SCAPE | August 2023 | The Footprint | Vol. 95

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Welcome to The Footprint

Welcome to the issue of SCAPE Magazine where we aim to make real movement. Our sustainability-themed issue is one where we slow down, silence the noise, and consult the experts on how to truly pursue a practice that listens to the environment.

The goal is to be better contributors to the natural world. It is as simple and as complicated as that. As designers, architects, builders, landscapers, developers, as any role player in this industry, this issue of SCAPE is a space where we encourage you to join the conversation to enact real change. Starting at the Johannesburg Art Mile, Christoph Malan imparts a wealth of knowledge on the ethical responsibility of the designer, followed by a celebration of the inspired, winning design by Counterspace’s Sumayya Vally for the new Asiat-Darse Bridge. We then make our way to the GBCSA’s tool that aims to restart embodied carbon calculations, before Adrian Maserow offers an answer to the question: What if instead of building, we pressed pause?

Next, we take you to the kraal, where Oasis Design and KLG Architects revive an old homestead on Kerala Farm by listening to the needs of the land, and to a place of serenity with NEO Architects’ Lagom Cabin. Then we’re back in the classroom with the vision and execution of Green School South Africa by GASS Architecture Studio, as well as Local Studio’s extraordinary Lapalala Wilderness School. We also reach beyond residential, commercial, and retail, as Frankie Pappas makes a statement for gender-based violence with their House of the Pink Spot.

The Footprint has come to be a collection of thoughtful pieces, from projects to insights, that we hope will act as a guide to your sustainable journeys going forward. With ample to reflect on in every article, from cover to cover, the protectors of tomorrow await you behind this page. Speaking of setting a movement in motion, we’ll see you all on Thursday, 7th September for our SCAPE Trade Show 2023. Until then, embrace the ideas you can apply to your footprint and keep the eco-love movement in motion!

Chanel Besson Editor-in-Chief

Justine Coleman Key Account Manager

Caitlin Hancocks Commissioning Editor

Reinhardt Pieters Account Manager

Sarah Ternent Designer

Introducing Caitlin Hancocks

Navigate

12

AN EXISTENTIAL TENSION

On the Conflicted Relationship between Architects and Nature

32 AN EDUCATION IN GREEN BUILDING

Taking a Lesson from Green School South Africa

55 LAPALALA WILDERNESS SCHOOL

Paving the Way for a Sustainable Future

20

BRIDGING THE GAP

Sumayya Vally’s Asiat-Darse Bridge Unveils Hidden Stories

40

THE POWER OF PAUSE

65

NOT TOO MUCH, NOT TOO LITTLE Finding Equilibrium in the Lagom Cabin

27 REDUCING UPFRONT EMBODIED CARBON

The Designer’s Role in the Built Environment

Adapting the Existing with Contemporizing Ponte City and Towers Main

75

HOUSE OF THE PINK SPOT

Reimagining Orange Farm’s Future

47 THE JOURNEY TO MAPACHA A Restoration of Kerala Farm

The Footprint Collaborators

Christoph Malan, Co-Arc International Architects | Sumayya Vally, Counterspace | Georgina Smit, GBCSA | KLG Architects | Nick Hampton, Oasis Design | Adam Maserow | Adrian Maserow, AMA Architects | Chris Bakker and Theuna Stoltz, GASS Architecture Studios | Frankie Pappas International | Neo Architects | Local Studio

7 SEPTEMBER 2023 THE LOOKOUT V&A WATERFRONT

Will you be there to dream with us?

TRADE SHOW

What if we could reworld, rewild?

Design new behaviours instead of new products, unafraid to undo and redo?

What if buildings were made better for nature, better for people, better for 100 years from now?

What if the now looked more like a dreamscape, or a playscape?

What if we could create buildings that generate more energy than they consume?

What if buildings could be designed to grow and change with the needs of their occupants?

What if we could repurpose waste, collect it all and reimagine it so it becomes something new?

What if cities functioned like forests or wetlands?

What if we planted more tress than we could possibly use...so that trees can grow up to be... Trees?

What if we could create spaces that promote mental and physical well-being?

What if we can use our resources to save water, solve the affordable housing gap, generate our own power, and regenerate our economy?

What if exclusive became inclusive and we knitted cultures together to reimagine an equitable future?

What if we made meatloaf without meat, and grew our own mushrooms?

What if mushrooms were used to make the bricks to insulate our buildings with?

What if together we could create new versions of reality?

What if we never stop asking what if?

AN EXISTENTIAL TENSION

ON THE CONFLICTED RELATIONSHIP BETWEEN ARCHITECTS AND NATURE

Caspar David Friedrich: Ruins of Eldena Monastery. © Public Domain Creative Commons

With degrees in architecture and environmental management, Christoph Malan – director of Co-Arc International Architects – has produced a body of work which entails the redevelopment of urban precincts, brownfield sites, or buildings in need of repurposing for a more sustainable future. He has made contributions to architecture and urban design in projects across the African continent, and is an occasional writer on matters architectural. Taking the time to lead us through a thoughtful walk down Art Mile, Christoph reflects on the struggle for true co-existence between nature and constructions, and the role of the architect therein.

As a significant hub in the cultural life of Johannesburg, the Art Mile in Rosebank offers a glimpse on modes of contemporary cultural expression in our society. Among the jumble of architectural and artistic devices shaping the precinct, one element has, by design, gradually transformed the environment: the slow but intentional encroachment of vegetation onto the building fabric.

Cultural activation of the street corner started with the opening of the new Everard Read Gallery in 1982, a postmodern landmark by Meyer Pienaar Architects. As a feature of the design, the street façade was defined by a curvilinear, painted wall, set behind a line of external columns which demarcated an entrance pathway along a planter, some palm trees, and a pond. In the ensuing years the gallerist repainted the exterior a few times, always in a different palette, inspired, he claimed, by the colours of surrounding nature.

Then the gallery underwent a subtle remake. Stacked slate added rustic accents, new, indigenous vegetation was planted and, at the base of the curved wall, a Tickey Creeper. Today the pavement planters are a small forest, the façade is covered edge to edge in the creeper’s green foliage, giant strelitzias rise above the rooflines from the interior sculpture courts, and aloes on the parapets suggest landscaped roofs. References to nature in decorating the gallery have become nature itself.

The Art Mile, Rosebank, Johannesburg: Everard Read Gallery, Trumpet Building and Circa Gallery. © Christoph Malan, 2023

Everard Read Gallery Façade, 1983. © Meyer Pienaar Architects, 2023

the forces of erosion and decay that caused their eventual erasure. Inviting these at once generative and destructive forces into a building sets up both a technical challenge and, at a philosophical level, an existential tension that goes to the heart of our lived experience.

In the 18th Century, the architect and artist Piranesi, disillusioned with the Italy of his day, yearned to see Rome rebuilt to its former grandeur as the eternal city, and ambitiously promoted his ideas in etchings of exceptional draughtsmanship. Among his vedute are views of archaeological ruins, meticulously detailed to show former grandeur encroached on by nature, thus depicting at once a destructive force claiming the ruins, and a setting of pastoral beauty seemingly offering back the remnants as a gentle reminder of greatness lost. Nature is foe and friend alike.

A century later the Enlightenment and associated scientific demystification and industrialisation of the world caused the Northern European Romantics to despair. They turned to the Gothic cathedral as a microcosm that offered itself as a vehicle to contemplate nature, and sought solace in nature itself. Their sentiments are expressed most pointedly by the German artist Caspar David Friedrich, in paintings of persons contemplating a landscape, the moon at night, or Gothic ruins entangled by the encroaching forest that had, in the first instance, informed the building’s genesis.

