echoes in architecture by pierre de lange

Echoes in Architecture

The MediathĂ¨que as a new library concept for the Johannesburg city centre Pierre R De Lange 2010 This document is submitted as partial fulfillment of the degree Master of Architecture (professional) at the University of the Free State. I hereby declare that I am the sole author of this book. This is a true copy of my dissertation, all research is my own unless otherwise stated.

THANKS To my parents and family for their loving support during this year, without which this thesis could not be possible. Wan Qi for believing in my ability and all her encouragement. The lecturers at the University of the Free State for being critical enough to identify mistakes yet accommodating enough to encourage diligence. Brian Mckechnie, Michael Hart, Francois Pienaar, Henry Paine, Jonathan Stone, Neil Fraser and Ikemeleng architects whose kind assistance was invaluable.

Echoes in Architecture: The Mediatheque, a new conception of Library

CONTENTS Declaration ..................................................................................................................................................... 1 Acknowledgements ....................................................................................................................................... 2 Contents ....................................................................................................................................................... 3-6 0 - PROLOGUE 0.2. Abstract .................................................................................................................................................... 7 0.3 Background ........................................................................................................................................... 8-9 1 - INTRODUCTION 1.1. Why should we be concerned with history? ................................................................................. 10-13 1.2. How can we learn from the memories of the past? ........................................................................... 14 1.3. Communicating, learning and gathering in a digital age. ................................................................ 15 1.4. Reconstructing the new typology .................................................................................................. 16-17 1.4.1. Realisation of the Mediatheque ................................................................................................... 18-19 2 - ECHOES IN ARCHITECTURE 2.1. Amplifying and transforming the past................................................................................................ 20 2.1.1. History of Johannesburg around the Civic Spine and Post Office............................... 20-23 2.1.2. Conclusion.............................................................................................................................. 24 2.2. Destroying in order to create........................................................................................................... 25-27 2.3. Remembering and Reusing the Past............................................................................................... 28-29 3 - LISTENING TO THE CITY 3.1. Within the country and city: Macro analysis ..................................................................................... 30 3.1.1. Location ......................................................................................................................................... 30-31 3.2. Listening to the city: Meso analysis .................................................................................................... 32 3.2.1. Significant connections to the site in the CBD .............................................................. 33-34 3.2.2. Cultural influence on urbanism ..................................................................................... 35-36 3.2.3. Current and future developments influencing the site ..................................................... 36 3.2.4. Land use analysis and Influence ......................................................................................... 37 3.2.5. Height analysis ................................................................................................................ 36-37 3.2.6. Building and spaces on and around the Civic Spine.................................................... 38-39 Pierre De Lange - 2010

4 3.2.7. Conclusion: urban design framework................................................................................. 40 3.3. Listening to the site: Micro analysis .................................................................................................... 40 3.3.1. Spaces on and around the site ........................................................................................ 40-42 3.3.2. Practical Considerations ................................................................................................. 42-43 3.3.3. Buildings surrounding the site............................................................................................. 43 3.3.4. Faces of Memory and Hope.................................................................................................. 44 3.3.5. Conclusion: The front and front proposal .......................................................................... 45 3.4. Listening to the building: Nano analysis ............................................................................................ 46 3.4.1. Deciphering the proportions .......................................................................................... 46-47 3.4.2. Translating the Architectural Language ........................................................................... 48 3.5. Heritage impact assessment.................................................................................................................. 49 3.5.1. The Heritage Act.................................................................................................................... 49 3.5.2. The Burra Charter............................................................................................................. 49-50 3.5.3. Conservation Strategy...................................................................................................... 50-51 4 - BRIEF AND PROGRAM 4.1. Who and what will be involved with the development? .................................................................. 52 4.1.1. The Brief ................................................................................................................................ 52 4.1.2. The Client .............................................................................................................................. 52 4.1.3. The Users ............................................................................................................................... 52 4.2. Design scope of Work............................................................................................................................ 53 4.3. The Mediatheque................................................................................................................................... 53 4.3.1. Relationships between spaces ............................................................................................. 53 4.3.2. Accommodation............................................................................................................... 54-55 5 - CONCEPT DEVELOPMENT 5.1. Initial abstract reactions to the site 5.1.1. Touchstone: Fire and Water ........................................................................................... 56-57 5.1.2. Touchstone 2.0 ...................................................................................................................... 58 5.1.3. Architectural manifestation: The Reichstag, Norman Foster............................................ 59 5.2. Concept 1: The new face .................................................................................................................. 60-61 5.3. Concept 2: Growing out of the existing ......................................................................................... 62-63 5.4. Concept 3: The new tower and space between ............................................................................. 64-65 5.5. Motif extracted from each concept ...................................................................................................... 66 5.6. Final Concept: Linking the past and present through geometry and space .............................. 67-68

Echoes in Architecture: The Mediatheque, a new conception of Library

5 5.7. Evolving the Concept ........................................................................................................................... 69 5.7.1. The physical link ................................................................................................................... 69 5.7.2. Conclusion ............................................................................................................................. 69 6 - Design REALISATION 6.1. Echoes resonant in the Design ........................................................................................................ 70-71 6.2. Addition: Insertion of geometries .................................................................................................. 72-79 6.2.1. Proportion and Geometry .................................................................................................... 72 6.2.2. Aesthetics ......................................................................................................................... 72-73 6.2.3. Function ............................................................................................................................ 74-77 6.2.4. Space ................................................................................................................................. 78-79 6.3. Experience: The public forum .............................................................................................................. 80 6.3.1. On ground floor ............................................................................................................... 80-81 6.3.2. Public forum on first floor .............................................................................................. 82-83 6.4. Connection: The horizontal tower ....................................................................................................... 84 6.4.1. Proportion and Geometry .................................................................................................... 84 6.4.2. Aesthetics ......................................................................................................................... 84-85 6.4.3. Function ................................................................................................................................. 86 6.4.4. Space ...................................................................................................................................... 86 6.5. Communication: The new tower ......................................................................................................... 87 6.5.1. Proportion and Geometry .................................................................................................... 87 6.5.2. Aesthetics .............................................................................................................................. 87 6.5.3. Function and space .......................................................................................................... 88-89 6.6. Gathering: The park and market .................................................................................................... 90-91 6.7. Remembering: The existing ruin ......................................................................................................... 92 6.8. Supporting: Services ............................................................................................................................. 93 6.9. Conclusion ........................................................................................................................................ 94-95 7 - TECHNICAL INVESTIGATION 7.1. Protecting the existing .......................................................................................................................... 96 7.2. The offset geometries ............................................................................................................................ 97 7.2.1. Steel floor system .................................................................................................................. 98 7.2.2. Floating roof system ............................................................................................................. 99 7.2.3. Stratified ash concrete ........................................................................................................ 100 7.2.4. Aluminium curtain wall .................................................................................................... 101

Pierre De Lange - 2010

6 7.3. The horizontal tower .......................................................................................................................... 102 7.3.1. Floor system: light inset floor ............................................................................................ 103 7.3.2. Wall system: media facade ................................................................................................ 104 7.3.3. Solid roof system ................................................................................................................ 105 7.4. The public forum ................................................................................................................................ 106 7.5. The media tower ................................................................................................................................. 107 7.6. Oppenheimer Park .............................................................................................................................. 108 7.6.1. Planted floor slab ................................................................................................................ 108 7.6.2. Basement wall and planter bed ......................................................................................... 109 7.7. Treatment of the existing ................................................................................................................... 110 7.7.1. Lateral bracing and waterproofing ................................................................................... 110 7.7.2. Treatment of the exterior of the ruin ................................................................................ 111 7.7.3. Treatment of the interior of the ruin ................................................................................. 111 7.7.4. Generic window detail ....................................................................................................... 111 8 - CONCLUSIONS 8.1. Findings of the study .......................................................................................................................... 112 8.2. Self Evaluation and Critique .............................................................................................................. 113 8.3. Narrative .............................................................................................................................................. 114 8.4. Bibliography ................................................................................................................................. 115-118

Echoes in Architecture: The Mediatheque, a new conception of Library

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ABSTRACT Echoes in Architecture investigates the issue of how an architectural intervention can address the neglect of a historical building, A building that is associated with negative memories but forms part of a cityâ&#x20AC;&#x2122;s cultural heritage. An attempt to reconciliate the past with the present is done by engaging in the marriage of contemporary architecture and historical ruins. This link is realised as an echo which reinterprets history in modern terms. Echoes in Architecture will therefore provide a space which is rooted in tradition yet communicates its own language.

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This concept of echoes is applied to the old Rissik Street Post Office in Johannesburg. I shall argue that the continuation of historical motifs as transformed echoes in built form is more suitable than a break from tradition. I shall also contend that the union of technology and tradition can preserve cultural heritage while simultaneously contributing to urban regeneration of the Johannesburg CBD. This, together with the understanding of the site and context, realises the development of a new civic typology. The MediathequĂŠ is explored as a contemporary reaction to traditional typologies on and around the site.

5 6 7 8 Pierre De Lange - 2010

BACKGROUND It was during the fourth year of study in 2009 that a concern for the way new architecture responds to historical and cultural contexts developed. This was born from a number of experiences including a conservation project in February/March 2009 (fig. 0.1). This concern evolved during a visit to China in July of the same year. Having a long history separate from the West, China was forced to adopt foreign technologies in order to survive in the modern world. Subsequently the Chinese were faced with a problem of how to successfully manage rapid urban development with preservation of cultural heritage in their ancient cities. This, coupled with a growing population led to both successful and failed urban and architectural interventions. While visiting Xiâ&#x20AC;&#x2122;An, historically the first Chinese capital city, (0.2, 0.3) it became apparent that the problem of merging the past, present and future in a single urban collage was worth pursuing in a masterâ&#x20AC;&#x2122;s degree.

0.1. Conservation Project done in 2009

Echoes in Architecture: The Mediatheque, a new conception of Library

Once returning to South Africa, this idea was explored further in three additional studies; the analysis of Chinatown in Singapore which was visited in 2008, a study of how Beijing made its transition from ancient to modern focusing on the area around the Forbidden City and a theoretical analysis of the conversion of Turbine Hall in Johannesburg from a derelict factory ruin into usable offices. It was this project that sparked the notion of adaptive re-use in architecture as it addresses cultural and historical responsibility. This theme has become important through these experiences and research and it is believed that deciding to investigate it in this dissertation is a culmination of this deep rooted concern. SYNOPSIS OF CHOSEN SITE All theoretical arguments for this dissertation have grown from my understanding of the chosen site. I shall provide a short identification of it

0.2. Xi An, China.

0.3. Xi An, China old City Wall.

9 and reasons for its selection. During an oral examination in November 2009, it was identified to me that the Johannesburg Central Business District may be a suitable location to implement the idea of adaptive re-use. The pattern of rapid growth followed by decay and only recently urban regeneration has initiated a number of similar adaptive re-use projects (Mckechnie, 2010: Personal Communication). In light of this, the visiting examiner informed me of the tragedy that befell Johannesburg’s oldest public building; the old Rissik Street Post Office (figure 0.4 & 0.5). On the eve of the first day of November 2009, a fire broke out in the building destroying its floors and roof. The outside shell remained, but was left charred by the fire. Although tragic, this event inspired me to explore the possibility of this site for this study because of the dramatic nature of such a significant heritage monument being nearly destroyed. The importance of the Post Office in the history of Johannesburg became apparent when I

realised its integral role in the development of the city. The Rissik Street Post Office functioned as the communication node of Johannesburg when the city was still young and a psychological link to the rest of a new developing country. Furthermore, its location facing the Market Square where residents and mining prospectors would congregate to sell their goods and socialise strengthened this importance. The Post Office was linked axially with two other buildings and Market Square which formed the Civic heart in the city. The Civic Spine embodied four primary functions which is necessary for any settlement to be felt as a city. These functions included: 1. The Library – a place of knowledge, learning and contemplation. 2. Market Square – an open space of gathering, trading and interaction. 3. City Hall and Legislature – a place to discuss matters on to serve the people better. 4. The Post Office – a place of communication with the outside world. City Hall

1 2 3 4 0.5. The Space between Post Office and City Hall.

