.
_77 | time
Parameters of dwelling within the houseboat by a nomadic individual are set by the TIME CONTINUUM. The architecture becomes a vessel which is manipulatable by the nomad, through his/her life = TIME. Just in the way that photography is produced- ‘writing with light’-and an average photograph “rips” a segment out of reality, a segment which is irreplaceable, so long exposure photography does not ‘rip’ a particle of time out of the time continuum, but rather lets time flow - even though it seems lifeless. The architecture is fragile, as is life. The nomad receives this shell/vessel and has to live with it through its life cycle-building, re-building and abandoning and salvaging. The main parameter for this architecture is time - this is the restrictive condition - the nomad manipulates the architecture in response to the parameter, but there is still some inherent programming within this parameter which will take over, so that the nomad can ultimately not predict the end result - this is the time continuum. The architecture ‘grows’ from the life lived by the nomad and life controls to what extent he/she may manipulate the architecture within time.
SITE: situated south of the Pretoria CBD. Alongside the Apies River which has become a major transportation and dwelling hub for nomadic travellers. The enabling self-sustaining structure on the site allows for the house boats to engage with it on a multi- levelled basis. It gathers resources from the structure such as fresh food supplies and clean potable water. It also receives bio-fuel on which the house boats are powered, as well as bio-gas for any gaseous appliances and functions the house boat might have. In return the house boat gives its waste to the structure for bio-gas production. PRODUCTION PHASE: Capturing TIME in architectural form on a multi- dimensional level as well as a metaphysical level. A form housing ‘blank space’ was conceived of in order for time to become clear in the dwelling ritual.
time | _78
_79 | time
TIME CONTINUUM The TIME continuum as a multi- layered manifestation in the minds of people. TIME is the main parameter in life according to which all life forms and subjects conform to. Without us realising time. TIME is thus an entity made up of unnoticeable fluctuations in the vibrations of the universe. To dwell in TIME, the user becomes aware of these fluctuations, subtle as they may be, and the architecture, simple as it may be. enables the connection between the metaphysical and the physical. altering dwelling environments based on a life lived and to be lived. On emotions. On actions. On thoughts. On movement. On desires. As TIME is in flux, peoples thoughts and movements are too, so the architecture, too, is in constant flux. Subtle fluctuations to not hinder the ritual of dwelling. Within the architectural shell/vessel a blank space mediates between the cleansing zone and the sleeping zone [physical parameters]. There are 4 physical parameters that are subject to TIME as the main parameter. TIME determines what happens within the dwelling/living blank space. TIME is the life of the nomad-his thoughts, actions and movements. Over TIME the architecture is formed around his movements, thoughts and actions. It seems lifeless but is embodied with life. SKIN: Skin is a multi- layered, multipurpose organ that shifts from thick to thin, tight to loose, lubricated to dry, across the landscape of the body. Skin, a knowledge-gathering device, responds to heat & cold, pleasure & pain. It lacks definitive boundaries, flowing continuously from the exposed surfaces of the body to its internal cavities. It is both living and dead, a self-repairing, self-replacing material whose exterior is senseless & inert while its inner layers are flush with nerves, glands and capillaries...systems. The houseboats - due to the influence of time and the perception thereof by the nomad - grow a timely skin onto the skeleton structure, by selective choices and decisions based on the nomads’ perception of life and the time continuum. The skin ‘grows’ as the nomads’ life progresses. The ‘skin’ is a physical manifestation of his/her metaphysical understanding of the world. At the turn of a new nomad entering the houseboat, the boat sheds its ‘skin’, rebirth, in order to allow the new nomad to make manifest his timely understanding of the metaphysical world.