During the 20th Century, the Austrian artist Friedensreich Hundertwasser ranted against the ‘chaos of straight lines’ modernist architects had created. Following his ‘Mouldiness Manifesto Against Rationalism in Architecture’, in which he advocated citizens’ right to

Across the street stands the Circa Gallery by studioMAS, a compact, elliptical landmark wrapped in a slatted aluminium screen, which was completed in 2009. The neighbouring commercial Trumpet Building, a predominantly black backdrop to Circa, followed soon thereafter. Both buildings are served by external fire escape staircases, detailed as free-standing steel structures enveloped in a wire mesh for climbing plants. Today the stairwells are completely concealed by dense foliage, and it is puzzling to see pedestrians emerge through an overgrown door from an apparently impenetrable wall of greenery.

A third vegetated façade followed opposite the Trumpet Building, when GLH Architects were commissioned to add a new classroom block to the heritage buildings of St Theresa’s Convent School. Here the face brick façade, fronting onto the street, was lined with stackable ‘living wall’ plant boxes as a base to house a vertical landscape of grasses and succulents.

The interplay of buildings with nature has occupied architects through the ages, as pastoral landscapes or garden settings to contain buildings, and as decorative or metaphoric references within the architecture. However, integrating living nature into the building fabric itself is a more daring endeavour. Nature has always yielded both the organic materials from which we built our shelters, and

Circa

Art Gallery

Fire Escape Stair. © Christoph Malan, 2023

Friedensreich Hundertwasser: Hundertwasserhaus, Vienna. © Jorge Franganillo

creative freedom in shaping their environments, even at the risk of the collapse of buildings, the city of Vienna gave him an opportunity to express his ideas in a social housing project of his own creation. Supported by architect Joseph Krawina, he expressed his artistic freedom primarily on the façades, which he decorated like giant canvases. Notably, however, he also liberally incorporated natural vegetation in a manner that evokes the depictions of ruins by Piranesi and Friedrich: roof gardens, ivy-covered walls, and trees growing from within buildings, leaning out of façade penetrations in search of light.

Heritage, contemporary architecture, and landscape once more clash in present-day Madrid, at the Caixa Forum by Herzog & de Meuron Architects. On the gallery façade above a public square, the brick walls of an industrial heritage building saw the base surgically removed, the windows bricked up to leave only traces of the original, and the gables crowned with a superstructure clad in corroded metal. The façade hovers seemingly disconnected from the square, with the gallery entrance hidden in the centre of the building footprint. To access it one needs to enter the horizontal slit between the building and the ground, like crawling under a rock. The second façade fronting on the square is a multi-storey living mural, planting turned vertical, overlooking hard-paved ground below. The overall impression is one of disentanglement and distillation through a well-controlled composition. Yet the very juxtaposition of the components illustrates the tensions between generative and reductive forces of nature, and our manipulation thereof.

Herzog & de Meuron: Caixa Forum, Madrid. © Christoph Malan, 2018

Back in Johannesburg, at the Art Mile, the ever-changing views of pockets of vegetation enveloping buildings, fragmented and reflected in the glazing, and punctuated by artists’ sculptural insertions are at once calming and unsettling, and one wonders what to make of this literal and most intimate greening of individual buildings.

The planters and roof gardens make eminent sense, giving back some of the green fields we have claimed for building our cities. Vertical landscapes, though, bend nature to our creative will, and imply our ongoing control to keep its forces at bay. The Tickey Creeper is a climbing fig, and needs to be shaved regularly, to keep it from eventually strangling and cracking up the building. The climbers around the fire stairs need to be trimmed back, curiously, on the interior of the dense bush, to maintain free passage along the fire route. The planted living walls, an array of pigeonholed plants forced to grow sideways to form a vertical, drip-fed meadow, impose a maintenance task not only of holding nature back, but also of sustaining it with life-support systems.

In a small manner green walls do contribute to the greening of our cities. But used as a wilfully manipulated compositional component of the actual building itself, as in the Caixa Forum, the planting starts to take on meaning as an artistic response to our unease. It becomes a mannerist stylistic device that expresses the tensions which mark the spirit of our time.

That Zeitgeist is today expressed by a despondent young generation who couch their activism under the despairing banners of ‘Fridays for Future’, ‘Extinction Rebellion’ or ‘Last Generation’, all driven by the fear that we may have already destroyed the global ecosystem to a level where it may no longer be able to sustain us. As we claim ever more land in the rampant sprawl of our cities and the monocultures that feed us, and subjugate nature’s cycles and genetic coding to our mechanistic controls, we are transforming the world beyond reasonable integration into the living systems, aspiring to absolute command.

CHRISTOPH MALAN Senior Director, Co-Arc International Architects www.co-arc.com @coarcinternational

Fragmented Views of the Art Mile, Johannesburg. © Christoph Malan, 2023

We even describe our manipulation of nature as a new planetary epoch, the Anthropocene. Some may bear the badge with pride at our assumed competence to take charge and make the world purportedly a better place, at least for the human species. Others wear it with shame at the destruction we have wrought, the perils we have brought upon ourselves, and despair at the loss of our connection with nature.

While the young generation, like the artists, should shout out to press for urgent action to mend our relationship with the planet, it falls, among others, on us as designers and manipulators of the environment, to do so. Deepening our understanding of the ecosystem holds the key. An awareness and appreciation of the interconnectedness of all life within complex living systems should guide us also to see the built environment as being embedded in a global ecology. Beyond our bent for artistic expression, we have at our disposal the tools to act, be it as designers of components, of buildings, or entire cities. We can work with the cycle of water to sustain this treasured resource. We can mitigate energy consumption by design to help stabilise the carbon cycle. We can protect the pockets of pristine nature we have left, expand them to viable ecological corridors, regenerate, and re-wild habitats for wildlife to re-enter our living environments and thrive. And yes, work with plants, shape parks and gardens as vibrant biomes, and take joy therein. And as our awareness of ecological complexity grows, we may find ourselves increasingly humbled. As Hundertwasser said: ‘You are a guest of nature – behave.’

"Deepening our understanding of the ecosystem holds the key.’

Detail of the Everard Read Gallery. © Christoph Malan, 2023

BRIDGING

THE GAP

SUMAYYA VALLY’S ASIAT-DARSE BRIDGE UNVEILS HIDDEN STORIES

In a thrilling competition to design Vilvoorde, Belgium's upcoming Asiat-Darse pedestrian bridge, esteemed architect Sumayya Vally, Principal of Counterspace, has emerged as the victorious visionary. Counterspace, known for their award-winning research-based approach to design, specialises in exploring hybrid identities and territories as a means of finding expression for African and Islamic contexts. Vally's meticulous design process draws from the aural, the performative, ritual and supernatural, and most importantly, the overlooked historical aspects, to create spaces that reflect the depth of culture and history.

Counterspace's approach to the project led them on a research-driven exploration, unearthing the extraordinary story of Paul Panda Farnana – a significant yet overlooked figure in Vilvoorde's history. Farnana's legacy epitomises the intricate relationships between the city and past and future generations of migrant communities. In their comprehensive research, Counterspace not only shone a light on Farnana's contributions but also brought attention to a crucial part of the city's narrative that had long remained hidden.