Post Office

0.4. The current state of the Rissik Street Post Office.

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CHAPTER 1

Introduction 1.1. WHY SHOULD WE BE CONCERNED WITH HISTORY?

n a lecture in February 2010 on the use of history in architecture, Professor Jo Noero mentioned that historical thought is just as important as contemporary thought as they are continued analogies of the past. History has more meaning in the present because it is where we evolved from, our origin which forms the basis for personal and collective identities. Ankersmit (2005: 4-5) describes how history is an objective truth while memory is a selective remembrance of the past by an individual or culture, namely their experiences. He goes on to describe the Sublime Historical Experience as the union of loss and gain, pain and pleasure in our interpretation of the past in the present. South Africa, having undergone a political renaissance, exists on the plane of the Sublime Historical Experience where painful memories of discrimination from the past co-exist with freedom and democracy in the present. This leaves open the possibility to synthesize a new memory in the built environment to symbolise the positive ideologies of the current situation in our country. A building is a sign of hope, a sign of society’s belief in the future, and a gesture forward in time. - Aldo Rossi (Birksted, 2000: 51) Personal memories mirror our souls onto the

Echoes in Architecture: The Mediatheque, a new conception of Library

world and collective memory is the pursuit for common ground or foundation for future actions. Memories we experience are impressed into our minds creating context which future actions are based on, just as our first house and experiences created a standard whereby we judge all future places. Memories are tools used to react to the world we live in (Bastea, 2004: 2-3). Lowenthal (1985: 197) suggests that to know what we were is to know what we are. Memory is therefore a tool of self-continuity and thus constructs our identity. Furthermore the memories of people and buildings are intertwined. The buildings of the past are concrete reminders of events and the spirit of its time. These represent hopes and values of the ones before us. With time, the city acts like a sponge and absorbs these memories, constantly expanding and storing new memories, shaping the city’s and people’s identities (Littlefield & Lewis, 2007: 7-13).

1.1. Building as Memory store and evidence of the past.

11 Remainders of historical buildings symbolise past periods, political systems and cultural environments. Buildings are therefore materialised memories and any modifications of the city leave traces of these memories from different periods connected in space and time. (Birksted, 2000: 49-51). Memories, whether they be direct (lived) or indirect (learned), built or experienced can therefore be seen as defining our identity. Cultural identity is then the collective layering of all personal memories of people. Our identity is not something with which we think about but rather social constructs we think with. Are such memories not a worth preserving as an encyclopaedia to a society? (Bastea, 2004: 7-9)

flexibility but in unison they promote a democratic notion of “both/and”. The composite presence of both remembrance and anticipation is referred to as a Collage. Preserving the past and thinking ahead is both a convention and a breach in convention. This notion of inclusivity results in a city form comprised of “vest-pockets”. The city thus has utopian and traditional ideas which exist simultaneously in a dynamic tension. This starts a narrative for a society of plurality which is an appropriate response for our current socio-political environment (Rowe & Koetter in Nesbitt, 1996).

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Perhaps architecture has always wanted to be a theatre of memory. - Umberto Eco (Bastea, 2004: 3) In South African history Apartheid legislation and town planning were closely linked and so in post apartheid times we are still affected by the echoes of what remain in their segregated land use and zoning (Murray, Shepherd, & Hall, 2007: 5-6). How can we as South Africans design inclusive cities of plurality and democracy that allow for change over time? A too radical approach does not consider options; it is autocratic, ignores the past and is inflexible. A too conservative approach denies change and inclusivity. Yet both these points of view provide an element which is needed in the ever-changing city of time; hope and memory (identity). The essay, Collage City by Fred Koetter and Colin Rowe theorises how a successful contemporary city needs both a prophetic mindset as well as being aware of its history (Figure 1.2). Separate they do not allow for

1.2. The inclusive city as a Collage of Tradition and the Contemporary.

The CBD’s are becoming more like a township because people believe that they have the right to share in the land, thus the styles of the township move into the city centre. - Fanuel Motsepe (Murray, Shepherd, & Hall, 2007: 6). Johannesburg grew from the Market Square which was essentially a European model. Today in this Post Apartheid city a variety of different social categories previously separated are now blended together. Should our built environment not change to suite this cultural and historical collage as well?

Pierre De Lange - 2010

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rchitects in “Post 1994” have now inherited the responsibility to re-adapt South African cities to create a foundation whereon positive memories and in turn a positive collective identity may be constructed (Murray, Shepherd, & Hall, 2007: 7-8). Preserving both resonant memories from the past and injecting new ones can create a brighter future all of us hope for. Carlo Scarpa believed that no work on historical buildings should be imitations. He argued that materials, way of life, method and technology of construction differed with time so any imitation did not acknowledge the time differential (Murphy, 1990: 4). Scarpa understood that different periods in time left echoes in built form. He wanted the different periods in architecture or echoes to be legible so that by co-existing simultaneously they may initiate a dialogue and display their story to society as constant reminders of their identity. Contrast between new and existing architecture is now in question. Alois Riegl in Ignasi de Sola-Morales Rubio‘s essay, “From contrast to Analogy”, describes how in the 19th century the historical value of a building is a record of a positive and documented situation. The old produces a psychological satisfaction from viewing it as a manifestation of the passing of historical time. However Rubio theorised that it was not possible to create a formula for architectural intervention into old context as cultural values change (Riegl in Nesbitt, 1996: 228). Artistic value in contemporary terms is when contrast between novelty value and oldness value exists. In any field of visual arts the juxtaposition and interrelation between shapes and textures produces perceptual satisfaction.

Echoes in Architecture: The Mediatheque, a new conception of Library

Rubio noted that contrast in architecture allows for the old and new to recognise each other. Contrast is used to radically oppose the existing and also creates a unique relationship in the city (Ibid 229). He describes what is called the analogical operation, where difference and repetition exists simultaneously through similarity and diversity. This is achieved by abstracting the existing structure and reinterpreting it in contemporary materials, techniques and methods (Ibid, 231) (Figure 1.3). Rubio describes art as a veil that covers chaos in a transparent material, displaying it as well as hiding it. The analogy recognizes the significance of historical material and uses them as a mark for the new construction. It is the system which grows from the existing object but unpredictable meaning can be constructed from this (Ibid: 234). In an article called “Taming the Monster”, Julian Harrap describes how architects need to be sensitive to the cultural ethos of old buildings if restoring or adding to them.

1.3. The co-existence of contrasting elements through abstract analogy.

13 A balance needs to be achieved between decay (age) and fortune (use) through being contextual and bold (Little-field & Lewis, 2007: 198, 199). One needs to consider history, the vernacular and abstractions of modern life in architecture as a whole as elements linked in time (Noero, 2010: Lecture). New architecture should try to echo history in the unconventional and be different yet analogous to its past; architecture which grows out of its historical context but speaks its own language. Adaptive reuse is the reinvention of old buildings to suite modern life and can be used for another hundred years (Hart 2010: Personal Communication). This, with the analogical operation recognise how new architecture may continue its past memories yet create new meaning for itself. The true paradises are the paradises we have lost. - Marcel Proust (Bastea, 2004: 5)

1.4. The presence of the absence suggests new imagining of meanings.

Gerry Judah spoke of the Power of the Absence and it describes how loss of part or all of a historical building is just as powerful as the presence of a remaining echo. The absence generates the thought of what “should be there” and in

turn the possibility of what “could be there”. The absence suggests presence which leads to imagination of new meanings (Littlefield & Lewis, 2007: 98-101) (Figure 1.4). Peter Eisenman (in Nesbitt: 1996) explained this phenomenon as Palimpsests in architecture. These are ghosts of the past which remain as echoes in the built environment.

Past events shape our identity and actions in the present and influence our future, yet only remain through memories. These memories should be protected. Through an urban collage of new and existing structures one can create an inclusive city. By designing new structures which contrast and maintain abstract analogies with the existing, the different architectural periods in our cities may recognise one another. New architecture will therefore be connected in space and time forming a legible palimpsest of ideas. On this premise a design is proposed which learns from the past but symbolises the democratic freedom South Africa represents today. This is to transform the notion of “either/or” into a more inclusive city of “both/ and” (Figure 1.5).

2 3 4 5 1.5. The possibility of an inclusive city of diversity.

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EITHER

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1.2. HOW CAN WE LEARN FROM THE MEMORIES OF THE PAST?

onouring past memories can be achieved through remembrance of the past by preserving vestiges from their time, and through the continuation of the lessons and knowledge one has learned from those people (Lister, 2010: Personal Communication). If our memories form the basis of our identity, then so must the memories we create now be a hybrid of the continuation of the past as well as new experiences. Rubio suggested the visual connection to historical buildings sparks psychological satisfaction (Rubio in Nesbitt, 1996: 228). This remembering or imagining of the past can only take place through the physical presence of these echoes. However, a frozen, unused relic in the city may be forgotten and neglected with time, just as it did in the Rissik Street Post Office. Without utilising these historical vestiges, their memories may in fact be disgraced rather than honoured. According to Littlefield and Lewis (2007: 57) the voices of the past would be amplified if visitors can visually and physically experience them. With reference to the Post Office and Civic Spine of Johannesburg, this remembrance is achieved by preserving visually the character of itâ&#x20AC;&#x2122;s architecture as well as making it useful for life today. Continuation of lessons learned from the past can be thought of as the re-amplification of echoes whose resonance is fading. The resultant amplification contains traces of the former echo, yet is different. How can one utilise the analogical operation to achieve a continuation of the memories of the Post Office and Civic Spine?

Echoes in Architecture: The Mediatheque, a new conception of Library

As previously stated, the Civic Spine provided four fundamental services to the people who assisted in the stable growth of a city and society. These functions were; a place of learning (Library), a place of gathering (Market Square), a place to discuss social and political matters (City Hall), and the Post Office as a place of communication to the outside. The quintessence of these services is timeless and universal to all cultures. They are constant yet their method is ever-changing. In order to initiate a dialogue with the past and preserve these memories, it is essential to create an analogy to these functions in the present day. It is necessary to provide a place which symbolises the continuation of functions as amplified echoes. By adapting them to function in the way we live now, the memory of the place is continued but also provides a suitable foundation to build future dialogue on. A paradigm shift occurred in the 20th century. The emergence of the digital age has fundamentally changed the way in which we communicate and learn. How can the traditional archetypes of library, post office, market square and city hall adapt to survive in a new electronic age?

1.6. New forms of communication and knowledge storage. (Sketch by Author).

1.3. COMMUNICATING, LEARNING AND GATHERING IN THE DIGITAL AGE

he advent of computers, digital media and the World Wide Web in the 20th century has forced the world to change the way we traditionally communicate, store knowledge and gather. This transformation of these processes from the physical to the digital or from the tangible to the virtual is known as digital convergence (Wikipedia; 2010: Online). Paper has evolved to become electronic signals in binary code which also lead to a new form of space. Now there exist two types of spaces; the physical and the virtual. A number of digital services all interconnected on the internet have been created as a new type of virtual civic space. Google, Facebook and YouTube are a few among many tools people can use to learn, communicate and socialise with each other in this new virtual world. Toyo Ito describes this as people having evolved two bodies; the physical body linked to the natural environment and the virtual body linked to the electronic world of information. Just as architecture is a sheltered extension of our skin from the natural environment, so Ito suggests that new forms of digital media are extensions of our minds (Ito, 2005: Online). How can we solidify knowledge and information in the intangible electronic world (Oosterman, Bouman and Koolhaas, 2008: i)? It is thus the intention to echo the said motifs of communication, learning and gathering which resonate in the Civic Spine. This may be achieved by deconstructing these traditional archetypes and reconstructing them into a new typology which aligns itself in the new digital age yet remains rooted in its past.

Communicating in the Electronic Age Electronic communication is achieved through a web of interconnected networks. The invention of the internet as the primary web of networks has created a way of connecting everyone in the physical world regardless of distance and nationality. Furthermore, electronic communication is not only about the connection between people but also the sharing of information by people. The network consists of nodes (servers) and paths (virtual links) connected in a complex web; sharing and communicating constantly. This interaction of sending and receiving in cyberspace has created a new virtual civic space (Engstrom, 2003: 22-23). When a network is created, right of access naturally comes into question. We access the web through a single node and travel through paths to retrieve information and communicate with other nodes. Inherent in its nature, a network is based on inclusivity and connectivity. It is thus a realisation of a democratic vision in this new civic space. A network should be open, flexible and allow anyone access at anytime (Engstrom, 2003: 24-25).