time | _80
_81 | pavilion
pavilion | _82
_83 | memories
DWELLING IN MEMORIES | _84
_85 | memories
From an experiential perspective, memory is often thought of as episodes in which strong feelings of recall briefly dominate a person’s awareness. From a functional perspective, memory is seen as a capability for storage and retrieval of data. Memory consists of much more than what can be understood from simplistic local measurements of recall. The experience of memory forms part of ongoing interactions that are emotionally charged and are embedded in a broad social context. Significant memories are too, a large social phenomena that take place in specific cultural settings. A memory is never a single state: it is an experience. [image: nerdy album art - dan assel
memories | _86
Human memory relates to so many complex interactions that it is possible that individual memory ‘traces’ may never be detected. Another way of considering the problem of memory is to imagine scenarios in which memory constructs an interactive involvement rather than simply a storage and recall pattern. There are three different directions within the approach of memory architecture - [a] psychological level-social construction of memory, in which memory is seen as a social practice, [b] at the physiological level, memory is a continual process of reconsolidation, and [c] at the neutral network level, where new models based on chaotic dynamics represent memory as nearly periodic orbits that can be altered by small fluctuations. The approach of this architecture in response to what modernity had done to spatial experiences is an architecture of the mind - language of the mind. Memory and dreams are what makes the architecture and forms the spaces.
_87 | memories
[a] memory/dream catcher (neural network level) [b] Kitchen unit [c] memorising space [d] storage vessels for memory and dreams (physiological level) [e] cleansing unit [f] memorising space [g] sleeping quarters - family of 3 (physiological level) [h] network catchment radars for harnessing memories and feeding back into the city in architectural spaces [i] social gathering space for memories (psychological level)
public interface - public dream/ memory cathcher/ selective memory filter capsule. memories/dreams are used to create the architecture of the future city public scape
dwelling unit containing sleeping/dreaming capsules kitchen unit dream/memor y catcher/selective memory filter tanks memor y/dream storage tanks
The approach of this architecture is in response to what modernity had done to spatial experiences, as an architecture of the mind. Memories determine what atmosphere and texture certain spaces and places will have, in an individual unit sense and broad public and social sense. The memories harvested from the public domain are reproduced within the urban realm on street levels and public areas as minute changes in the atmosphere and physicality of the space and places. Dreams and memories are woven into the existing fabric of the city. Thus memory, within the realm of architecture and social spaces becomes a continuous process contingent on experience and never fully fixed or immutable.
weaving a new layer onto the city fabric, evolving spaces to suit the character of the locale, and to synchronise with the public life
pavilion | _88
_89 | memories
pavilion | _90
_91 | anti-museum
MNEMONIC DRIFT: THE ANTI-MUSEUM _92
_93 | anti-museum
My eyes only show me the darkness, The black void that is their world. Yet my mind tells a different story. I connect the dots i feel all around me. and let them take me to a different place, a place where i can see and feel another world. My world. My vision. My touch
anti-museum | _94
_95 | anti-museum
Drift - Drift is a movement by, or as if by, a current of air or water. It can mean the depositing of debris by such a current. It can also connote a veering off from a projected path. What interests me about the word is that it suggests a slight loss of control, but not a devastating one. Most importantly, for this body of work, it implies a passive movement, a transition in which one is not able to control every part. The accelerating pace of modern society and the proliferation of memorials in recent years have distorted general perceptions of time and memory. Moving at escalating rates of speed in maintaining pace with technological innovation, we rarely afford ourselves the opportunity to slow down and appropriately engage in the act of remembrance. Society finds itself in a state of affairs in which time is becoming too fast and remembrance is losing its significance. In calling for slowness and challenging traditional notions of memorial, a new means for engagement of memory is proposed on a public front. It’s a collective system seeking to embody ‘the art of public memory’, creating a dialogue that transcends the mere appearance of any memorial gesture.
time | _96
Times change, generations shift and memories blur, calling for the creation of a place that is uniquely a tool for slowing and remembering. A place which is mutable, changeable, and flexible, situated in everyday life – a site for transformative practice. In essence it calls for an in-between space for an in-between time, one based on positive emotion engendering slowness, collectivity and remembrance, whilst encouraging a level of intellectual and emotional engagement by way of user activity in multiple layers. A network of interventions is proposed throughout the structure. The notion of recording has strong implications for time and memory, and acts as the basis for this multi-faceted system. The result is a distributed mechanism: a machine for slowing down, a catalyst for remembrance. Modern society is strictly dictated by hours, minutes and seconds, a chronological time governing our daily routines. While time in this ordered sense provides organization and structure in a society of global acceleration – resulting in behavior leading to undeniable saturation showcased by our libraries, museums, depots, archives and media houses – machines desperately working in defiance of the info-void… Man and nature do not move at the same speeds. Architecture should be a machine for slowing down time, so as to move parallel to natural time… Architecture should interrupt our fast time in reclaiming slow time, allowing us to pause, reflect and transcend.