Sumayya Vally, with a deep connection to Vilvoorde, passionately expressed her profound admiration for the city. She highlighted that Vilvoorde is renowned for its diversity, embracing a rich tapestry of cultures, identities, and narratives. Throughout their research, she immersed herself in the story of Paul Panda Farnana, an experience that deeply impacted her and served as the driving force behind their response to the city's call for a pedestrian bridge. Given Farnana's horticultural training at the nearby Vilvoorde Horticultural School, and his important work as an activist and advocate for enslaved black people, the project is rooted in celebrating and honouring his legacy.

Inspired by the breathtaking water architectures observed along the Congo River, where interconnected dugout canoes create communal platforms for trade and gathering, Vally envisioned the Asiat-Darse Bridge as a space for connection and congregation. The bridge will be ingeniously constructed by linking a series of boats together, mimicking the stacked canoes on the water.

SUMAYYA VALLY Principal, Counterspace www.counterspace-studio.com

"Embedded within Counterspace's project is an ethos that aligns with their practice – the understanding that every project, regardless of scale, presents an opportunity to write our histories in our own image."

Vally's tribute to Farnana's iconic horticultural work is evident in the bridge's design. Each boat-like structure will serve as an isolated seed bed, cultivating specific plant species. These plants will eventually disperse their seeds on the wind, carried by those traversing the bridge. In doing so, the bridge becomes a living homage to Farnana's achievements, serving as a nursery and facilitating the migration and growth of plants throughout the site.

To amplify the project's impact, Counterspace proposes additional boat structures along the riverbank, each named after labourers discovered in the studio's investigations and recorded in a register from the Congo. These smaller boats will act as pollinators, transforming an industrial zone into a vibrant garden, offering passers-by a serene space for contemplation and respite.

Sumayya Vally reflected on the project's profound significance, emphasising that their approach to the bridge went far beyond mere architectural dimensions. To her, it symbolised more than a structure – it embodied an active monument, a sacred space for healing and remembrance. The fusion of the project's narrative, form, and incorporation of Farnana's research all played integral roles in bringing this visionary concept to life, and the ecological impact extended well beyond the bridge itself, enveloping the entire riverbank through the implementation of 'pollinator' boats.

Embedded within Counterspace's project is an ethos that aligns with their practice – the understanding that every project, regardless of scale, presents an opportunity to write our histories in our own image. The Asiat-Darse Bridge, as a connector, weaves together narratives of past and future migrations. Vally hopes this project will honour Farnana's story and serve as a poignant reminder to architects to attentively listen to the context in which they work, uncovering architectural treasures in the most unexpected and overlooked places.

The realisation of this ambitious project has been made possible through the collaboration of Counterspace and AKT II, who provided invaluable engineering expertise. Kieron Taylor, Technical Director at AKT II, expressed enthusiasm for the Asiat-Darse Bridge project, emphasising that the bridge represents more than a mere means of crossing – it encapsulates a profound journey and reflection of two distinct points in time. The Asiat-Darse Bridge project is a collaborative effort between the city of Vilvoorde and Horst Arts & Music. Funding has been generously provided by Platform Kunst in Opdracht, the Flemish Department for Culture, Youth, and Media, as well as ANB, the Flemish Agency for Nature and Forest, in partnership with DVW, the Flemish Agency for Waterways. The project also benefits from the artistic advisory of esteemed curator Heidi Ballet, making for a support system which assures the carrying of the endeavour to fruition.

With the anticipated completion date being in December 2025, construction for this awe-inspiring undertaking is set to commence in April 2024. As the Asiat-Darse Bridge takes shape, it promises to transport residents and visitors alike on a remarkable journey through art, history, and connectivity. It stands as a symbol of synthesis, celebrating the rich tapestry of culture that intertwines Vilvoorde and extends far beyond its boundaries.

REDUCING UPFRONT EMBODIED CARBON

THE DESIGNER’S ROLE IN THE BUILT ENVIRONMENT

Carbon footprint is no new term. The seriousness of the concept is well known in industries globally, and promisingly seems to be maintaining momentum. We’ve heard of our personal footprint and that of large corporations, we’ve seen the news reports and activism, and heard the urgent pleas to turn it all around. But when it comes to construction, the beginning of a project’s carbon emissions occurs long before the actual building process does. When looking back is no longer an option, the steps ahead have to transform, and for those in the built environment, putting the right foot forward doesn’t have to be complicated.

‘Upfront Embodied Carbon’ refers to the amount of Carbon Dioxide produced by all the activities that lead up to the practical completion of a building – extraction of raw materials, transport and processing of construction inputs, site establishment, and building construction. Forming part of the full lifecycle assessment of buildings, this considers their contribution to atmospheric carbon from the manufacturing of the materials used to construct them, to the emissions of the equipment used to demolish them.

Embodied Carbon, or embodied emissions, make up over 10% of the approximately 40% of total global carbon emissions that the built environment is responsible for. These embodied emissions will account for half of the total carbon footprint of new construction between now and 2050.

With a persistent lifespan, once the structures are built, upfront embodied carbon emissions are regarded as locked in; they cannot be reduced, not even by increasing energy efficiency within the building or refining sustainable building management systems. They are not dependent on how well or badly the building performs during its use, but rather on how efficiently and sustainably the building was designed. Once the design phase has been passed, the fate of its consequences is sealed.

Reaching for Zero

In an effort to meet the established 1.5°C and Net Zero commitments, curbing Upfront Embodied Carbon as part of a whole life carbon approach is imperative. A key question the GBCSA (Green Building Council South Africa) and the industry are currently working on is, as designers, how are we steering our new build projects to reach South Africa's Net Zero Carbon 2030 goals? A hard-hitting question, but one which demands action, this approach can make an effective push towards some kind of change. Globally, and locally, the 2030 Net Zero Carbon target is that ‘by 2030, all new buildings, infrastructure and renovations will have at least 40% less embodied carbon with significant upfront carbon reduction.’

"When looking back is no longer an option, the steps ahead have to transform."

As part of its update of the Green Star South Africa New Build Tool (V2), the GBCSA found that to make this an achievable and measurable industry goal, a user-friendly tool that can guide the industry would be necessary to drive market transformation. The resulting idea was to create a calculator to help each team do just that by making it simple to evaluate their progress against this target for buildings (and be conscious of improving it).

From specifying renewable, local construction materials (such as sustainably sourced local mass timber), to adapting design to reuse parts of existing structures, there is no room left to disregard sustainable design interventions. Because of the large impact and the longevity of these emissions, it becomes crucial to minimise future embodied carbon before a building can be meaningfully green.

Calculating Upfront Embodied Carbon

Naturally, green building rating tools must also be responsive to the context within which they are applied and must change both with time and with adjustments to the overall construction environment. The Upfront Embodied Carbon calculator will be used to support the Upfront Carbon Emissions Credit, within the Positive Category, which is focussed on recognising and rewarding climate positive buildings that actively work towards climate change mitigation. Going forward, this process of change will be implemented across the industry – eligibility for a Green Star rating will be determined by an upfront carbon assessment, which must be incorporated into the design process, and options for decarbonisation need to be considered, ensuring a thorough follow-through.

With the promise of being transformative for the industry, this approach is dedicated to providing a userfriendly introduction to inform design decisions that will impact the buildings’ carbon trajectory. With a vision to do it right the first time, as opposed to backtracking in hindsight, pro-action over reaction is set to lead the way forward in achieving a Net Zero Carbon status.

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AN EDUCATION IN GREEN BUILDING

TAKING A LESSON FROM GREEN SCHOOL SOUTH AFRICA

Photographs by Daniela Zondagh

In 2021, GASS Architecture Studios completed a world-class feat – the creation of the third Green School globally. Having first come to life in Bali and then extending to New Zealand, the forward-thinking educational network found itself another place to call home: South Africa. As sites where a community is fostered for a sustainable future, the Green Schools are an initiative grounded in environmental integrity, empathy, and responsibility. We caught up with the GASS Team to harvest the methods, concepts, and ethos that went into making this remarkable project a reality.