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Libraries Evolving Digitally

We are already very close to the day in which a great science Library could exist in a space less than 10 square feet. - Fred Lancaster (Digital convergence, 2007: 107)

Digital convergence of traditional media will lead to a future library becoming a hybrid of the physical and digital collection. Pierre De Lange - 2010

1.4. RECONSTRUCTING THE NEW TYPOLOGY Toyo Ito suggests that the electronic convergence of all information will blur the boundaries between the traditional library, communication, and art gallery and theatre typologies (Ito, 2005: Online). The fluid space of the virtual world will be a single medium through which the digital versions of those functions can coexist. A new singular typology will be born which accommodates the digital library, theatre, internet communications hub and social gathering space (figure 1.8);

1.7. The Saltire Centre, a digitally evolving library. (2010: Online).

he digital database will be a “server farm” of information and contain both digitised legacy content (old) and future content (born in the virtual world) (Digital Convergence, 2007: 95-97). Due to this the library has dematerialised, it is not a location but rather a metaphor for the access of information (Oosterman et al, 2008: 9). The Internet and its lack of barriers have come to democratise information. A digital library will be able to allow anyone access to a vast collection of knowledge in an instant (Digital Convergence, 2007: 98). More information is available more freely and faster than before. The 21st century library is therefore defined by its lack of books and the kinds of electronic services it provides. The traditional library typology is disappearing and being replaced by new media and the internet. The new library collection is thus multimedial, digital and free for all people to access. Furthermore, the new library provides a place where the tangible and intangible worlds of information meet. It is not only a place to learn, but a place to produce knowledge (Oosterman et al, 2008 : 10-12).

Echoes in Architecture: The Mediatheque, a new conception of Library

THE MEDIATHÈQUE The use of a mediathèque on site is also a reaction to the current refurbishment that the Johannesburg City Library is undergoing which is located on the western side of the Civic Spine. According to Jonathan Stone (2010, Personal Communication), the architect involved with the development, the refurbishment was initiated by a donation from the overseas Carnegie Foundation. The library’s obligation to the group is to digitise their book collection and provide free online access to this database for students in Europe. Most of the citizens in the Johannesburg CBD do not have access to the City Library. The proposed mediathèque is to provide a location where these people may have uninhibited access to the knowledge that has been digitised by the Library. The physical and digital libraries will be connected in cyber space creating a new virtual link between the east and west sides of the Civic Spine. The mediathèque will thus become a digital extension of the City Library bringing knowledge to the people. Thus ends chapter 1.

Echo 1

The Mediatheque

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1.8. Reconstructing the new typology: Echo 1.

Pierre De Lange - 2010

1.10

1.11

1.4.1. REALISATION OF THE DIGITAL LIBRARY: S endai M ediatheque, Toyo I to

he Sendai Mediathèque was a competition with an initial brief to design an art museum and library. From its inception Toyo Ito’s proposal tried to embody the idea of the physical and virtual worlds of information and communication coexisting. Ito proposed a mediathèque which made use of state of the art multimedia as well as an art gallery, library, theatre and visual image centre. He also wanted the architecture to be flexible enough to adapt to any new functional requirements that may develop in the future.

1.9. Photo of Sendai mediatheque. (Google images, 2010: Online).

Architect: Toyo Ito Date of Opening: End of January 2001 Location: Sendai, Japan Typology: Mediathèque Influence on dissertation: Typology, spatial / functional relationships. Construction: Steel lattice column, glass curtain walls and steel floors

Echoes in Architecture: The Mediatheque, a new conception of Library

Based on this idea, Ito’s proposal was more conceptual than formalistic and was thus reduced to three essential elements; plate, skin and tube (see figure 1.15) which he refers to as a steel Domino system (Ito, 2005: Online). The three elements create a space where the physical and virtual body are unified (Levene & Cecilia, 2005: 50). Influence on this study The Rissik Street Post Office functioned as the communication node of Johannesburg when the city was still young. It was a psychological link to the whole new developing country. This traditional typology is now being brought into

19 Plate

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1.13 Figures 1.10 - 1.14. (Google images, 2010: Online).

Tube

1.14

question with the development of personal computers and internet allowing for new forms of communication. In the light of this transition into the electronic age, it may be appropriate that the fire burnt through the Post Office, as it provides an opportunity to usher in the new mediathèque typology. Simultaneously, a unique relationship can be created within the city where a collage of the past and present ways of communicating greet one another. Primary influence is drawn from the new mediathèque typology and programme which are spaces needed in the Johannesburg CBD to promote urban renewal. The functions and spatial relationships of this building are used to compile the program of this study. Ito’s theory of the physical and virtual bodies is adopted in order to adapt a vest-pocket of the city to this digital way of communicating and accessing knowledge. As a civic building the mediathèque is for all the people, some of which may not have had opportunities to make use of 21st century electronic media. The proposal strives to give the common citizen or migrant worker a place where he may experience the digital world of information.

Skin

2 3 Space and Structure The structural tubes which accommodate all the services allow this organic steel domino system the possibility for many spatial configurations. Space flexibility allows for the building to evolve over time creating a dynamic typology capable of suiting multiple functions. This is illustrated in figure 1.16 below.

Ground Floor

5th Floor

1.15. Section showing elements of the Mediatheque design. (El Croquis, 2005: 50)

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1.16. A series of plans showing spatial relationships. Sketch by Author.

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Pierre De Lange - 2010

CHAPTER 2

Echoes in Architecture

Construction of 3 storey Rissik Street Post Office. (johannesburg, 1986: 44)

2.1 AMPLIFYING AND TRANSFORMING THE PAST

he new typology is an echo of the past reinterpreted to suite the present. Similarly, significant events in the history of the Post Office can be transformed and used in generating an appropriate response to the problem on the proposed site. It is therefore necessary to listen to history and record echoes which can be used. 2.1.1. History of Johannesburg Spine and Post Office

around the

Civic

In September 1886 J.E. De Villiers surveyed an area and drafted a plan for the first stands in Johannesburg (figure 2.1.A). Market Square was to become the heart of the city where people would congregate and sell their goods (Johannesburg, 1986). Postal services were introduced at the end of the year as the city was growing rapidly and the demand for communication with the outside world increased. In 1888 a single storey governmental building was erected on the east side of Market Square across Rissik Street and one wing was dedicated to the post office (figure 2.1.B). In 1892 the entire building was dedicated to postal services and only three years later in 1895 the structure was demolished to make way for a larger post office that could satisfy demands. Echoes in Architecture: The Mediatheque, a new conception of Library

First plan with with market square, stands and roads to become present day CBD. (Johannesburg, 1986)

Existing legislature buildings demolished to make space for city post office next to market square. (Johannesburg, 1986: 25) 2.1. Timeline showing the history of the Post Office and surrounding Civic Spine. (Photos from source).

0 E

On 31 October the Post Office caught fire. Both roof and floors burnt through. (Daily Maverick, 2009: Online)

1 2

City Hall was built opposite the Post Office . (Smith, 1956: 98)

3 H

4 An addition of a fourth story to the Post Office. (Smith, 1956: 71)

F G

6 7

The Johannesburg City Library was built facing the Market Square which now is a public park. (Johannesburg, 1986: 55) Plans for refurbishing the post office were initiated (Johannesburg, 2010: Online)

Pierre De Lange - 2010

22 Note: Figure references refer to figure 2.1 on page 22&23

his was a testament to how rapidly the city was developing due to the discovery of gold on the Witwatersrand. A year later construction of a three storey post office building in the same location commenced and was completed in 1897 (figure 2.1.C). The building was designed by Sytze Wierda who was a Dutch architect working for the state of the Zuid Afrikaanse Republic. The Post Office defined the eastern perimeter of Market Square which was the centre of trading and gathering. Being the largest and most elaborately designed structure around the square, the Post Office dominated the area and become a focal point (Fraser, 2008: Online). After the end of the Angle Boer War the new British Government decided to add an additional storey to the post office. The new fourth floor (figure 2.1.D), designed by English architect Wilfred Tonkin and completed in 1904, mimicked the existing architectural language. According to Fraser (2008: Online), this ruined the proportions of the building. The removal of the two side towers to accommodate the new floor and the addition of a clock tower reinvented its identity considering function rather than aesthetics. The City Hall, completed in 1914, was built facing the Post Office; however the space between these two monumental structures is too little and thus one cannot fully appreciate both buildings (figure 2.1.E). Five years later it was proposed that the Post Office should be demolished and rebuilt on the western end of Market Square. This was rejected as the plans were to build a City Library in this place. The library was completed in 1934 (figure 2.1.F) which, together with the City Hall and bisections by roads, significantly shrunk the size of Market Square.

Echoes in Architecture: The Mediatheque, a new conception of Library

In 1978 the Post Office was declared a national monument. However, the Post Office Company did not maintain the building and it fell into disrepair. Until today a number of proposals have been suggested but none have been implemented (Fraser, 2008: Online). In 1996 with crime rapidly increasing in the city centre, the Post Office Company had to cancel its lease and vacate the building due to their lack of maintenance and another government lease deal. The Gauteng Provincial Government was given ownership of the Post Office. The Johannesburg Property Company (JPC) was responsible for these structures and maintenance of the building. The local legislature never used the structure for their offices as intended and thus was left unoccupied. Due to lack of proper management and security on the site, squatters made the abandoned Post Office their home. In 2008 the JPC was considering plans for the Post Office but nothing concrete in terms of re-use, refurbishment or restoration was done (Mckechnie, 2010: Personal Communication). On the evening of first day of November 2009 the Post Office building caught fire (figures 2.2). No one was hurt in the fire but the building was left devastated. Most of the timber floors burnt through (Figure 1.18), the roof and apex of the clock tower collapsed. According to Henry Paine, a practising architect in Johannesburg, the exterior envelope of the building remains structurally intact although stained by the fire (figures 2.3, 2.4). The fire epitomises the lack of consideration this historically important structure was given (Paine, 2010: Personal communication).

2.2. During the fire. (Daily Maverick, 2009: Online)

1 2

2.3. The morning after the fire. (Daily Maverick, 2009: Online)

3 4 2.4. Taken by author during first site visit on 7 February 2010.

5 6 2.5. Taken by author during second site visit on 11 July 2010

7 8 Pierre De Lange - 2010

24 2.1.2. Conclusion Gaston Bachelard (1938) in his book “The Psychoanalysis of fire” describes how fire can be both intimate and universal, representing both good and evil. We pull away when we touch a flame yet stay close to absorb some of its heat in winter. It destroys as well as creates and this duality becomes a complex metaphor for destruction and rebirth. Although it is a tragic event in the history of the Post Office and the city, when the fire is read in the light of Bachelard’s theory it may provide hope to usher in a new era for the building. The fire may indeed initiate positive change for the future of the Post Office, Civic Spine and the City Centre of Johannesburg. The first generation of the Post Office was represented by the “Zuidafrikaanse Republik”, the British Colony and later the Apartheid Government. The Post Office is now on the brink of the second generation and is awaiting repair. The pattern of changes that the Post Office has undergone in demolition, addition, and further demolition (the fire, theft, vandalism and disrepair) leaves open the possibility to echo this cycle as an analogy to the past. Furthermore the possibility exists to adapt this structure to represent the ideologies of the new democratic South Africa yet preserves the memory of the city’s past in its building fabric. This dissertation is intended to continue the motifs of addition and subtraction from the Post Office’s history. This will be achieved through careful removal of less significant parts and adding spaces which echo significant elements from the existing structure (figure 2.6).

Echoes in Architecture: The Mediatheque, a new conception of Library

2.6

Echo 2

Cyclic Addition and Demolition

1897: Creation

1904: Demolition Addition

2009: Destruction Disrepair

Future: Addition? Demolition?

2.2 DESTROYING IN ORDER TO CREATE Castelvecchio, Carlo S capra

tilising both demolition and addition of elements when approaching the reuse of a culturally significant structure has been successfully achieved by Carlo Scarpaâ&#x20AC;&#x2122;s Castelvecchio remodelling. This will be used as a precedent to understand the techniques employed. History of Castelvecchio

The Castle grew out of a series of Roman, Commune and Scaligeri military fortifications. In the 12th century the wall fronting the river was constructed (1) and in 1354 the entire castle and bridge was built by the Scaligeris (2). It was built to defend against a possible revolt by citizens made evident by its location and facing towards the periphery of the old city centre (3), as well as an escape bridge over the river to friendly northern territories (4) (refer to figure 2.6 & 2.7) (Murphy, 1990: 4-5). 2.7. Locality Plan of Castelvecchio. (Murphy, 1990)

A critical attitude towards conservation In Castelvecchio, Scarpa attempted to articulate its history through a series of creative demolitions and additions to its structure. He wanted to make the different changes the castle underwent visible through the overlaying of different constructions and cleaning the building of false imitations from previous restorations (Murphy, 1990: 4). It was therefore Scarpaâ&#x20AC;&#x2122;s attempt to preserve the valuable existing fabric as it was, rather than restoring it to its original condition. Any interventions were carefully designed to contrast yet create harmony with the existing (Ibid, 9). The intervention can be likened to a surgical operation which reveals the authentic survivals and injuries of time and additions which link the different periods (Magagnato, 1982: 159). Castelvecchio and the Rissik Street Post Office both share a similar pattern of demolition and reconstruction. Like Castelvecchio, the thesis tries to acknowledge the changing of time through articulation and juxtaposition.