Enter the time of Memory. Memory, set in sequences, yet retrieved at random, are our keys to escaping, if only temporarily, this hastened pace of human time. Created by the filter of memory, it is the forgotten mnemonic time, the slow time smothered by fast society, which requires reclamation Why not create a memorial to life, to our presence and our actions imposed on this world, instead of reflecting on absence? Rather reflecting on an absence to come, on a condition currently unnoticed. Time as a social structure is what is of importance to reconstruct. Collective memory is a matrix of socially positioned individual memories embedded not in genes, but in social structure. It is a form of individual memory that is socially constructed and maintained. Memory does not exist outside of individuals, but it is never individual in character. The theoretical basis upon which this project is born announces the eroding values of repose and remembrance in society, questions the accelerated speed of moving, not dwelling, questions our urge for instant gratification and fulfillment. Through understanding the human skin and its multi-layered construct and the philosophy thereof, a basis for the catalyst of remembrance is formulated. The ‘skin’ concept allows for a multi-layered construct of space, allowing for the activation of mnemonic devices. A deeper level of integration is involved in the act and process of remembrance, and at the same time, the act of protest and address, the act of exposing.
_97 | anti-museum
The city improvement district [CID] is situated on the periphery of the existing Apies river and on a site bordering/intertwined with the Unisa Sunnyside Campus. The locale of this CID is so that it borders on the Urban Fringe, where urban fringe refers to the peripheral region of an urban area or an outer part or edge of an area, group or activity with regards to the given urbanity. This zone is identified as being in a fringe state, due to its isolation within and from the existing urban fabric of the city. It borders the dissolution of the city and so the integration of the city. As this site acts as a borderline [fringe] between the eastern areas of the city (Sunnyside, Arcadia, Brooklyn etc.) and the western industrial regions and the inner city, it becomes a critically important district for investigation. The CID also lies within/on, with careful analysis, a ‘heritage fault line’. This ‘Fault Line’ connects the Voortrekker Monument as well as Freedom Park with Church Square as well as The Union Buildings, creating a triangulated fringe zone. The site sits on this fringe line, thus becoming an important zone for catalytic activities to further extend the fringe, until no fringe exists.
The urban fringe triangular region indicating the zone separating the periphery from the inner city. The site lies on the edge of the diagonal connecting line
This boundary has manifest itself as a result of society’s hierarchies. These areas are physically, socially, culturally, and economically bound by their position within this active hierarchy. And so, taking it that these urban fringes effectively act as boundaries, an examination of how viewing those that comprise these urban fringes as empowered actually shifts their position from one bound by hierarchy as it were something else.
Site materials have a language embedded within their personality - MEMORY. From the materials on site it is clear that there had been some sort of dwelling established on the piece of land and all that remains are the bare foundation footprints and floor slab of the preceding buildings. The narrative presented by these materials is that of memory and the passing of time - slowness - natural time - the time it takes for a cloud to pass. The materials have a tactile value that transcends modern/contemporary architectural endeavours.
time | _98
_99 | anti-museum
The philosophical standpoint associated with the argumentative premise for the Anti-Museum is one of the Sustained Life of architecture as a medium for communication, a medium to enhance the quality of life through spatial experiences. This approach is rooted in the very essence of spiritual architecture and the associations people have with the realm of architecture, as well as their understanding of architecture. Part of the problem is that term Sustainable design is wholly inadequate. The point of departure addresses this inadequacy. The dictionary defines the word sustainable as something that is “able to be maintained�, which doesn’t accurately portray the need to change the way we relate to the natural world. Much better terms could have been chosen such as restorative design to imply the challenge ahead or ecological design to highlight the main focus of the philosophy. Thus from this brief introduction, the premise for the sustainability of the Anti-Museum within the context of Pretoria, taking into account the specific culture, climate and other affecting aspects, is to maintain the honesty of architecture. The honesty of architecture being the understanding of the power and influence that architecture has on our current society, and broadcasting this ideal and message to the participating society. Architecture should be maintained through honesty and not through the use of simulacrum faces. Thus the implemented aspects of the Sustainable design realm are features that directly relate to the argumentative premise for the formulation of the architecture, and the specific elements used as well as their application, however minuscule the impact or reach is, relates directly to the notions embedded within the architecture.