What excited you as a team the most about the opportunity to design the Green School South Africa?

Green School South Africa started off as a competition scheme; the clients selected five local architects to submit a concept proposal, which in itself was already exciting.

From the onset of design development, up to this day, there has not been a dull moment – designing and constructing a regenerative schooling campus from natural and locally-sourced materials (complying with the Living Building Standards), sculpting organic architecture, and creating learning spaces that ignite a sense of wonder in adults and children alike. The journey of becoming part of the Green School family and to see the impact that the campus has on everyday lives, is life changing, and something we are really proud of and which excited us from the start.

What inspires you about the Living Building Challenge (LBC) that you incorporated in the project, and were there any specific difficulties that arose because of the location and land when following the program?

The LBC is setting new benchmarks for ‘green’ buildings. Preventing harm is a good first step. However, let’s be visionary and take things much further.

Human beings are creative, capable of adding complexity and beauty to the natural environment, improving people’s happiness and health, and bringing joy to processes of learning. This is the vision behind Green School South Africa’s (GSSA’s) aim to achieve a LBC compliance, the world’s most stringent ‘green’ building accreditation, which requires that buildings should not only be sustainable but also ‘regenerative’.

This means they must produce more energy than they use; consume less water than the site naturally receives; increase rather than reduce the biodiversity and beauty on site; and be healthy − providing plenty of natural light, fresh air, food, a close connection to nature, and a sense of community. They must also incorporate ‘biophilic design’, which takes into account the human love of and need for nature, into every step of the design and building process.

The LBC compliance has brought huge challenges at every turn of the design and building process. Nonetheless, it is resulting in new benchmarks for green building in Africa, and a school that is both beautiful and inspiring. The LBC compliant projects are evaluated against several ‘petals’ which include place, water, energy, materials, health and happiness, and equity and beauty.

The most challenging part was the LBC Red List, a tool for building product transformation. It documents the ‘worst in class’ materials, chemicals, and elements known to pose serious risks to human health and the environment, prohibiting the use of harmful and toxic chemicals during the construction process and after.

Carbon consumption is one of the most important issues in the ‘energy’ petal. LBC requires that embodied carbon should be calculated from the start of construction through to the operation of the building. This includes the process of manufacturing the materials, how they are transported, and over what distance.

‘We’ve calculated the embodied carbon for all materials, and the school is doing very well compared to the average building,’ said Fabio Venturi, director of Terramanzi Group – the sustainable design consultancy responsible for all of the tracking on the project. ‘There are not many educational facilities that have done these calculations, but we know that the average commercial development uses 1000-2000 kg/m² and halfway through the construction process, the school was at only about 254 kg/m².’

In South Africa and Africa, we do not have access to products that have already been vetted and received a Declared Label, which required each of the products and materials used on site to be dissected and understood in terms of their ingredient lists and manufacturing processes, to ensure it meets the requirements as set out by the LBC. To comply with this, we used natural construction materials which included rammed earth, clay, wood, locally manufactured bricks, and drastically reduced quantities of cement, giving preference to lime-only plaster and predominantly lime-based floor screeds. Many of these were acquired locally, satisfying another LBC requirement. Some items, such as doors, were found in salvage yards.

Were there any existing projects at the time that provided you with helpful ideas or inspiration during the design process?

Green School South Africa forms part of the larger Green School Family; the first ever Green School was built in Bali. Just after we were awarded with the contract, we went to Bali to visit the school to better understand the Green School ethos and how they arranged and constructed the campus.

Which of the materials and practices used in this project do you think could be implemented more in future South African builds in order to improve sustainability in the industry?

• The use of sustainable, environmentally friendly, and locally sourced materials and products

• Local craftmanship

• Passive design principles

• The ‘petals’ as set out by the LBC

• Biophilic design

• Stop the use of products that contain harmful chemicals

Once you completed the project, did your approach and thinking about sustainability in architecture shift or evolve?

Due to the stringent requirements of the LBC, the Green School design and building team was forced to work closely with local manufacturers and suppliers, to find ways to substitute all products containing red-list items. Many new products had to be developed. One such product included a water-based steel treatment system to replace the steel treatments containing VOCs.

For GASS, the selection of materials holds the utmost significance. Natural materials and textures have always been a key characteristic in our designs, because it creates a sense of place, defines the character of a building, and can significantly impact the functionality, sustainability, and overall design of a space. At GASS we carefully consider the selection and use of materials and textures to achieve the intended design goals and create spaces that are both beautiful and functional.

Since working on the Green School, we have been focussing a lot more on our understanding of materials and the products that we specify and what ingredients get used to create certain products. And now after having worked closely with specialists, manufacturers, and suppliers in the field, and knowing that we can challenge the formulations, we strive to use not only natural materials and finishes, but also products that do not contain harmful materials.

What do you think is the most interesting latest innovation(s) in sustainable architecture that you’ve seen circling lately?

• Regenerative Buildings

• Biophilic Design

• Adaptive Reuse

• Smart Building Systems

• Natural Materials

• Transformation of textile waste into building materials like the bricks from fab-brick

www.gass.co.za @gass_architecture_studios

SUPPLIERS

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Left: Chris Bakker, Director

Right: Theuna Stoltz, Associate GASS Architecture Studios

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THE POWER OF PAUSE

ADAPTING THE EXISTING WITH CONTEMPORIZING PONTE CITY AND TOWERS MAIN

Photograph by Joggie Botha

Johannesburg’s mesmerising skyline is filled with contested icons. In this city with a unique range of needs, like many others it still calls for reliable and safe mixed-use accommodation for all income levels. The potential is by no means lacking; the approaches are what need to catch up. From this course of thought, Adrian Maserow from AMA Architects reflects on the ever-increasing rate of building, and casts a projection of how reduction and readaptation might be the advantageous alternative South Africa needs.

When AMA Architects was tasked with reimagining Egoli’s old ABSA Building, they knew the approach would require a sensitivity to what the city was lacking. The resulting Towers Main project ensured that Joburgers could work, live, shop, exercise, enjoy childcare, dining, and other amenities all while overlooking the city. The process led to the repurposing of a mothballed 30-storey, 1970s concrete structure. In its transformation into a new urban asset, AMA Architects created a public piazza, which introduces a human scale, to a previously vehicle-dominated environment. Local art defines the space, affirming Johannesburg’s rich culture and identity. Further, the public areas draw people into the street and create a focal point for the ABSA precinct. Overall, the development increases the density of residents, workers, and visitors, while reinforcing the sustainability of the area.

Tenants with a range of incomes inhabit Towers Main – one of the key goals that drove the revamp. The units were arranged on a pinwheel plan, preventing dead ends, and creating light-filled corridors. The 15th floor of Towers Main especially contributes to a true mixeduse experience, with a fully open Northeastern side which presents unobstructed views of the city. Full-height windows on the rest of the floor frame these views, highlighting the natural art of the landscape. Continuing in the endeavour for increasing spaciousness, the opening of the floor at the center of the tower changes the atmosphere of the building and creates a unique spatial experience. Finally, Johannesburg’s gorgeous weather and minimal winds mean vertical buildings like this one allow people to thrive, promoting feelings of connection to their surroundings, whether in a dazzling outdoor space 50 metres in the air, or in a ground-level, art-filled plaza. The change was a tangible one that was bound to inspire.