2.8. Plan of Castelvecchio. (Murphy, 1990)

2.9. Castelvecchio from Courtyard. (Murphy, 1990)

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26 Layering of planes reveals time

carpa was inspired by the way water eroded the lower parts of buildings in Venice which resulted in the exposure of previous facades. The new thus appear like overlaid planes. This reveals the changes in time and articulates the new from the existing. In Castelvecchio, wherever Scarpa resurfaced a wall or floor he usually left the base or corners open so that the previous plane’s existence may be preserved (figure 2.10 & 2.11). Similarly Scarpa also de-surfaced certain facades to reveal their original texture. The new planes were clean and precise while the existing kept as weathered and rough.

2.10. Layering of Planes to articulate new from existing.

Overlaying planes to reveal different periods in the history of the Post Office is very relevant because each period holds value which is worth remembering. Presenting each period as such in these layers preserves its cultural significance yet allows for new memories to be deposited onto them and becomes a continuation of history.

Space connects time periods In Scarpa’s attempt to clarify history through layering of different constructions, he made use of space or a void as a medium through which the new and existing may recognise one another. The void becomes a connection between eras. It is used as a building material which articulates the differences between the new and existing layers of construction. Scarpa utilises this motif from large in-between voids such as in the Cangrande Space (figure 2.13) to minute details. Space is therefore the unifying and dividing element which seeks to reveal and continue the palimpsests from the castle’s past so that these may be legible to visitors. It allows for remembering of the past and acknowledgement of the present (Murphy, 1990: 9). Inspiration is drawn from Carlo Scarpa’s use of a void as a building element. Using such a void, the old structure, which may not be capable of carrying heavy loads, is unburdened by new structure. Instead of reconstructing the Post Office in a

2.11. Voids to articulate new from existing.

Old / Weathered

New / Smooth Layering

Echoes in Architecture: The Mediatheque, a new conception of Library

2.12. Example of how layered planes was achieve in Castelvecchio. (Google Images, 2010: Online)

27 fictional way, culturally significant parts are preserved and carefully demolish parts which are not. An addition is proposed which initiates a dialogue with the historical elements. The Cangrande Space

2.13. The Cangrande Space seen from the courtyard. (Google Images, 2010: Online)

The Cangrande Space (figure 2.13-2.15) was the most intensively designed part of Castelvecchio and will be used as a model rather than analysing the whole castle. This is done to illustrate how Scarpa implemented the ideas of discontinuous layers and the void between times to reveal the history of the place. The Cangrande space was born from an attempt to solve a geometrical clash of the Commune wall (1), Commune gateway in the basement, the discovery of a Scaligeri moat (2) and the Napoleonic wing (3). Scarpa resolved this by creating a void between the Napoleonic wing and the Commune wall which physically disconnected but spatially unified the different periods that converged at this point (Murphy, 1990: 88).

The entire space was completed in a series of demolitions (voids) and additions (planes). Cutting back the envelope of the Napoleonic Wing and staircase revealed the commune wall to the outside. Healing the ground floor with routes into the courtyard and galleries illustrate the use of planes and voids to articulate new from existing (Murphy, 1990: 98). The addition of a copper and steel roof partially covering the space makes this roof appear to slide out from the existing roof of the Napoleonic wing as a new independent plane and extends towards the Commune Wall (Ibid: 94). This study adopts Scarpa’s two principles used in designing the Cangrande Space. This idea that careful demolition and “de-layering” of surfaces can be a way to reveal historical significant and articulate new from the weathered (old) and the precise (new).

2.14. Elevation of Cangrande Space. (Murphy, 1990).

2.15. Elevated View of Cangrande Space. (Murphy, 1990).

2.16. The Cangrande Statue. (Google Images, 2010: Online)

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3 Pierre De Lange - 2010

28 2.17. The Drill Hall. (Photo courtesy of Michael Hart)

2.3 REMEMBERING AND REUSING THE PAST D rill Hall Conversion, M icheal Hart In order to develop a design strategy towards the reaction to the Post Office, a study needs to be done on a building which shares a similar history and is located in the South African context. As previously discussed, the Post Office was left abandoned due to the rapid increase in crime in the Johannesburg CBD. Other structures suffered the same fate. The Drill Hall (figure 2.17) is a prime example of this and illustrates how derelict structures may be reborn by listening to their resonant echoes. Architect: Michael Hart Architects Date of Completion: 11 June 2004 Location: In Johannesburg surrounded by Plein, Twist, De Villiers and Quartz Streets Typology: Community Facilities and Public Square Influence on dissertation: Theory, Conservation Approach and Parallel Theme Echoes in Architecture: The Mediatheque, a new conception of Library

History of the Drill Hall The Drill Hall site was built in 1904 as military headquarters for the Transvaal Volunteers. The structure played integral military roles in the 1922 strikes, Second World War troop deployments and the 70â&#x20AC;&#x2122;s and 80â&#x20AC;&#x2122;s border wars. It was also the location of the Treason Trial of 1956 which included Nelson Mandela. However this complex was vacated in 1992 and due to neglect by the Department of Public Works, the structure fell into disrepair and shortly after this homeless people moved in. Two consecutive fires in June 2001 and April 2002 killed ten people and rendered the structure unsuitable for habitation (Hart; 2004:1). The vacation of the owners followed by disrepair and eventually fire due to homeless occupation are certain parallels which may be drawn between the history of the Drill Hall and the Rissik Street Post Office. On this basis the design and conservation approach of the Drill Hall may suggest clues on the strategy to employ to this study.

2.18

0 1 2 3 2.19. The Drill Hall before the fire with an internal focus excluding the public. (Sketch by Author over photo courtesy of Michael Hart)

Theory and Design Proposal The Drill Hall site was intended to be a catalyst for the urban renewal of the CBD made by the local government. Drill Hall was proposed to be transformed from what was previously a military function which was closed and internalized into community facilities with a public square which is open and promotes freedom of space. This is seen as a narrative to the democratic change our country has undergone. Michael Hart did strive to memorialise and conserve the Drill Hall as it holds political, cultural and military significance which gives us an understanding of South African heritage (Hart, 2004: 1,2).Thus it was the goal to preserve the significant heritage of the site as well as adapting it to present day life. This was in part achieved by maintaining the military order of the site while simultaneously making the existing structures permeable for pedestrians moving into the public square (Hart in Joubert, 2009: 24) (Fig2.19 & 2.20).

Similarly it is necessary to preserve the memory of the Rissik Street Post office as it contains cultural significance for the city of Johannesburg. This significance lies in what the building represented as the communication node with the outside world and in its iconic status which gave the city identity. Like the Drill Hall, this study attempts to promote the democratisation of the Post Office site by means of open public spaces and a civic building for the people. Secondly the idea of pedestrian permeability will be adopted in order to strengthen the usability of the proposed public space.

2.20. The result of the intervention into the Drill Hall symbolising openess and inclusivity for the public. (Sketch by Author over photo courtesy of Michael Hart)

The strongest symbolic gesture the Drill Hall conveys is the transformation of the solid, internalised central hall into an open and inclusive public space. The boundaries of this space are defined by the footprint of the existing. This is a good example of how the â&#x20AC;&#x2DC;presence of absenceâ&#x20AC;&#x2122; is achieved which suggests positive new meanings. This idea will be extended into the design proposal to remember the elements lost in the fire. Pierre De Lange - 2010

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CHAPTER 3

Listening to the City 3.1. WITHIN THE CITY AND COUNTRY: M acro Analysis

3.3. Location of CBD in Johannesburg

3.2. Location of Johannesburg in Gauteng

3.4. Location of Civic Spine in the CBD.

location of site in greater context

3.1. Location of Gauteng in South Africa

Echoes in Architecture: The Mediatheque, a new conception of Library

31 3.1.1. Location The chosen site is located in the old CBD of Johannesburg in Gauteng, South Africa. As the economic hub of the country, it is linked to all major cities via the main roads (N1, N3, and N4) (Figure 3.1 and 3.2). The CBDâ&#x20AC;&#x2DC;s location was the seed from which Johannesburg grew and the

Civic Spine was where this seed was planted when gold was discovered in 1886 (Figure 3.3 and 3.4). The site at the Rissik Street Post Office is located on the eastern end of the Civic Spine fronted by President, Rissik, Market and Joubert Streets to the north, west, south and east respectively (Figure 3.5).

0 3.5. Satelite Photo of the Post Office before and after the fire. (Google Earth, 2010: Online)

Before fire

1 2 3 4

After fire

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Pierre De Lange - 2010

3.2. LISTENING TO THE CITY: M eso Analysis 3.2.1. Significant Connections along the Site within the CBD The Present Day Axis: Rissik Street, which forms the western edge of the chosen site, extends from the Johannesburg Civic Centre in the north flanking Johannesburg Park Station, the chosen site and Ghandi Square before reaching the M27 main road to the south where it splits into two (figure 3.7 to the right). The site is therefore adjacent to a major north-south vehicular axis placing importance on its location within the CBD. This creates the possibility for redeveloping the site into either a civic or legislative building. Similarly, Joubert Street on the eastern edge of the site links Park Station (train) in the north to Ghandi Square (bus) to the south. As both of these are transportation hubs in the city, Joubert Street has now become a major pedestrian axis/thoroughfare for commuters. This suggests the development of a civic building as there will be a constant flow of people past the site (vehicles and pedestrians).

The Historical Axis: The Post Office was built fronting the Civic Spine which includes the Library, Beyers Naude Square and City Hall (Figure 3.6). This historical area of Johannesburg was laid out on a symmetrical eastwest axis and all subsequent structures built on the spine followed this configuration. This was achieved with symmetrical designs and main entrances in the middle articulates with a tower and/or a portico. President and Market Street delineate the width of the spine and articulates itâ&#x20AC;&#x2122;s east-west orientation. These one way streets flow towards the Post Office site which brings even more vehicles from the western part of the city towards the site. The axial intersection: It is evident from this that two very important axes coexist simultaneously; the historical eastwest axis and the present day north-south axis. The convergence of these two axes (figure 3.6); the past and the present, the memory and the

Site Location

Echoes in Architecture: The Mediatheque, a new conception of Library

3.6. Site Plan of Civic Spine showing axial intersection.

3.7 . Diagram by author over (Google Images, 2010: Online)

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34 machine is the location of the chosen site. It is a point where the past and present recognise each other. Yet the current status of this site reflects the worst of the CBD; a burnt, abandoned structure and an un-maintained, dirty city park. The site’s mere location suggests the prospect for a catalytic urban renewal project which remembers its past yet reacts to its present. The design aims to provide a space that recognises the collision of these axes. 3.2.2. Cultural Influence on Urbanism Due to the turbulent history of South Africa a number of governmental transformations have taken place, thus different cultural traces have been imprinted during the urban development of Johannesburg. These are the Boer, British, Apartheid and ANC governments. The city is left with a collage of these ideas but the Post-Apartheid footprint has not yet been significantly imprinted in the CBD. This study will attempt to integrate the idea of inclusivity in a democratic city by recognising and accommodating the various cultural traces of South Africa.

1) The European Influence: As previously mentioned Johannesburg grew from the Civic Spine which was the town centre. This follows the European model for a town, where a central market square was the focal point of meeting and commerce. Roads were organised in a grid system running north-south and eastwest (figure 3.8.A). This European layer forms the foundation of the CBD’s spatial organisation today and Beyers Naude Square remains one of the few open spaces. 2) South African influence: Linear markets are being inserted into the inner city to formalise traders. Achieved by pedestrianising roads and constructing market roofs, these corridors have been planned for a number of north-south roads in the CBD including Joubert Street, the major pedestrian axis on the eastern edge of the site (Johannesburg, 2010: Online). This linear “plug-in” type of urbanism in an existing “European” grid is a reaction on the South African culture of informal trading within the city centre (figure 3.8.B).