anti-museum | _100
_101 | anti-museum
The spatial translation from conceptual argument to physical volumetric space undermines the essence of the approach. The physicality of the structure should in essence relate totally and ideally to the argument presented. Considering the notion of skin as part of the premise, the circulation within the building plays on the notion of the building having different layers as a result of varying floor heights as well as openings and enclosure leading the observer through the spaces by exploration. The massing of the building is in such a way that it addresses this notion of skin through the use of tectonic structures and juxtaposing that with the heavy stereotomic nature of the skeleton of the building exposing itself, skin peeling back. The intention of introducing a small plant for the manufacturing and recycling of old newspapers and magazines to produce hand-made paper for the writing of subversive texts is part of the notion of skin as it deals with the subversive acts of the juxtapositioning of the skin layers.
anti-museum | _102
_103 | anti-museum
The Site Ground Floor Plan
Basement 3 Plan
Basement 2 Plan
anti-museum | _104
_105 | anti-museum
Section A-A
anti-museum | _106
_107 | anti-museum
Section B-B
anti-museum | _108
_109 | anti-museum
anti-museum | _110
_111 | anti-museum
anti-museum | _112
_113 | anti-museum
anti-museum |_114
_115 | anti-museum
Competitions _116
_117 | lego-c
LEGO-C | _118
_119 | anti-museum
Brief: This was an in-house school project centered around the notion of designing novel furniture for the 1st, 2nd and 3rd year studios, with the possibility of honors and masters studios also obtaining the same furniture. The commission was based on a furniture proposal that will allow students to easily access all stored stationary, easily use the drawing boards provided and the drawing board should be able to double up as a table.
Response: As a group of ten people our response was to create a compact furniture unit, so as to maximize the amount of arrangements within studio spaces; in order for various layouts to be possible. The drawing board doubles up as a table. The seating unit ‘slots’ into the table [being a solid unit], and locks for the safeguarding of personal belongings. The possibility also exists for the storage of computer units. A second place was awarded
anti-museum | _120
_121 | des baker
THE DECAY OF A LIMINAL PROTEST [DES BAKER 2012] | _122
Architecture out of shadows _ A protest - [ proh-test] - is an expression or declaration of objection, disapproval, or dissent, often in opposition to something a person is powerless to prevent or avoid; remonstrate
_123 | des baker
SCRIPT: The existing script represents the passage of time evealed through the degradation and decay of bandoned architecture. It scripts the premeditated expiration of a spatial vessel as a measure ofchange and the toll of time - the condition of inevitable and continuous weathering towards ruination. This tangible process is the measurable evidence of the instability of the human condition and its mortal transcience. The ruination of architecture is a narration of the unofficial histories of place. Architecture, like us, cannot resist time. It has the capacity to become a means for us to confront our own corruptibility and morality. The script transverses many societal layers - a societal Palimpsest. The visible constructs of a society are palimpsests; layered constructions revealing and exposing diversions and diversities in the course of temporal progress and decline. RE-SCRIPT: In re-scripting this ‘decaying’ script the intention is not to resist or refuse time but to confront it through experiential and emotional interactions. Rather than re-scripting the text of time, a super and subscript are added, layering the text as a palimpsest of possibility and revealing unexpected or unintended meanings between the lines. . CONTEXT: Situated in an abandoned productive facility - a flourmill - the question arises as to how such a place has become discarded, a space that once represented productive sustenance now symbolizes futility and regress, indicative of a fluctuating society of consumption and disposal. Altered and transmuted through time the structure dates from 1908 and represents the prototypical space as machine. The site occupies a liminal space between dissolving and emerging conditions on the periphery of the central city. Although the place is particular, its condition is universal.
des baker | _124
_125 | des baker
LIMINALITY framing the architecture.