Today, Joburg stands the chance to strike gold again in its revivals to existing skyscrapers. Adam Maserow, a 2023 dieDAS fellow and architectural designer from South Africa, incorporates in his research analytic philosophy to understand design methods, architectural critique, and the effects of adaptive reuse on commemoration. His resulting Contemporizing Ponte City project recognises that the film-famous building finds itself in need of renovation and exemplifies a new way to satisfy the needs of the city’s residents through an approach that should be encouraged over demolition and reconstruction: PAUSE. By adapting existing buildings rather than erecting new ones, Johannesburg has the potential to reinject density, social connection, and economic proximity within its built fabric while maintaining environmental sensitivity.

The original construction of Ponte City was a major geological event in the 1970s. Swathes of terrain were moved and removed; immense amounts of concrete were sunk into and piled above the earth; and the building was left containing roughly 10 thousand tons of embodied carbon in the concrete alone. While this might seem a good reason to rid the city of the building entirely, Ponte’s demolition would only be another harmful environmental act.

It’s a given that a city needs its built environment functioning to its full potential across its existence, rather than inevitably reaching an expiration date. Ponte has managed to continuously reinvent itself through eras of South Africa’s Apartheid and post-Apartheid societies. However, while the building has undeniable symbolic power in the city’s skyline, it currently lies half empty.

Contemporizing Ponte City project render

Contemporizing Ponte City project render

In discussion with AMA Architects, Adam Maserow embarked on a design and research project to reimagine the Ponte City building to suit the city’s current and future climate. Threading a timber structure through the centre of the cylindrical tower aims to allow for the building to function as a tertiary education hub and alleviate the city’s shortage of education spaces. The timber’s construction logic also allows an expansion of the building from the inside, while adhering to the rules imposed by the building’s heavy, layered shell. Alongside some necessary extraction of Ponte’s 50-year-old robust concrete, the project plans to reprogram the structure with teaching facilities, student housing, and public amenities spaces. This intimate connection between construction and building use is the type of circularity that already exists in South African cities, as in Durban’s Warwick Junction, a bustling hub that hybridises local public institutions, informal traders’ associations, and central transportation.

The ethos of halting the construction of new buildings and working with existing ones demonstrates the shifts that may occur in the near future, and the ways in which they may act more in line with the informal commercial, cultural, and social activities that have already developed in and around such buildings. In Johannesburg, the people already have a close relationship to their built environment, which revolves around a persistent nurturing of both transience and community. The development of a new adaptive reuse architecture would provide the circularity needed for architecture practices to proceed in a meaningful and contextually sensitive way. Such a circularity, a pause in new construction, means the history of iconic constructions are continually rewoven into their ability to provide for the present needs of its locals. Taking inspiration from this opens up the possibilities for predicting future needs, using the power of pause to accelerate sustainable and fruitful projects in a country that needs it now more than ever.

ADRIAN MASEROW Managing Director, AMA Architects

Contemporizing Ponte City project render

ADAM MASEROW Architectural Designer

THE JOURNEY TO MAPACHA

A RESTORATION OF KERALA FARM

Nestled in the picturesque Bainskloof valley, the Kerala Farm emerged from a once ordinary homestead, redesigned to embrace a new lifestyle that harmonises with its surroundings. In 2021, the team at KLG Architects took charge of this project, elevating not just the farmhouse itself, but also collaborating with Oasis Design and Nick Hampton to revitalise the entire landscape. By prioritising water management and sustainability, Kerala Farm embarked on a journey towards humble luxury, merging beauty and environmental consciousness.

Photograph courtesy of Keri Paddock

When Nick Hampton stepped in to take charge of the landscape, his design process called for him to assign a name to the endeavour…

After Oasis Design was approached by the owners of the farm, Keri and Sam Paddock, and Nick started to develop his designs, he felt he needed to give his sketches a name, and so an unofficial title emerged – 'The Journey to Mapacha', incorporating the name Mapacha which the Paddocks chose for the cottage. The name stuck, and today a signpost stands tall upon the farm, proudly displaying its identity for all to see, honouring the exquisite cottage that was expertly designed and restored by KLG Architects.

After spending months designing, developing, and building the gardens for the farm, the clients approached Oasis Design once again to see what could be done with a large piece of open land situated between the main house and the Mapacha cottage. Along with its inherent potential, the land also posed a challenge that piqued their curiosity. In winters past, runoff from the surrounding mountains would naturally make its way into the area and cause flooding. It was clear there had been previous attempts to divert the water away from the buildings, but this only redirected the flooding to other parts of the farm.

In the quest to restore and transform the property, KLG Architects listened to the valley itself, translating its vastness into an architectural vision. They extended the wings from the existing square-plan courtyard house, adding a new wing on the southern side to embrace the local flora and capture the spectacular private mountain views. The design, with its sleek and contemporary aesthetic, introduces a fresh identity through its simple form and box-like appearance.

On the northern side, a new, external living room was added, characterised by a grand monolithic stone wall seamlessly integrated into the landscape. The result is a spine that acts as the starting point of the new lifestyle wing. With the inclusion of robust timber sections, the space gracefully transitions towards the lush lawn and inviting pool area. Here, a meticulously crafted design conjures a series of dappled shaded spaces, essential for the unforgiving sun that dominates this region.

Photograph courtesy of Oasis Design

Photograph courtesy of Keri Paddock

However, this predicament sparked an innovative idea. Deciding that it would be foolish to try and work against nature and gravity, they chose to attempt to use the space to hold the excess runoff – allowing it to slowly seep back into the earth and recharge the ground water. Since the ground was already undulating, they looked at the existing mounds and depressions across the area and, rather than try to create new levels, they worked to use the existing ones to their advantage, taking their cue from what was already occurring naturally. By enhancing the existing depressions, furrows, and mounds, what they essentially created was a series of berms and swales – a basic and effective agricultural concept that has been employed for centuries.

Now when the farm experiences heavy rainfall, runoff that was previously problematic is slowly channelled downhill through subtle, permeable furrows cut into the land. Excess water that is not absorbed by the earth on its way downhill will be collected by one of the little ‘ponds’ that were fashioned, again by simply exaggerating the natural depressions of the land. From here, the water slowly infiltrates into the ground, being taken up by plantings on the adjacent berms and recharging the groundwater in the process, replacing the need for an irrigation system in the area.

Photograph courtesy of Keri Paddock

"Like many journeys, the one that leads to Kerala honours the history of the farm while leaving by the wayside the practices that no longer serve it."

Photograph courtesy of Keri Paddock

Photograph courtesy of Keri Paddock

Once the space was working successfully, it also needed to have recreational value. Beyond the boosted sustainability, the owners and their visitors also needed to be able to enjoy the space up close (without getting their feet wet). The Oasis Design team built a simple timber boardwalk suspended above the land. Not only does this allow them to get from the main house to the cottage without taking the long way around, but it also provides a little adventure, as the boardwalk subtly snakes its way through fynbos and wetland, and berm and swale.

Like many journeys, the one that leads to Kerala honours the history of the farm while leaving by the wayside the practices that no longer serve it. A careful consideration of the characteristics of the land meant the project could be transformed by a kindness that channels into the beauty of the build, representing an effortless co-existence that makes all the difference.