3.8. Conceptual Representation of Cultural Influence on Urbanism.

Echoes in Architecture: The Mediatheque, a new conception of Library

35 3) The Cultural Collage: The collage of these different ideas presents a benefit to rejuvenating the Johannesburg CBD. The linear markets act as extended limbs linking various larger open spaces (figure 3.8.C). This provides a continuity of public space creating a dynamic within a rigid city grid. In application to the site, the Joubert Street as a linear market will further emphasise the link between Park Station, The Site and Ghandi Square. Developing Earnest Oppenheimer Park into a usable public space and integrating it into the proposed design is important. The park will act as a relief space along the pedestrian axis. 3.2.3. Current and Future Developments influencing the Design: 1) The Bus Rapid Transit System The city of Johannesburg is implementing a Bus Rapid Transit system into the cityâ&#x20AC;&#x2122;s existing Public Transport Network. It will be used in the CBD

known as the Rea Vaya BRT Route (Johannesburg SDF, 2008: 66). A number of BRT routes will pass through President, Rissik and Market Streets, which forms the boundaries of the chosen site. A BRT station is located just south-west of the site on Market Street (figure 3.9). This will allow the proposed MediathĂŠque to receive pedestrian traffic from both the east and west sides of the site. The design should therefore accommodate entrances from both of these sides. 2) The Gautrain Currently the largest construction project in South Africa, the Gautrain will provide international standards for public transport to Johannesburg. The CBD will be a node which is integrated in the line with the existing Park Station becoming a new Gautrain station (Johannesburg SDF, 2008: 74-76). Once completed, even more commuters will move between Ghandi Square and Park Station. This will increase the likelihood of a successful civic building on the site.

1 2 3 4 3.9. Access to the Site and BRT Station Location.

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36 3.2.4. Land Use Analysis and Influence

he site is neighboured by the CBDâ&#x20AC;&#x2122;s major retail district to the east and north while the Civic Spine along the western axis is reserved as the legislative precinct (Johannesburg SDF, 2010: Online). The siteâ&#x20AC;&#x2122;s location overlaps these two zones. The civic typology interacts better with its commercial and historic context. The design will therefore act as a link between commercial, legislative, historic and civic land uses in the CBD. 3.2.4. Height Analysis As the sketch below illustrates, the structures on the Civic Spine are significantly lower than their surrounding buildings. This is due to the technological advancements which allowed for taller structures to be constructed. Although lower in height than their modern neighbours, the importance of the historical structures are not diminished. By being lower and containing open spaces; their hierarchy is established as they are differentiated from the rest of the buildings in the CBD.

3.10. Landuse Analysis of Johannesburg CBD. Diagram by Author over google earth image. Echoes in Architecture: The Mediatheque, a new conception of Library

3.11. Aerial View along civic spine showing height of neighboring buildings. (Trace by Author overimages courtest of Francios Pienaar)

Height Possibilities 1) Respect the height of the surrounding buildings

3.12

Although adapting to the city of today, the building does not respect the height of historical structures and therefore diminishes the importance of the civic spine

2) Introduce a new height for future possibilities : The construction of a skyscraper may seem outrageous, but it provides a narrative of a seed to grow a new CBD whose skyline resembles that of great cities around the world just as the Civic Spine was the seed for the current CBD.

3) Respect the height of the Civic Spine

1 2 3

Maintaining the height of the historical buildings their hierarchy within the city is preserved and contemporary architecture successfully integrates itself with the historical axis previously mentioned.

Solid/Void Relationship

It is evident from the sketch below that the Civic Spine holds valuable open space for the CBD. This strengthens the previously discussed idea of using the park to the east of the Post Office as a relief space along the pedestrian axis.

3.13

7 8 Pierre De Lange - 2010

38 3.2.6. Buildings and spaces on and around the Civic Spine Buildings along the Civic Spine Axis The structures speak primarily a classical language as this is the historical spine of the city. The proposed design should not diminish the importance of this character. The language of the new should be different yet allow for the existence of the classical nature of the Civic Spine. 3.14

Echoes in Architecture: The Mediatheque, a new conception of Library

0 Buildings surrounding the Civic Spine A collage of historical buildings and modernist structures speak of an evolving city. However, the collage has been is done insensitively. This makes it even more important for the design of the mediatheque to react responsibly acknowledging the historical language while embracing technology.

3.15

2 3

6 12

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40 3.2.7. Conclusion: Urban Design Framework The following principles developed from the urban analysis will used as a framework within which the design is done. 1) Pedestrian friendly environment: ease of access and walkability. 2) Maximise public open space: due to the very few open spaces in the CBD. 3) Maximise connectivity with context: due to its optimal location within the city. 4) Develop the site into a space which resolves the merger of two axis.

3.16. Urban framework for the proposed design.

5) Respect the height and mass of Civic Spine to maintain their importance.

Echoes in Architecture: The Mediatheque, a new conception of Library

3.3. LISTENING TO THE SITE: M icro Analysis 3.3.1. Spaces on and around the site (Figure 3.17) 1) Between City Hall and the Post Office The front facades of the City Hall (1) and Rissik Street Post Office (2) face one another. Both buildings were designed with central towers. These two monumental structures are only separated by a small square (3) and Rissik Street (4), together neing approximately 50 meters wide. The space is too narrow to use as a city square or fully appreciate both buildings. This is evidence that the City Hall was built after the Post Office. Although acknowledging the axial configuration of the Civic spine, the City Hall is in spatial competition with the Post Office. However, a possible reason for its placement was to maximise the size of Beyers Naude Square (formerly Market Square) thus minimising Government Square. The square and Rissik Street had been modified with paving, planters and a water feature with two obelisks (5). This was done to articulate the axial relationship between the City Hall and the Post Office. With the implementation of the BRT system along Rissik Street this feature will inevitably have to be removed to accommodate bus lanes. The proposed design will attempt to accommodate this practical upgrade, articulate the relationship between the two structures and the way the space connects to the new addition to the Post Office. As part of the historical axis the design of this space will echo the symmetry and axial nature of the Civic Spine.

41 2) Oppenheimer Park Directly behind the Post Office is Oppenheimer Park (6). Although it is one of the few open spaces within the CBD, it has not been maintained. Subsequently it is constantly been occupied by informal traders and homeless people as well as being a target area for crime. Buildings once occupied this space which meant that the Civic Spine / historical axis was terminated at the Post Office building. With the demolition of those structures to create a park, the Civic Spine

extended behind the Post Office creating a secondary park to serve the present day pedestrian axis. This space plays an integral role in the merger of the historical and present day axes and therefore integrating it into the proposed design is important. Recently this park has been upgraded and the market roof on Joubert Street completed. According to Sibusiso Mauze, the principal architect of Ikemeleng Architects, the design will act as a relief space for the citizens and commuters along the pedestrian spine.

0 1 2 3 4 5

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3.17. Site Plan of Post Office and Surroundings. Sketch by Author.

Pierre De Lange - 2010

42 3.18

3.18. Photos taken by author of the recently refurbished Oppenheimer Park.

ther functions include art sculptures, performing arts stage, basketball court and ablutions (Mauze, personal communication: 2010) (figure 3.18). During the second site investigation, it was discovered that a steel mesh wall was built offset from the back wall of the Post Office.This may have been done to block the view towards Post Office. The realistic drawback of this is that any future alteration to the Post Office will be disconnected with the park and pedestrian spine unless this was removed. Although the place has been drastically improved and the market roof functions succesfully this study presents an alternative to the current development. Consolidating the Post Office building and Oppenheimer Park into a single site offers the possibility for a development that integrates the park and Post Office building more successfully with both the historical context and the

Echoes in Architecture: The Mediatheque, a new conception of Library

current city. Just as the City Library on the western end of the Civic Spine is fronted by an open space so will a civic building like the mediathĂŠque on the site be enhanced by a park that is fed by a constant flow of pedestrians. 3.3.2. PRACTICAL CONSIDERATIONS 1) Legal Aspects (Fig. 3.19) The following are general legal and administrative considerations to be considered: Zoning on Site: Municipal Coverage Limitation: 100% Building line: 1,5 meter street boundary Owner: City of Johannesburg Management: Johannesburg Property Company Heritage Management: SAHRA Gauteng office Future development by: Johannesburg Development Agency

3.19. Plan of general site information and restrictions. Not to scale.

3.20. Utilities connections on the site.

2) Utilities: See figure 3.20 alongside

3) Pedestrian Circulation (fig. 3.21): The large amount of pedestrian circulation around and through the site suggest a building that allows thoroughfares on ground level and promotes connectivity with the surrounding context and different public spaces.

3.2.6. BUILDINGS SURROUNDING THE SITE

1) To the north, east and south east: Commercial activities are located on ground level which creates a vibrant environment full of people. These commercial activities front Oppenheimer Park and provide a valuable contribution towards activating this space.

3 4

2) The Barbican Building: Recently restored, this structure forms part of the remaining historical buildings in the area. It helps to define the square to the south by forming a composition with City Hall and the Post Office building. This pronounces Governments Squareâ&#x20AC;&#x2122;s identity as a historical square.

3) Linking the Spaces (Fig. 3.22) 3.22. Diagram explaining how the different spaces and land uses around the site may be connected through the proposed civic typology.

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3.21. Pedestrian Circulation through and around the site. Pierre De Lange - 2010

44 3.2.6. Faces of Memory and Hope

3.23

The Rissik Street Post Office was designed to only be seen from three sides. This model illustrated in figure 3.23 shows how a building built on a portion of a city block was designed to allow for future buildings to be added to it. This perimeter block method was done to allow for a uniform mass along the streets and create a courtyard in the centre of the city block for light and private space. The façades facing this courtyard were therefore never seen by the public and thus never decorated. Most detailing was concentrated on the public façades. The Post Office building followed this model containing a front and back, faces of memory and neglect. 1) The face of Memory (figure 3.24)

3.24

The main visible portion of the Post Office is an eclectic Renaissance style. The façades on the north, west and south of the building including the tower communicate the memory of the

Echoes in Architecture: The Mediatheque, a new conception of Library

past the loudest. This face of memory in union with the historical axis needs to be preserved as far as possible as well as amplify and reinterpret the language of its architecture in the new. The new addition will become an echo of its past yet also speak of its own language and values. By preserving this face of memory a constant reminder the city’s origin exists, the new and old in duality become a theatre of memory and hope. 2) The face of Forgotten (figure 3.25) After the buildings behind the Post Office were demolished to create a park the unadorned eastern façade became visible to the public which it was never intended to be. This contributed to creating a poor public space and may be one of the reasons why Oppenheimer Park fell into disrepair. This façade is fully visible along the present day pedestrian axis, however due to its current state does not invite people to experience the park (regardless of its design). 3.25

3.2.7. CONCLUSION: The DOUBLE FRONT proposaL

ith the evolution of the city and park behind it, the Post Office was transformed from a perimeter block to an object with facades fronting two important directions (the historical and present day axes). Both fronts need to be addressed in order to successfully resolve the axial merger. Just as the Post Office was changed during its lifetime so will it be adapted to suite the current situation of the CBD. The eastern facade

needs to be redesigned along with the park to create an inviting space for pedestrians. If successful, the pedestrians will become aware not only of the new face but also of its attempt to echo the historical axis and building. The addition will therefore act as a point where the past and present meet, where they are accommodated and where both are fronted by an experiential space. This concept is illustrated in figure 3.26.

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3.26. The Double front proposal Pierre De Lange - 2010

3.4. LISTENING TO THE BUILDING: Nano Analysis

n order for the new addition to merge successfully with the existing, a study of its proportions and its architectural language is done. If these are understood, they may be echoed in the new structure. Although the Post Office building underwent a number of changes, the analysis is applied to its current state since the new addition should adapt to what physically remains. However, the elements lost in the fire are also considered in the design. 3.4.1. Deciphering the Proportions

1) On Plan (Fig 3.27) The plan is rectilinear with the ratio of 1:2. The

central tower is a square and the plan is realised as an arrangement of a number of geometries utilising these same proportions. All squares used to comprise the parti of the plan are increments of the width of the plan. 2) On elevation (Fig 3.28) The west elevation in its current state is read as two overlapping squares. The overlapped region is the location of the central tower. The point at which two lines drawn 45 degrees from the edges of the building intersect is the location of the circular opening where the former clock tower existed. It must be noted that this clock tower forms part of the fourth floor addition as discussed in

3.27. Proportions and geometry of the Post Office on Plan. Echoes in Architecture: The Mediatheque, a new conception of Library

47 the history. It is evident from this that the architect attempted to design the addition so that it could not be read as such. Further evidence of this is the height of the levels which decrease incrementally, just as the added fourth floor does (Fig. 3.29).