INTERVENTION: The intervention is an interjection in the script of time, a deliberately crafted - as opposed to a produced - route that exposes the hidden spaces to public scrutiny and possibilities of liminal occupation. These liminal programmes refer to the hidden cultures and subcultures of the urban condition, a space for the transients produced as by products of contemporary society. The inserted structure has the capacity to become a liminal infrastructure. It both conceals and reveals decay in its construction of materials such as Corten steel where, ironically, decay becomes its own protection. The tectonic is intentionally direct and essential as a means to experience rather than being experience in itself. As such its construction signifies work as poetic act in contrast to the labour associated with the programme previously containde in the structure. The route is ultimately a reflection of the obesrvers’ perception of the existing deteriorating structure and the realization of the fate of its former occupants and the building itself as a manifestation of transcience.
Liminality - A critical state of transition, which is wholly separate in character from the experience that precedes and follows. The theoretical study of liminality is deeply embedded within the spine of the existing [decaying] building. Throughout the building the route and sublime [sub-liminal] walkway proposes a transition in a cinematic fashion, framing sequences. Proposing changes of states; a change from one condition to another. Transformation is the implementation of alteration. A more wholly and complete change occurred. LIMEN [Latin] - threshold. The spaces of liminality are the borderlines delimiting the initial perception of a new sensation allowing for a change in state. THE ROUTE AS A WHOLE IS MORE IMPORTANT THAN ANY ONE EXPERIENCE OR EVENT ALONG IT.
The syncopated route is progressively revealed as a sequence of liminal experiences punctuated by varied threshold conditions. It seduces the imagination to deviate from the world of everyday escapisms. It has the capacity to awaken our imagination beyond immediate gratification towards reflection on and acceptance of our transient state...
anti-museum | _126
LIMINAL EXPERIENCE 1 : An inceptional approach into the voids of memory and the mystery of demise. The experience allows the observers to confront their surroundings, comprehending the walls that enclose them, sensing the sound of silence and grasping the texture of self-reflectance
_127 | des baker
MONTAGE OF THE DEGRADATION OF THE QUOTIDIAN [life] Linear movement through existing spaces. Liminality is the theoretical principle guiding the approach and intervention in the existing building. Allowing for an extended exposure to an altered ‘state’. The movement through the existing [decaying] building penetrates and weaves through the entire building, forming the spine of the liminal realm.
LIMINAL EXPERIENCE 3 : The third experience refers to dwelling [assimilating to the observer’s surroundings, understanding and learning from them] within the existing [decaying] spaces, abandoned to ‘die’. Experience the sorrow; sense the lifelessness in life. LIMINAL EXPERIENCE 4: The final experience transcends into the realm of the ephemeral and the haptic signifying an acceptance of the purpose of existence...enlightenment.
LIMINAL EXPERIENCE 2: The subsequent procedural experience engages the observer with the haptic and an appreciation of the human condition. The wall transforms into a stair - ascending. Revealing truth. Representing infinite growth and dominance. The space negotiates with gravity, raising and revealing limits, lasting and acknowledging finitude. The space proposes the coincidence of life with limits [death].
Sequential Section. The existing DECAY script, RE-scripted in terms of a alternate approach to DECAY, DECAY extrapolated across the societal palimpsest, and its manifestation in the world. How the world decays and our impact on the process. The intervention is multi-layered , a threshold that is liminally driven in the haptic realm. The other facet is ‘realworld’ deliberately accessible exhibitions dealing with worldly issues. Protesting a protest!
anti-museum | _128
_129 | des baker
des baker | _130
_131 | anti-museum
General Design anti-museum | _132
_133 | ID
CORPORATE ID UNIT 2 2012 | _134
_135 | ID
ID | _136
_137 | art
GENERAL ART | _138
_139 | art
OLD MAN
African Voices
art | _140
_141 | anti-museum
Work Experience anti-museum | _142
_143 | drawbox
All work experience was gained at the frim of Drawboxdesignstudio Architects. Work produced included presenting projects to clients in an accessible manner, revising the presentation language to suit the firm’s design language, designing details for projects in the initial phases of construction as well as projects in the initial concept phases. Other produced work included conceptual design in colaboration with the partners of the Themba Maternity Hospital in Nelspruit, and the conceptual development and presentation, as well as Council Submission Drawings, and Working Construction Drawings for a Spec. House in Midstream. The experience gained, in the limited time, has broadened my sights and understandings of the practice landscape and the immense shift that is required from architecture at varsity level to architecture at practice level. I thank the team at Drawbox, Nadine Engelbrecht and Carlu Swart, for their welcoming arms and for allowing me the freedom to express my own identity within this young firm, for entrusting me with projects and work which, to some extent, were foreign to me in terms of practical requirements and outcomes, and for their complete patience.