CourtesyofOasis Design

Photograph courtesy of Keri Paddock

LAPALALA WILDERNESS SCHOOL

PAVING THE WAY FOR A SUSTAINABLE FUTURE

Photography by Sean Gibson

Size: 5500 m²

Completed: 2022

Location: Vaalwater, Limpopo, South Africa

The Lapalala Wilderness School is inspiring a new generation of environmentally-conscious youth. The eco-marvel stands as a showcase of the potential that lies within sustainable design – boasting an array of self-sustaining features and achieving a commendable net-zero carbon rating. Beyond its architectural accomplishments, the school also serves as a dynamic hub for environmental education, empowering students to become active guardians of our planet.

THE SITE Into the Wild

Situated within the Waterberg region of South Africa, the Lapalala Wilderness reserve encompasses approximately 48 000 hectares of pristine land. Recognised as a UNESCO biosphere reserve, this privately-owned wildlife sanctuary was established in 1981 by renowned conservationists Clive Walker and Dale Parker. Since 1985, the original school, which found its home in a humble farmhouse within the reserve, has offered education programmes to visiting schools with a focus on biodiversity and conservation education.

Recently, the Lapalala Wilderness School underwent a relocation just beyond the southern border of the reserve in an area of rehabilitated bushveld along the banks of the Palala River. This decision was prompted by the introduction of predator species to the Lapalala Wilderness reserve, necessitating the expansion and enhancement of the school's infrastructure and facilities. The new location was chosen to accommodate the growing needs of the school and to provide improved school and accommodation amenities.

During the Cultural Heritage Impact Assessment of the site, evidence of an Iron Age Settlement was discovered. This incredible archaeological finding, along with other Iron Age Settlements and rock art sites scattered throughout the Lapalala Wilderness reserve, showcases the rich historical significance of the area.

Photography by Sean Gibson

Photography by Dirk Jacobs

Photography by Sean Gibson

MEET THE TEAM

Architect and Principal Agent: Local Studio

Quantity Surveyor: Aestumo Avium

Structural Engineer: The Structural Workshop

Civil Engineer: Earthworkshop

Main Contractor: Mike Buyskes Construction

Civil and Plumbing Works: MLM-Ben’s

Electrical Works: Bosveld Elektries

Landscaper: Gordon Kershaw

Photographers: Dirk Jacobs and Sean Gibson www.localstudio.co.za @local_studio

Photography by Sean Gibson

THE CONCEPT An Untraditional Education

The brief called for the development of new infrastructure for an established environmental education programme that had relocated from its previous site within the Lapalala Wilderness reserve to a neighbouring property alongside the Palala River. This ambitious building programme encompassed the creation of educational, dining, and administration facilities, as well as short-term residential accommodations for students and long-term residential spaces for teachers and staff.

The newly built off-grid school has achieved an impressive net-zero carbon rating, and every year, the school hosts approximately 3000 students between the ages of 10 and 18, primarily from local communities in the Waterberg region. These students engage in week-long programmes focused on environmental awareness and conservation.

Right from the project's inception, the core concept of going off grid was an integral part of the school's vision. With a curriculum centred around conservation, ecology, and the safeguarding of wildlife and natural resources, it was crucial for the campus to embody these principles in its design and construction.

Setting itself apart from traditional educational settings, the Lapalala Wilderness School embraces a design that seamlessly integrates indoor and outdoor spaces. The educational, dining, and administration buildings are thoughtfully arranged around inviting courtyard areas, extending the learning environment into the surrounding natural beauty. These outdoor breakout spaces provide comfortable and shaded settings for teaching, offering sweeping vistas of the captivating bushveld landscape. Upon arrival, visitors are greeted by the Arrival Plaza, an inviting steel and timber pergola that guides them towards the enchanting Boma. Nestled amidst the library and offices, the Boma serves as a storytelling and stargazing space, where students gather around a crackling fire at night. Another remarkable feature is the Amphitheatre, the primary teaching space that seamlessly spills out from the library, dining hall, and auditorium. Covered by another pergola, it doubles as an informal gathering spot and an inspiring outdoor presentation area.

These dynamic outdoor spaces not only meet educational needs but also exemplify Local Studio's enduring commitment to pioneering innovative public spaces in rural communities across South Africa.

The school's dormitory blocks, accommodating up to 128 visiting students and 8 teachers, are connected by a continuous walkway canopy crafted from resilient hardwood timber. At the heart of this arrangement lies the Bush Plaza, an educational indigenous garden and play space. Employing passive heating and cooling techniques, the single-story buildings are thoughtfully clustered to optimise cross ventilation and orientation, ensuring a comfortable and energy-efficient learning environment.

FLOOR PLAN

1. Arrival Plaza

2. Offices & Reception

3. Boma

4. Library & Interpretive Centre

5. Kitchen & Dining Hall

6. Laundry

7. Pool

8. Student Dormitories & Bush Plaza

THE CHALLENGES & TRIUMPHS Transport, Water, & Energy

The team faced significant challenges on the new school site as it was initially devoid of municipal supply or basic services. Nonetheless, they were determined to provide a safe and accessible learning environment. To make this a reality, the team persisted until it was possible to secure safe transportation for students, with access to the site achieved by extending the municipal road network. This ensured that the buses carrying scholars could navigate the route securely, fostering a smooth and reliable journey.

Meeting the crucial need for water supply, the team implemented two boreholes, and to embrace renewable energy practices, a thermodynamic solar hot water heating system was installed. Additionally, responsible wastewater management was prioritised, making use of a subsurface wastewater recycling plant to treat and reuse grey and black water.

The school also generates all its electricity through a solar plant – a cutting-edge facility that utilises solar energy to power the campus, reducing reliance on conventional energy sources. To ensure uninterrupted power supply, a backup generator stands ready as a contingency measure, guaranteeing a seamless transition in case of unforeseen circumstances.

SUPPLIERS

Solar Plant Installation

1Energy 021 712 2014

Thermodynamic Hot Water Heating Units

Energie +351 252 600 230

Bio-Mite Wastewater Treatment Plant Calcamite 012 742 0900

Walkway Hardwood Canopy Installation

Intex Timbercraft 011 524 0923

Paving Corobrik 021 888 2315

Tiles

Italtile and Ceramic Foundation 021 510 7766

Aluminium Doors and Windows

PG Glass Silverlakes 012 809 4263

Lighting

Rebel Lighting 011 466 9485

Signage

Büro Comrie

Doors

The Door Group 011 918 4850

Gas Installation

The Gas Specialist 015 495 1528

Polished Concrete Floors Concrete Grinding Specialists 082 854 9908

Photography by Sean Gibson

Photography by Sean Gibson

THE MATERIALS A Considerate Selection

The project stands out for its thoughtful selection of materials. The context-driven materiality combines rammed earth, rock, and timber with concrete and masonry structures. Notably, the iron-rich soil sourced from on-site excavations takes centre stage in the construction of rammed earth walls, serving as an invaluable teaching tool for sustainable practices.

The outdoor courtyard and educational spaces feature clay brick pavers in the same striking red hues, creating a visually cohesive environment. To create a harmonious balance, the pergolas incorporate temperature regulating and are adorned with indigenous trees and plants to provide welcomed shade and further soften the outdoor spaces.

Within the school's interiors, meticulous attention to detail is evident in the finishing palette with sealed laminated rafters, exposed plywood ceilings, and polished concrete floors, tinged with a subtle pink hue derived from the aggregate sourced from on-site excavations.

Local Studio played a pivotal role in overseeing all furnishings and interiors, including custom-designed furniture pieces in collaboration with a group of South African designers. The selection of hardwood and steel furniture was purposefully curated to be maintained by the school's workshop staff, fostering a sense of self-sustainability within the institution.