3.29. Relationship of heights of levels to the height of the Piano Nobile.

0 1

3) Influence on design proposal As discussed in echo 2, the amplification of the pattern of changes, so the proportioning systems can be used to generate another echo of the existing. The Post Office as an eclectic Renaissance building utilises a classical method of proportioning. The same method of relating the dimensions and geometries of the plan as fractions or multiples of a single significant dimension can be used.

2 3 4 5 6 7 8

3.28. Proportions and geometry of the Post Office on the main western elevation. Pierre De Lange - 2010

48 3.4.2. Translating the Architectural Language 1) Composition The Post Office building is built on a slightly sloping site and so a plinth is introduced. Being of the Renaissance tradition, this plinth is rusticated and thus articulates its connection to the earth. The main ground floor (Piano Nobile - 1), appears slightly rusticated but has a smoother finish than the plinth. The upper three floors (2) appear even smoother using brick. Horizontality is articulated with the cornices and the Piano Nobile (3), while verticality is achieved with the alignment of windows (4). 2) Structural System The Post Office was built before the time when steel was common in construction therefore a simple masonry technique of load-bearing walls was used. The height of the building and quality 3.30

of bricks at that time resulted in walls ranging from 600 â&#x20AC;&#x201C; 1000mm in width. Floors were of timber rafters and panelling. Roof construction was a timber truss with metal roof sheeting. Iron was introduced into the structure when the fourth floor was added. 3) Materials Although of Renaissance origin, the design utilises red brick walls (5) and sandstone cornices and detailing (6) which reflects a local palette of materials. The Piano Nobile appears to be sandstone, but is in fact plastered brickwork (7). The apex of the remaining clock tower is sandstone construction (8). 4) Influence on design proposal The motifs of horizontality and verticality can be abstracted into the new facade. The Renaissance technique of rustication and a heavy plinth-like Piano Nobile can be challenged with new materials and techniques. 6

7 3

Echoes in Architecture: The Mediatheque, a new conception of Library

3.5. HERITAGE IMPACT ASSESSMENT Due the nature of this study one of the most important aspects to consider is the heritage value of the existing structure. Having already discussed the importance of preserving historical buildings which relate to memory and identity, this section provides a framework for how this will be achieved. The framework will define the level to which physical intervention and/or conservation takes place. An investigation into legal aspects is done by using the South African Heritage Resources Act of 1999 followed by the development of a heritage stance using The Burra Charter of 1999. 3.5.1. The Heritage Act The role of this act is to protect heritage resources in South Africa. Besides preserving these structures and minimising alterations to them the act also allows for their use which contributes to social and economic development (South Africa. NHR Act, 1999: 16). The heritage act’s general protection rule applies to structures older than 60 years. Without a permit no demolition of any part of the structure may be done (Ibid, 58). The Post Office being 112 years old therefore requires careful consideration and justification of what parts may be removed, if any. According to SAHRA (2007: 19) the Rissik Street Post Office is classified as a provincial heritage site (grade II). The Heritage Act’s conservation aim is to: “...preserve, retain or recover the cultural interest of a place, and must include provision for its maintenance and its future.” – (SAHRA, 2010: Online)

The Post Office building has lost this “cultural interest” to most of the public. The design proposes to reinstate this structure as a place of interest in the modern city while simultaneously preserving historical elements as a record of the past. The Act also discusses the term “cultural significance” as the parts which carry aesthetic, historic and social value for all generations (SAHRA, 2010: Online). It has already been identified that the eastern facade of the Post Office was not designed to contain cultural significance or aesthetic value. Thus the culturally significant parts of the structure are the central tower and the north, west and south facades. These are the parts which need to be protected as far as possible while the insignificant parts need less consideration for physical intervention. 3.5.2. The Burra Charter This charter suggests a logical, cautious approach to conservation by considering the cultural significance and value of a place. It provides a procedure which can be followed to determine a conservation strategy for such a place. Although developed in Australia this procedure is universal as it respects memory and interpretation of a place which may determine its cultural significance (Australia. The Burra Charter, 1999: 3). Through the understanding of importance of the place and its meanings, decisions can be made regarding the change, maintenance, preservation, reconstruction, and adaptation of existing works.

Pierre De Lange - 2010

1 2 3 4 5 6 7 8

hese are all targeted towards the protection of the cultural significance (Ibid, 6-7). Both the Heritage Act and Burra Charter define Cultural Significance in the same way. The procedure (Ibid, 10) as it was applied should be read in conjunction with the site analysis: 1)Understand the significance: The place is the Rissik Street Post Office and historic buildings along the Civic Spine. It is associated as the place where Johannesburg first grew from. By reading of the history and context, through personal site visits, documentary research and interviews with a number of knowledgeable people the significance was identified. Significance lies in the junction of valuable historical buildings along important circulatory routes in the CBD. The Post Office facing the Civic Spine and the Park to its east are both aspects worth conserving. The eastern facade of the Post Office carries no cultural significance. 2)Obligations towards the significance: Do as much as necessary to the existing structure to make it useful but as little as possible in order to protect significant parts. The new addition should respect the existing fabric, its height and composition. Both new and existing should be easily read as such and without replication. 3.5.3. Conservation strategy (fig 3.31): Significant fabric of the Post Office should be preserved and changes should not be made so that it may tell its own story completely without falsification. These parts can be cleaned of dirt but damage should not be reconstructed rather revealed. A cautious approach will be taken. Echoes in Architecture: The Mediatheque, a new conception of Library

Insignificant fabric should be changed, removed or adapted to make the Post Office structure and park useful within the current city context. A bold approach will be taken. New work should use contemporary materials and technology but design of this should be a reinterpretation of the significant parts of the Post Office. The new thus acknowledges its time yet is rooted in the past. 3.5.4. Conclusion This strategy is a culmination of both the application of the echo of changes and the double front proposal previously discussed. Just as Carlo Scarpa removed parts of Castelvecchio to add value to the existing structure so can removing the eastern facade of the Post Office achieve the same. This also contributes to creating better public space in the CBD due to the reaction on the Joubert Street linear market. Utilising contrasting strategies for the two sides of the Post Office is appropriate due to the contrasting cultural value they each hold. Thie design challenges the idea that the Post Office should be restored to its original condition. Although total restoration may protect heritage of the past, it does not create a platform upon where new heritage may be created. Thus ends chapter 3.

Heritage Stance Application of echo 2

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3.31. Conservation Strategy towards existing Post Office building.

8 Pierre De Lange - 2010

CHAPTER 4

Brief and program

4.1. WHO AND WHAT WILL BE INVOLVED WITH THE DEVELOPMENT? 4.1.1. THE BRIEF

W 4.1

ith the understanding of the historical and contemporary implications on the site three primary goals for this study need to be achieved: 1) The preservation of physical remnants of the historical ruin so that the cultural heritage of Johannesburg city may be protected. The identity of the people are enriched by the physical reminders of a certain memory (their origin). 2) Propose a new development which contributes positively to the regeneration of the CBD, and makes the place useful for the average citizen. 3) Most importantly is the way in which both of these goals are married. Harmony between the preservation of the past and reaction to the present should be seen in the design. This has already been partially achieved by applying the notion of echoes in architecture which generated the reconstruction of the mediatheque typology, merger of the historical and present day axes and the echo of changes of the post office. However these ideas cannot be successful unless they are supported by good design.

Echoes in Architecture: The Mediatheque, a new conception of Library

4.1.2. THE CLIENTS The site is owned by the city of Johannesburg and managed by the Johannesburg Property Company (JPC). Civic, municipal or government related buildings are initiated by these two bodies and implemented by the Johannesburg Development Agency (JDA) (Johannesburg, 2010: Online). Together these form the potential client base of the project. Additional finance may come in the form of donations from international companies just like the City Libraryâ&#x20AC;&#x2122;s upgrade was initiated by the Carnege Foundation. 4.1.3. THE USERS Due to the civic nature of the mediatheque typology, any citizen, has the freedom to benefit from the facilities provided. Most of the users would be people passing along the Joubert Street pedestrian axis and moving around the site. Many of these would include migrant workers moving between transport nodes, university students going home and working professionals from neighboring offices. The mediatheque will also accommodate school groups and business meetings.

4.2. Potential client base. (Johannesburg, 2010: Online)

4.2. DESIGN SCOPE OF WORK

4.3. THE MEDIATHEQUE

n order to achieve a balance between the conservation of a heritage structure and creating a useful place for citizens the scope of design needs to extended beyond the boundaries of the existing structure. Figure 4.3 defines the parameters for this study.

4.3

1 The Square and Street:

Due to the implementation of the BRT system the road will need to be changed. The design accommodates this functional upgrade.

2 The Post Office:

The bulk of the design is centered around the marriage of the new mediatheque insertion into the existing shell.

3 The Park:

A new park will be redesigned which acts as a medium between the market and the eastern facade of the new insertion.

4 The Market:

An alternative market roof will be proposed which shares a similar architectural language to the new mediatheque.

4.3.1. RELATIONSHIPS BETWEEN SPACES The Spaces in the Mediatheque The traditional library typology is thought of as a hall of knowledge which contains numerous levels of physical resources such as books, records and catalogues. The digitally evolving library is defined alternatively by the electronic facilities it provides. Although using different mediums, their purpose is the same: assimilation and creation of knowledge. However, traditional media is not obsolete. We live in a world where both physical and eletronic resources are valued as tools for learning. The mediatheque of today therefore aims to accomodate a hybrid of electronic resources and a trace of traditional media. Electronic facilities required will include computers, audio and visual media and internet.

1 2 3 4 5

The nature of the spaces Just like the traditional library, the mediatheque will require both larger spaces for open discussion and more private spaces for learning. These two types of spaces result in louder and quieter environments respectively. The spatial configuration of the Sendai Mediatheque is used as a model. Toyo Ito solves the problem of noise by separating the loud and quiet spaces by levels. The loud open spaces are placed on the lower levels and the quiet spaces higher up (fig 4.4). Due to the electronic media being used, spaces would also require an environment with softer light. Indrect lighting methods and sunscreens can be used to create this. Pierre De Lange - 2010

6 7 8

54 4.3.2. ACCOMMODATION Spaces in the mediatheque are arranged with louder public functions on ground and first floors with quieter spaces above (fig 4.4). The four fundamental civic motifs of communicating, learning, gathering and trading are accommodated in the scheme (fig 4.5). These are sub-divided into the following spaces: -1 Basement Floor (Services) Basement Parking and Delivery Administration: Managers and Security Office Admin Offices Lockers Ablutions Security Office Staff Room Storage Printing Machine Room (HVAC) Equipment Storage Main Server Room Furniture Store Cleanersâ&#x20AC;&#x2122; Room Circulation Computer Store Restaurant Services: Mass Dry Store Cold Store Refuse Store Empties Deliveries G - Ground Floor (Gather & Trade) Mediatheque Lounge: Lounge Echoes in Architecture: The Mediatheque, a new conception of Library

3989 m2 2305 m2

24 m2 104 m2 36 m2 36 m2 20 m2 40 m2 26 m2 14 m2 235 m2 130 m2 215 m2 195 m2 19 m2 169 m2 142 m2 63 m2 88 m2 25 m2 31 m2 72 m2

762 m2 257 m2

Ablutions Mezzanine Lounge Coffee Shop: Seating Area Preparation & Services Ablutions Vertical Circulation 1 - First Floor (Gather & Trade) Lounge and old media: New collection (Books) Magazine lounge Casual reading Open gathering area Restaurant: Dining area Sushi bar Bar Ablutions Kitchen Temporary storage Art gallery Circulation 2 - Second Floor (Communicate & Learn) Main computer room: Fixed computers Laptop connections Printing/reception Childrens library mezzanine Modular gallery/theatre Theatre space Chair store Projector room mezzanine Art gallery Circulation

40 m2 40 m2 305 m2 42 m2 12 m2 67 m2

890 m2 65 m2 95 m2 46 m2 140 m2 290 m2 22 m2 22 m2 12 m2 46 m2 13 m2 25 m2 114 m2

964 m2 180 m2 63 m2 52 m2 132 m2 320 m2 30 m2 30 m2 25 m2 132 m2

55 3 - Third Floor (Communicate & Learn) Audio visual library: Audio points Visual terminals Audio visual rooms Info and lounge CD/DVD collections

4.4. The mediathequeâ&#x20AC;&#x2122;s separation of loud and quiet spaces with levels.

890 m2 63 m2 80 m2 46 m2 78 m2 62 m2

Study/lecture facilities: Conference rooms Study area Group study rooms Private study rooms Circulation

112 m2 275 m2 18 m2 36 m2 120 m2

TOTAL INTERNAL FLOOR AREA without basement parking: 5190m2

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4.6. Abstract representation of the relationships between functions in the mediatheque.