drawbox | _144
HOUSE WENTZEL - Midstream Development - Project outcomes included Coucil Submission Drawings and Construction Drawings as well as developing the balustrade, balcony and sunscreen details. Current Phase - Construction - First Floor
Balcony Balustrade Detail
NTS
_145 | drawbox
Louvre Sunscreen Detail
NTS
Loft Balustrade Detail
NTS
NTS
drawbox | _146
DORIS STREET REVAMP - The project outcomes included developing the revamp to the existing building (family home) in Kloofsig, Lyttelton. A development of roof details were also done to create a minimal and simple extension in contrast to the existing building. This meant that a simple gutter hide-away detail had to be developed. - Current Phase - Awaiting Council Approval - Developing Construction Drawings
_147 | drawbox
NTS
NTS
drawbox | _148
HOUSE MERRINGTON - The project outcomes included developing the presentation to the client, presenting to the client as well as rendering (not too realistic, but believable) and emotional understanding of the final design. - Current Phase - Development of Council Drawings
_149 | anti-museum
drawbox | _150
THEMBA MATERNITY HOSPITAL - The project outcomes included adding design input into the conceptual phase of the project as well as developing the presentation to the client as per employers request. Presentation had to be of an understandable nature due to the fact that the zoning of complex spaces had to be communicated to the client, as well as the relationship between these zones/spaces. Illustrated here is the original concept sketches, the scheme as been further developed and is currently in the design process phase. - Current Phase - Design processing, Groundworks taking place.
_151 | drawbox
drawbox | _152
_153 | drawbox
MENLOPARK UNITS My role in this project was purely to render a spatial setting for the client to understand the design language and intent and to gain insight into the probable outcome of the prohect. - Current Phase - Development of Council Submission Drawings
anti-museum | _154
HOUSE BOTMA - My involvement with this project was not limited as I was involved from the inception of the project. This house is a spec. house for Midstream Developments. This does limit your design capabilities in terms of developing an argument and basing all decisions on this argumant as your client is a developer...However, the scheme was developed in Revit 2013 as the firm is in the process of crossing over to Revit (from Autocad) for ease of use and collaboration. This was the first project in the firm using Revit. The first major phase of my involvement was to develop the initial Midstream Home Owners Association Submission Drawings, whereafter another submission was required resembling Council Submission Drawings for approval by the MHOA. After this process the drawings were also approced by Coucil. Current Phase - Further Construction Drawing development - Groundworks
_155 | drawbox
NTS
drawbox | _156
_157 | anti-museum
drawbox | _158
_159 | drawbox
drawbox | _160
_161 | des baker
Reflection des baker | _162
_163 | reflect
REFLECT _ REMEMBER _DREAM The past few years has been an incredible journey, and has yielded some treasured memories. At the inception of this journey, architecture had been, and still is to some extent, a mystery to me. I only understood what my eyes were pleasured with. Architecture had been a mere visual communicative tool with which we as humans could relate to... This was merely a naive impression and understanding as I later came to realise. Architecture, to me, became a reason to change our current state of living, and our social and political condition. By understanding the world we live in, you begin to understand that the architecture becomes a reflection of our values and our moral ethic. I began to understand our profession on a much deeper level, and continue to try and understand its full depth. Architecture as a human endeavour is in opposition to the prevailing ideas of industry, economy and commerce. Which means that any profound work of architecture is a force of resistance. The purpose then, of architecture, is to provide us our existential foothold in the world. This is my challenge. A humble and grateful word of thanks to my loving parents, sister, and brother for your loving support through all the good and great times. Thanks to Rikus, Alex, Pieter, Marie, Silindzile, and Johann for the interesting and often complex (and confusing) debates and for your shared passion. Thanks to Mr Nico Botes for the opportunity to realise my dream, and Mr Rudolf van Rensburg for allowing me to question the questions.
reflect | _164
_165 | anti-museum