These conscientious design choices and collaborations highlight the Lapalala Wilderness School and the team's commitment to environmental responsibility, creating a space that seamlessly integrates with its surroundings while embracing sustainability at every level. As part of a movement of eco-conscious educational institutions, this addition is one which honours the environment on every level, encouraging the same in its students.

SUPPLIERS

Key Furniture Suppliers

Pedersen + Lennard 021 447 2020

Houtlander 010 447 6509

Dokter and Misses 072 474 8603

Neil Grantham Studio 084 561 5893

RAW Modular Furniture Design 012 940 4211

Ashanti 021 461 0367

Photography by Sean Gibson

NOT TOO MUCH, NOT TOO LITTLE

FINDING EQUILIBRIUM IN THE LAGOM CABIN

Size: 90 m²

Completed: 2022

Location: Gansbaai, Overstrand, South Africa

Cradled by Protea Fynbos in the open spaces of the Overstrand, Neo Architects’ Lagom Cabin is a setting of serenity. The lodging forms part of the Romansbaai Collection – a retreat in Gansbaai that offers stylish stays amongst untouched spans of nature. Invested in a considerate approach to dwelling between foliage and ocean, this Scandanavian approach to local living is one which holds great value in the collective search for balance.

MEET THE TEAM

Lead Architects & Interior Design: Neo Architects

Developer: OCDEV CO

Photographer: 3Sixty Photography www.neoarchitects.co.za @neo__architects

Structural Engineer: Zen Consulting Engineers (ZCON)

The name ‘Lagom’ is derived from the Swedish term that means ‘not too much, not too little’, implying just the perfect amount. This outlook is a philosophy which can be applied to every area of life, and which celebrates moderation, minimalism, and quality over quantity to achieve balance. This guiding principle extends to every aspect of life, promoting a content existence in harmony with the natural world by reducing clutter, waste, and excess.

Amidst the splendour of a meeting point between forest and ocean, Lagom Place required accommodation that welcomed its guests into a space of serenity and equilibrium between man and the land. To achieve this, Neo Architects reached across the globe and returned to South Africa with a plan that was guaranteed to deliver.

To create a space of serenity and equilibrium between the dweller and the land, Neo Architects sought inspiration from the Protea Fynbos, particularly its fragmented bract structure. When incorporated into the architecture of the cabin, the design allows the building to breathe within the landscape. The semi-detached rooms make space for the fynbos to seep through the exterior walls and merge into the interior spaces. Providing access to pristine views, ample light, and open space, this approach connects the dweller with the unique landscape of Romansbaai, and in doing so brings balance between man-made and natural environments.

THE BRIEF Focussing on the Footprint

From the beginning of the brief to Neo Architects, mindfulness was demanded throughout the project. The brief required the architects to design a one-bedroom cabin with an open plan living area that doesn’t exceed 90 m², calling for a strategic approach in design direction. As a result, the team opted for a practice of using fewer materials in a compact-footprint dwelling – an everrelevant approach, aligning with the goal of reducing the global carbon footprint.

SUPPLIERS

Roofing Coastal Trusses

028 313 0109

Tiling Tilespace 021 510 2081

Flooring Mazista

011 998 2600

"The name ‘Lagom’ is derived from the Swedish term that means ‘not too much, not too little’, implying just the perfect amount. This outlook is a philosophy which can be applied to every area of life, and which celebrates moderation, minimalism, and quality over quantity to achieve balance."

THE INSPIRATION

A Swedish Way of Life

Drawing from the Swedish concept of lagom, the cabin's design aims to integrate the interior and exterior spaces, creating a seamless transition between indoor and outdoor living. The abundance of natural light infiltrates the space, enhancing the intimate connection with the surrounding landscape. The strategically placed windows between the trusses also enable visitors to experience the atmosphere, improving the illusion of a spacious cabin in the interior.

THE SPACE

A Dwelling That’s Just Right

The entire space is designed to offer ease of access and total tranquillity. The living and entertainment area with its fireplace offers a central heat source that reaches throughout the home, continuing onto a deck where the warmth of an outside firepit awaits. A spacious bedroom leads onto the pool area, and a second deck faces undisturbed fields, where the fynbos shows off its glory. The bathroom offers panoramic views of the fynbos and reinforces the goals of Hygge, inviting you to appreciate the surrounding wonders and find comfort in simplicity.

THE MATERIALS

Assembling a Sanctuary

Neo Architects opted for in-situ concrete and natural stone cladding to merge the cabin with the fynbos landscape. The interior features include exposed concrete elements, wooden ceilings, windows, and granite tiles, creating a one-bedroom cabin that embodies a balanced environmental approach to building.

As a space which provides the perfect amount of everything needed to channel luxury and peace, the Lagom Cabin exemplifies the essence of maintaining harmony with the surrounding environment. Drawing connections between man and nature makes it a place where each piece of material is added with mindfulness, and the overall effect follows suit, making for a wholesome contribution to sustainable architecture.

Enhancing the Future of Forestry

A Sustainable Approach to Pine in Portugal

The demand for sustainable solutions in the forestry sector has never been greater. As industry professionals strive for a more eco-conscious future, it is becoming increasingly more crucial to explore alternatives to traditional materials. Sonae Arauco, a leading global wood-based manufacturer, has taken up the mantle in this pursuit, aiming to become an example for sustainable solutions where wood serves as an excellent resource.

In a groundbreaking Research & Development (R&D) project on forest management in Portugal, Sonae Arauco is producing a testament to their commitment to sustainable development through their understanding that the future of the forestry sector depends on our collective ability to unlock the true potential of natural assets. By harnessing the power of sustainable forestry and the industrialisation of wood, it is possible to generate value, settle populations in inland areas, and preserve ecosystems. Under the visionary leadership of CEO Rui Correia, Sonae Arauco has embarked on a journey to revolutionise the sector through cutting-edge R&D initiatives.

Radiata Pine & Maritime Pine - An R&D Project

One of Sonae Arauco's flagship R&D projects, launched in 2020, focusses on cultivating radiata pine and maritime pine. This endeavour aims to significantly increase the production capacity of forest producers in Portugal, countering the alarming trend of declining pine areas. In doing so, the project not only contributes to the revitalisation of Portugal's forestry sector, but also champions sustainable investments in natural resources on a global scale. The project involves the careful selection and cultivation of over 200 000 seeds from 136 families of radiata pine and maritime pine. These seeds come from genetic improvement programs spanning Portugal, Spain, France, and Chile, the diversity of which ensures the plants' behaviour can be thoroughly tested under various soil and climate conditions throughout Portugal. The goal is to use this and other rigorous experimentation to identify the most resilient and productive varieties of radiata pine and maritime pine that can be perfectly integrated into our unique environment.

Evaluating the Performance

The first phase of the project, which continued until mid-February 2021, consisted of nurturing the plants in a specialised forest nursery. Once ready, the young saplings were then transplanted across six different locations, covering a total of 35 hectares in central and northern Portugal.

The preliminary results showed the radiata pine plants from Chile demonstrating exceptional resilience. After outstanding performance across all environments and soils tested, to ensure the reliability of the findings, the testing process was repeated in 2022, taking into account the potential influence of climatic variations.

Identifying Optimal Varieties

Following this, Phase 2 involves in-depth assessment of individual tree growth. By closely examining each tree's development, families and provenances of maritime pine or radiata pine exhibiting the highest productivity under specific climatic and soil conditions can be identified. This promises to provide invaluable insights for forest producers, enabling them to access plants of exceptional genetic quality and productivity.

Sonae Arauco's commitment to sustainable forest management exemplifies its dedication to shaping a greener future. By harnessing sustainable innovation and scientific research, new possibilities are unlocked to reach the full potential of forests while preserving their integrity for generations to come.