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4.5. The four civic motifs embodied in the mediatheque as echoes its historical context.

Pierre De Lange - 2010

CHAPTER 5

Concept Development 5.1. INITIAL ABSTRACT REACTIONS ON SITE

efore an appropriate response to the site could be achieved, the theoretical stance and understanding of the site had to be abstracted in the form of touchstones. These were later used to generate the concept and inform design ideas. 5.1.1. TOUCHSTONE: Fire and Water

The first touchstone explored the theoretical notion of â&#x20AC;&#x2DC;contrast and analogyâ&#x20AC;&#x2122; discussed in chapter one. It looked at the fire as a significant memory in the life of the Post Office. This element was used as a metaphor for destruction. Similarly a new element was introduced as a response to the fire; water as a metaphor for rebirth. However, just as much as these elements contrast one another, so do they share similarity. Both fire and water can destroy and give life. Fire gives warmth in winter, while water is essential to life. Fire can burn, scorch and engulf while water can drown, erode and flood. The effects of both these elements on everyday objects were recorded in a video (see figure 5.1, 5.2 and DVD inset). Fire (Fig. 5.1) A black piece of paper was used as a reference to the Post Office (1). The folding and shaping of the paper represent the changes the building underwent in its history (2-6). With the introduction of fire, the complex shape was rapidly destroyed Echoes in Architecture: The Mediatheque, a new conception of Library

(7-10). The remaining ash was reshaped to the original form as a memory or echo from the past (11-12). Water (Fig 5.2) A boulder was also used as a reference to the Post Office(1). However, the effects of water was now examined. Using a hammer to illustrate the erosive capabilities of water, the boulder slowly became sand (2-5). Once in this form, water was introduced and the sand became a sculptural clay (6-8). The clay was able to be moulded into any shape (9-11). This included a shape resembling that of the original boulder thus containing an echo or latent memory of its former self (12). Architectural influence In both instances the method of destruction was different yet the results were similar. They contained traces of their past forms yet have gone through a complex shaping process. This may be interpreted architecturally as a building which, when read in its purest geometric form, contains evidence of the existing, yet contrasts in materiality, spatial configuration and structure. Thus the original idea or memory of the existing is not lost yet the new is embraced. In application; the new insertion into the ruin could continue this geometric echo with contrasting in materials

FIRE

WATER

2 3

3 5

5 7

6 9

8 5.1

5.2 Pierre De Lange - 2010

58 5.1.2. TOUCHSTONE 2.0: Palimpsest sketch

5.3. Photo of the second touchstone.

second touchstone was coincidentally developed during a group drawing exercise. The drawing was an abstract representation of the theory, site and reaction to it. The proposal is seen in figure 5.3. The theoretical idea of the Palimpsest was explored. A number of layered sketches was done. Firstly red, blue and black lines were drawn and blurred together together(1) as an abstraction of the decorative facade of the Post Office. This was followed by a black window to simultaneously reveal and mask the first layer (2)(preserving the memory). Once completed, a different student would add to the sketch not knowing the concept behind its origin. The first student added three black squares which he aligned with one of windows (3). This was followed by drawing inside the windows, yet reinforcing that which already existed (4). The second student added to the sketch by using a lead pencil to reinforce the frames of both the window to the past and black cubes (5).

Echoes in Architecture: The Mediatheque, a new conception of Library

Reading of Resultant Sketch The group sketch was read as a palimpsest of different times and ideas. The first two layers provided a historical foundation and windows through which to remember it. The new layer respected the memory of the old by preserving its essence in the idea of “coloured vertical lines”. The addition of the black squares contrasts the old in colour yet contains an analogy through its geometrical similarity and alignment. What is particularly important is the sketch done inside the windows. By only reinforcing and not changing the character of the historical layer, the memory and identity is given importance. This may be due to a shared human psychology in the value of remembering. It is thus the presence of these contrasting yet analogous shapes and colours in the different layers which creates a dynamic and mutually beneficial relationship. Architectural influence The sketch can be seen as an abstract interpretation of the Post Office which underwent many additions in its lifetime by different people. Preservation of historical memory is achieved by reinforcing the existing structure’s character. The black squares are read as the new layer of the palimpsest which is proposed. Just like the first touchstone, this suggested contrast and analogy through geometric echoes (proportion, dimensioning) and material difference. This contrast can act as a social dialogue representing the democratic nature of South African society today.

5.4

59 5.1.3. ARCHITECTURAL MANIFESTATION: The Reichstag, Norman Foster

reconciled the negative past with the hopeful future (Patterson, 2000: 32-33).

The Reichstag building (figure 5.4) is used as an example of how a negative memory of a building can be reconciled to represent something positive and be useful in the present. Norman Foster used the idea of geometric similarity to preserve memory and contrasting material to symbolise a new identity.

The design and symbolism One of the elements lost in the fire was the central cupola which is of a classical language symbolising power (figure 5.5). Foster introduced a new glass dome in its place using the same geometry but positioned higher and above the new debating chamber (5.6). The transparency of the new dome in contrast to the solidity of the existing created a narrative to the positive democratic change the country underwent. The public moving through the building watch the meetings from above suggesting the civic duties of the government towards the people (Ibid, 34-35).

Background The building represented a sign of German power and a unified parliament when it was constructed in 1882. However, during and after the First World War the building slowly deteriorated as the country fell into chaos. This reached a pinnacle when a fire broke out and nearly destroyed it shortly before the Second World War was started by Hitler. The building was no longer a memory of unification but of dictatorship. When east and west Germany was reunified the government decided to restore the building in a way that 5.5. The Reichstag before the fire. (wikipedia, 2010: Online)

0 5 2 3

Influence on concept Through a subtle use of geometry and materials a powerful narrative of social and political change can be instilled in the new building without diminishing the importance of the Post Office.

5.7. The glass dome showing how the public are able to look down onto parliament . (wikipedia, 2010: Online)

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5.6. The Reichstag after the restoration. (wikipedia, 2010: Online) Pierre De Lange - 2010

5.2. CONCEPT 1: The new face

he first concept explored the notion of how the eastern facade of the building could be designed to create a better environment for the park. The monolithic geometry of the existing was divided into several smaller geometries of the same proportions. This was done to achieve a level of public permeability through the previously solid structure in an attempt to publicise the building and link the east (present) with the west (past) sides of the site. The insertion acted as a filter rather than an obstruction. These geometries were suspended inside a steel frame which mimicked the shape of the Post Office walls demolished and roof lost in the fire. A roof defined the existing footprint of the Post Office. Limitations The existing tower is the most important element in the ruin. However, the arbitrary placement of boxes diminishes its hierarchy. The success of this design relies on facade character rather than space definition. SOLIDITY

5.8. Palimpsest of Concept 1 sketch plans

Echoes in Architecture: The Mediatheque, a new conception of Library

PERMEABILITY

PARTI

5.9. Parti sketches of concept 1.

FIRST CONCEPT MODEL 5.10

5.15

5 2

5.14

3 4 5

5.11

5.12

5.13

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Pierre De Lange - 2010

5.3. CONCEPT 2: GROWING OUT OF THE EXISTING

he second concept investigated how the open park could be more integrated with the scheme by defining open space using an incomplete continuation of the perimeter block model of the Post Office. This was achieved by: 1) Consolidating the new footprint on the north and south sides of the existing Post Office. 2) Extending the south wing outwards incrementally using proportions of the existing structure. 3) Defining a rectangular open space which overlapped with the footprint of the Post Office. Possibilities The extruded southern wing would could act as an entrance to the mediatheque from the market (eastern) side of the site and physically link the old and new. Limitations Although the attempt was to define open space by allowing the building to move inside the park, some valuable public space in the CBD might be lost. Incomplete Perimeter Block

5.16. Palimpsest of Concept 2 sketch plans

Echoes in Architecture: The Mediatheque, a new conception of Library

Parti

5.17. Parti sketches of concept 2.

SECOND CONCEPT MODEL 5.18

5.23

5 2 5.22

3 4 5

5.19

5.20

5.21

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Pierre De Lange - 2010

5.4. CONCEPT 3: THE NEW TOWER

he third concept introduced a communications tower element to initiate a dialogue between the old tower and new. This was investigated by adapting the previous two concepts to include this new tower. Option 1 from first concept: The tower was placed on the corner of the south wing to act as a beacon to the people moving along the pedestrian axis and as a second entrance to the building. Option 2 from second concept: The tower was placed on the footprint of eastern service block which was to be removed. This was done to preserve the memory of the existing and disjoin the new tower from the axial alignment of the historic towers in the civic spine. Limitations Both options were still limited by their problems discussed even though a dialogue between old and new towers was created. However, certain ideas can be extracted from each and combined to synthesis a suitable response on site. Option 1

5.24. Palimpsest of Concept 3 sketch plans

Echoes in Architecture: The Mediatheque, a new conception of Library

Option 2

5.25. Parti sketches of concept 3

65 THIRD CONCEPT MODEL: Option 1

FORTH CONCEPT MODEL: Option 2

5.26

5.31

5 2 3 4 5.27

5.28

5.32

5.33

5 6

5.29

5.30

5.34

5.35

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Pierre De Lange - 2010

5.5. MOTIFS EXTRACTED FROM EACH CONCEPT

5.36

the new face

5.37 north

/ south solid, east / west corridor

5.38

the new tower

Create a new face for the eastern side and reveal the tower to the new front:

Consolidating the main bulk of the bulding on the north and south wings:

Introduction of a new media / communications tower:

1) The new face is proposed as a reaction to the understanding of the site and theory in order to make the place useful.

1) Allows for the creation of a physical and visual corridor which links the east and west sides of the site.

1) Creates a dialogue between the past and present which recognises the function of the previous tower but utilises technology of today.

2) Allows for the tower to be read in unison with the new face so that its memory is preserved.

2) Resembles geometrically the wings of the existing structure as the touchstones and reading of the Reichstag suggested.

Echoes in Architecture: The Mediatheque, a new conception of Library

2) Similarly the tower echoes the proportions and geometry of the existing structure.

5.6. FINAL CONCEPT: LINKING THE PAST AND PRESENT THROUGH GEOMETRY AND SPACE

5.39. Development of the final concept.

he final concept utilises space and geometry as the two most important elements which resonate echoes. Space is used as a junction between where new and existing, may recognise each other. Geometries are used either in the same size or proportion of the existing yet uses contrasting materials and structure. The result is explained in a series of steps illustrated in figure 5.39.

5 2

1) Treatment of the Existing The proportions of the existing are used as a point of departure. The eastern facade is removed to create a space where the new echo may be inserted. 2) Consolidating and Linking The internal spaces are concentrated on the north and south wings of the facade thereby creating a thoroughfare which links the historical square with the present day park. The space between becomes a threshold where past memory and present use coexist.

5.40. Parti sketches of final concept

3 4

5.41. Initial model and sketch of final concept by author by author. 5.41

3) Offsetting The wings are offset from the existing structure to create a space between the new and the old shell. Visitors will circulate in this space and thus constantly be aware of the ruin. The wings resonate an echo in their shape and proportion but their position confirms its new identity.

5 6 7

4) Introducing the new tower The media tower which is positioned on the footprint of the old service block places further importance on the space between old and new. The tower also acts as a datum to the park maximising its open space and as an entrance to the building.

8 Pierre De Lange - 2010

68 5.42

5.45

EVOLVED CONCEPT

FINAL CONCEPT MODEL

5.46

5.43

5.44 Echoes in Architecture: The Mediatheque, a new conception of Library

5.47

5.7. EVOLVING THE CONCEPT 5.7.1. THE PHYSICAL LINK The resulting conceptual design created a new problem. The new structure was able to function independantly from the market to the east. The link between people moving along the pedestrian axis and the building would be dependant on a visual connection. This connection is not as strong as a physical one. However, if a building was introduced into the park the same problem of losing valuable open space is caused as in concept 2. How could the design physically link the market area with the mediatheque without destroying the park environment? This is achieved by:

5 5.48. The evolved concept parti. Sketch by author.