HOUSE OF THE PINK SPOT

REIMAGINING ORANGE FARM'S FUTURE

Photograph by Frankie Pappas

Size: 9 m²

Completed: 2023

Location: Drieziek, Orange Farm

Frankie Pappas International are on a mission to create stunning solutions that inspire a better world. With a dedicated team of professionals, they craft extraordinary public buildings that are born to shape a remarkable future. They are the change-makers of the industry willing to challenge the status quo to build a world we yearn to inhabit – a world that defies expectations and creates a brighter tomorrow.

THE SITE An Oasis Amidst Darkness

Nestled in the heart of Orange Farm's Drieziek 5, a recognised hotspot for gender-based violence (GBV), lies a plot of land abandoned to garbage and shadow. In the darkness of night, the absence of streetlights and minimal human activity fuelled the rise of violent and criminal behaviour. This alarming situation, highlighted by Amnesty International South Africa, demanded a transformative intervention.

THE BRIEF A Safe Haven for Community

The task was clear: reclaim this space and fashion a beacon of hope. The vision was to create a landmark where community members could gather and find respite in shade and light; a space where small theatre productions can be held, where children can play, and where grandparents can watch. The design also aimed to educate on human rights, address the root causes of gender-based violence, and empower victims and survivors with essential resources through a QR code leading to legal and counselling services.

Photograph by TheDarkroomArtist

Photograph by Frankie Pappas

Photograph by TheDarkroomArtist

MEET THE TEAM

Architect: Frankie Pappas

Landscape Architect: Frankie Pappas

Project Manager: Ewald Jooste

Construction Health and Safety: Siyakaya Construction

Contractor: Siyakaya Construction

www.frankiepappas.com

@frankiepappasinternational

Photograph by TheDarkroomArtist

Photograph by TheDarkroomArtist

Photograph by Frankie Pappas

THE IDEA

Illuminating Change

The idea was simple yet profound – illuminate the dark reality of violence against women in Orange Farm. By transforming this GBV hotspot, a safe space could emerge, fostering dialogue and collaborative solutions to address the rampant violence against women. It was a call to the community to unite and defy the odds.

THE MATERIALS

From the Community, for the Community

The material palette was kept local to Orange Farm. Sourced from nearby hardware stores, bagged brick was repurposed for seating, telephone poles were transformed into sturdy structures, and shutter ply formed signage boards. The vibrant transformation was brought to life by the hands of community members who designed and hand-painted all the signage. This approach not only celebrated the community's talent but also minimised waste, supported local suppliers, and championed sustainability.

THE PROGRAMME

A Versatile Sanctuary

The House of the Pink Spot is not just a building – it is a multifunctional sanctuary. This small structure serves as a landmark, a meeting point, a study space, a playground, an informal theatre, and a dance hall. Its true magic lies in the passion and creativity of its inhabitants.

THE SOLUTIONS

Architecture Meets Community

Addressing safety concerns in public spaces like this corner extends beyond architectural design; it requires a human touch, a communal effort. Architects act as catalysts, mobilising communities to embrace and cherish their surroundings. In the case of the Pink Spot, elements such as height, colour, light, Wi-Fi, seating, and shade combine to create an inviting atmosphere. Yet, this building is not merely the architect's creation – it was commissioned, designed, and built by the community itself.

Photograph by TheDarkroomArtist

THE CLIENTS A Voice for Change

Amnesty International South Africa's Digital Disruptors project entrusted this endeavour to a group of young activists from Orange Farm. Many of these disruptors have personally experienced the pain of abuse or witnessed its devastating effects. Recognising the need for community involvement, the activists initiated consultations to ensure the structure had the wholehearted support of residents.

A Symbol of Transformation

The Pink Spot stands as a symbol of transformation, turning a recognised GBV hotspot into a haven of safety. Its vibrant pink aesthetic radiates hope where crime and violence once prevailed. With residents actively volunteering during the construction process, the Pink Spot's completion within a remarkably short two-week period underscores the power of unity and collective determination for a sustainable community.

Empowering Women for a Sustainable World

No sustainable world can exist without the empowerment of women. The House of the Pink Spot embraces this truth, amplifying the voices of women in Orange Farm and beyond. It represents a step towards a more inclusive, equitable, and sustainable future – a testament to the power of architecture to ignite change.

In the House of the Pink Spot, Frankie Pappas International has demonstrated their unwavering commitment to reshaping communities, inspiring hope, and crafting spaces that reflect our aspirations for a brighter tomorrow. By harnessing the collective strength of the community and honouring the unique essence of Orange Farm, this remarkable project stands as a testament to what is possible when we unite in pursuit of a shared vision.

"Each time a woman stands up for herself without knowing it possibly, without claiming it, she stands up for all women."

- Maya Angelou

Photograph by TheDarkroomArtist

Photograph by Frankie Pappas

BUILDING FOR A GREENER FUTURE

Eva-Last are building for a greener future faster than its primary raw material bamboo takes to replenish!

The company supplies sustainable composite decking, cladding, architectural beams and railing made from recycled plastic combined with fast-growing bamboo to over 32 countries around the world.

Demand is anticipated to accelerate even further as more and more designers, architects and specifiers, both locally and internationally, begin specifying bamboo plastic composites (BPC) as viable construction alternatives.

DID YOU KNOW

In 2021, the global construction composite market was valued at $51,5bn and is expected to balloon to $72,5bn in the next five years. This is driven by increasing demand for greener building materials.

GREEN AT HEART

Eva-Last’s proprietary production processes provide stylish bamboo composite building materials to beautify the built environment whilst simultaneously preserving the natural one.

Their commitment to responsible consumption and production sees them continuously developing eco-friendly products that both reduce deforestation and actively eliminate the plastic waste plaguing the planet.

‘Inspired by Nature, Designed for Life’, Eva-Last’s range of composite decking – Apex Plus, Infinity, and Eva-Tech – provide the look and feel of timber decking, without denuding the earth of trees or our precious oxygen supply. More than 2 358 rainforests have been saved to date, while over 71,2 tons of plastic are recycled annually. In a move towards clean, renewable energy, Eva-Last installed over 22 858 photovoltaic (PV) solar panels at their international factory. The panels generate over 44 000 KWh to power their energy-intensive extrusion process, saving over 2 000 tons of CO2 emissions daily.

RENEWABLES ENGINEERED TO PERFORM

Eva-Last bamboo plastic composite (BPC) benefits from both the outstanding sustainability credentials of bamboo as well as its superior performance characteristics.

Bamboo grows fifty times faster than hardwood trees and releases 35% more oxygen, while boasting less than 2% of waste compared to only a dismal 13% utilisation of wood and added-value timber. As a grass that requires no pesticides or harmful chemical fertilisers to grow, bamboo replenishes itself within 3-5 years. With over 1 250 species worldwide it is an abundant resource. Bamboo fibre’s inherent tensile strength – the resistance to being pulled apart – is higher than steel’s and can withstand compression better than concrete. Its natural thermal properties avoid temperature extremes in either extremely hot or cold climates. Providing an abundant and replenishable reinforcing raw material with exceptional performance characteristics, when polymerised with recycled plastic, bamboo composites outperform natural timber.

Overall, Eva-Last bamboo composite offers a sustainable building material that has a high impact resistance and superior dimensional stability, limited moisture absorption, biological resistance to insect or environmental degradation, as well as added strength and extended durability. Its longer lifespan means less replacement, contributing positively to our environment for years to come.