2 3 4

1) Moving the new tower to the eastern market area to act as an entrance to the mediatheque. 2) Introduce a horizontal tower which spans the park. This physically connects a raised public forum of the mediatheque to the market area. The design will be as light as possible. The bridge would interact with the park in the form of an outdoor cinema. The bridge is deliberatly disaligned with the historical axis as to recognise its new status and break the symmetry of the two offset geometries.

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5.7.2. CONCLUSION Just as in the Reichstag and Castelvecchio echoes in the architecture are present in geometry and open spaces, figure 5.48 illustrates this idea which will be developed into a final design proposal for this dissertation. Thus ends chapter 5.

8 Pierre De Lange - 2010

CHAPTER 6

Design Realisation 6.1. ELEMENTS OF THE DESIGN

6.1. The public forum space

6.2. The offset geometries

6.3. The media

6.4. The horizontal tower link

6.5. The park and market space

6.6. The existing ruin

Echoes in Architecture: The Mediatheque, a new conception of Library

/ communications tower

ach element of the design will be explained in four categories: proportion, aesthetics , function and space.

Each category will describe how the concept of echoes has been introduced in the design as well as the influences of the urban and immediate context.

1 2 President Street

3 Tower

North Wing

Bridge Link Government Square

5 Oppenheimer Park

Market

South Wing

6.7

Site plan: not to scale

Joubert Street

Rissik Street

Market Street

8 Pierre De Lange - 2010

6.2. ADDITION: THE OFFSET GEOMETRIES 6.2.1. PROPORTIONS AND GEOMETRY

6.2.2. Aesthetics

Two identical rectilinear geometries are offset 2.6m from the existing ruin. This dimension was determined by using 2/5 of the diameter of the existing tower. The geometries share both the same dimensions of their former footprint and proportions as the plan of the old Post Office (fig 6.8). The boxes are limited to the height of the existing shell as not to diminish its importance. A roof that appears to float above each wing is positioned on the level of the existing roof that was destroyed by the fire. This is to indicate the hypothetical “fifth” floor addition as to echo the continuation of the Post Office’s cyclic history. A singular side tower was introduced into the south wing in order to balance to composition due to the horizontal and communications towers being located on the north side (fig. 6.9). On ground level the point at which the new and existing geometries overlap become the function space. Above this, the entire offset geometry becomes the usable space.

A dialogue between the new and existing aesthetic is achieved through an analogical interpretation of Renaissance architecture (the original style of the Post Office). The existing structure made use of a rusticated Piano Nobile and lighter bricks above as previously discussed. The new geometries extract these two motifs of light placed above heavy elements and apply them asymmetrically with modern materials and technology. Concrete and steel are used to create a contemporary version of the renaissance tradition. Thick stratified ash concrete walls reinforce the horizontal lines of the existing Piano Nobile while a perforated aluminium curtain wall sits lightly above this element (see fig 6.10). On the eastern façade the asymmetry is determined by the outer edge of the existing wall which was removed (fig 6.9). This was done to store a memory of the existing in the new façade. Both the concrete and aluminium contrast the existing materials in texture but contain analogies in their composition.

6.8

6.9. Proportion and configuration of the new facade. By Author.

Tower

6.10. The aesthetic treatement relating to Renaissance architecture. By Author.

Light

Line of Exisitng

new “fifth” floor as echo

old and new overlap

Echoes in Architecture: The Mediatheque, a new conception of Library

Heavy floating above

Rusticated

0 1 2 3 4 5 6 7 8 6.11

Aerial Perspective of the resultant design Pierre De Lange - 2010

6.2.3. FUNCTION: SOUTH WING 6.13. South wing: ground floor plan. Ground floor public forum

Main Entrance

6.12

[G]round Floor: Mediatheque Lounge

Accessed from the public forum, the lounge acts as a relaxation point with magazines, computers, a video wall and art exhibitions. The space is orientated towards the forum and the existing shell. A mezzanine level is located above the ablutions. This floor is a place of group interaction with digital media. 6.14. South wing: first floor plan. 4 - First floor public forum

[1]First Floor: Lounge and Old Media This floor acts as a hybrid between digital (computers-1) and traditional (books-2) media. Circulation takes place between the new geometry and existing shell(3), while entrance to the space comes via the raised public forum(4) or stairs/elevator. This space is kept flexible so that it has the ability to suite new functional requirements in the future. Furniture is also modular and/or movable so different possible arrangements exist(5). These ideas were borne from the echo of changes, thus anticipating future change. Echoes in Architecture: The Mediatheque, a new conception of Library

2 5

6.15. South wing: second floor plan. 4

0 3

[2]Second Floor: Main Computer Room 1

Fixed computer terminals are connected to the city library through a network and the internet. Visitors will be allowed to access various digital databases online. The computer room is connected to the lower level with double volumes (1) and a lower laptop area which doubles as a mezzanine for the first floor (2). A picture window frames the public forum below so people inside are still visually linked to the space (3). A bridge then links the south to the north wing (4). A childrensâ&#x20AC;&#x2122; library is suspended above this space and glazed for sound insulation.

[3]Third Floor: Audio Visual Library

2 3 4

6.16. South wing: third floor plan. 4

This section is still spatially connected to the lower levels but is a quieter environment due to its height above them. CDâ&#x20AC;&#x2122;s and DVD are freely available to be used at the indicated areas while two audio-visual rooms accommodate groups. These rooms face the existing shell thereby retaining its importance. Although this and the second floor both have double volumes, the structure is designed in such a way that floors can easily be filled in without additional engineering. Pierre De Lange - 2010

6 7 8

FUNCTION: NORTH WING

6.18. North wing: ground floor plan

6.17

[G]round Floor: Coffee Shop This coffee shop opposite the mediatheque lounge assists in activating the public forum by creating a public space with civic and commercial facilities. Tables extend into the forum(1) and between the existing ruin and shop(2) to experience both old and new. A staircase leads up to the restaurant above(3).

3 - To restaurant

Public forum

Entrance

From Park

6.19. North wing: first floor plan.

[1]First Floor: Restaurant The restaurant will serve the same function to the raised public forum as the coffee shop on the ground floor.

1) The restaurant is linked directly to the horizontal tower which brings visitors from the Joubert Street market. 2) Dining spaces protrude into the space created by the offset to recognise the old shell. 3) The restaurant together with the coffee shop provide financial assistance for the functioning of the mediatheque. First floor public forum

Echoes in Architecture: The Mediatheque, a new conception of Library

1 - From bridge link

6.20. North wing: second floor plan.

[2]Second Floor: Theatre / Gallery 3

An open floor is provided for large events such as art exhibitions, local cinema, conferences and performances: 1) Stack seats are stored in the space provided with a projector room above. 2)The hall space can be divided into two smaller halls with a folding wall. 3) The entire space can be enclosed with sliding doors for sound insulation from the restaurant below. Once open people may stand 4) People enter the theatre between the new and existing space from a bridge which links the south wing.

4 - Bridge from south wing

1 2 3 4

6.21. North wing: third floor plan

[3]Third Floor: Study space As a study space this floor requires a quiet environment. The offset geometry is therefore glazed just like the theatre below. 1-

Bridge from south wing

1) An open study area with computers and modular desks is defined by the smaller study cubicles which face the old ruin. 2) Four conference facilities are provided for business people, school outings or university events. 3) The quiet environment is created by these boxes i.e. which reduces the light intensity of the internal space. Pierre De Lange - 2010

5 6 7 8

6.2.4. SPACE: SOUTH WING Due to the types of space in this wing (lounge, old media, computers) the spaces will be louder. The attempt was therefore to link spaces vertically through open volumes. This created a sense of openness and contrasted the rigid geometry of the wing. It also reacted to the different functional requirements needed on each level. The spatial experience between new and existing would also vary due to this arrangement.

6.23. Interior perspective of computer room

6.24. Interior perspective of audio visual library.

6.22. Section through south wing. not to scale.

6.25. Cutaway perspective showing interior spaces in the south wing Echoes in Architecture: The Mediatheque, a new conception of Library

79 6.27. Interior perspective of the study area

6.26. Interior perspective of coffee shop

SPACE: north WING Contrasting the south wing, the north does not have open volumes. This was due to the need to create large open spaces for the restaurant and theatre. However a more direct relationship between the new space and existing ruin was achieved. Study and dining areas faced the existing so that it became a focal point within the space. As with the north, this wing utilised indirect light to create a library-type environment. 6.29. Section through north wing. not to scale

0 1 2 3 4 5 6 7 8

6.28. Cutaway perspective showing interior spaces in the north wing Pierre De Lange - 2010

80 6.3.1

6.3. EXPERIENCE: THE PUBLIC FORUM

Proportion and Geometry

Function and Space

The main postal hall was located in the position of the proposed forum space. This echoes the civic gathering motif of the past. Fixed seating define where the existing hall was situated and columns order the space into usable segments. The forum acts as an intermediate gathering area that links the historical axis (west) to the pedestrian axis (east).

The ground floor entrance comes via the western side of the old Post Office with a ramp which passes through its existing entrance(1) and from the eastern side through the park(2). The public forum will be a civic gathering space allowing various functions(3). The space will be activated by the wings alongside which open up to it. Local artists exhibit their work in the 6.30

space provided(4). The works are visible from within the forum and from the west creating interest for passers by to the art and the existing. Aesthetics The forum is kept open while the new floor fragments towards the existing ruin in order to articulate a new layer or palimpsest added to the existing.

Ground floor plan of public forum - scale 1:250

3 4

6.31 Echoes in Architecture: The Mediatheque, a new conception of Library

0 1 2 3 4 5 6 7 8 6.32

View of ground floor public forum Pierre De Lange - 2010

82 PUBLIC FORUM ON FIRST FLOOR Proportion and Geometry

Aesthetics

Function and Space

The overall width of the platform is the same width as the existing postal hall and service offices together. However its position is offset to align better with the new geometries. The inner rectangle (indicated in red in fig. 6.33), defines where the existing postal hall was situated below. This geometry is aligned with the entrances to the north and south wings.

The platform is designed in such a way to promote the possibility of numerous functions (changeability). The geometry is divided by the discussed proportions and by regulating lines from the existing tower, the columns supporting it, the new geometries and the new bridge. The inner rectangle (red) is solid while the rest is sandblasted glass for lightness.

This forum acts as a datum where all the elements of the design converge. The multifunctional space becomes a vantage point where the entire development (new and existing) may be experienced. A suspended canopy creates a soft light below and articulates the importance of the existing tower. Its memory is preserved but new function is recognised.

Suspended canopy

Raised Public forum

Ground floor public forum Basement - Services 6.33.

First floor plan of public forum - scale 1:250

Echoes in Architecture: The Mediatheque, a new conception of Library

6.34. Section through public forum. not to scale.

0 1 2 3 4 5 6 7 8 6.35.

View of raised public forum Pierre De Lange - 2010

6.4. CONNECTION: THE HORIZONTAL TOWER 6.4.1. PROPORTIONS AND GEOMETRY Although conceived as a bridge, this element is envisioned as a horizontal tower which echoes ideas from the existing Post Office tower and structure. This is achieved by applying proportions of the existing on both plan and section of the new: 1) The proportions of the cross section of the horizontal tower (fig. 6.37) are realised as a reinterpretation of the existing towerâ&#x20AC;&#x2122;s proportions on plan. The geometry of the old tower (a square) is the point of departure (fig. 6.36). A smaller increment of 0.85 (5.8m) is used to avoid duality with the existing and to create a lighter structure. The outer square accommodates a cladding while the inner square houses the main structural components and floor area. 2) On plan (fig. 6.38), the spacing of the structural grid is an extrapolation of the grid spacing used in the new geometries. This grid was generated by the spacing of the vertically aligned windows of the Post Office ruin, a dimension of 5.8m.

6800 (x)

6.4.2. Aesthetics The intrusion of a structure into the park brings back into question the problem of valuable public space being diminished in the CBD. The physical link between the bridge element and the market does achieve a better integration of spaces; however the aforementioned problem has to be addressed. This problem is solved by adding to the bridgeâ&#x20AC;&#x2122;s function as a horizontal tower and by exploring the aesthetics. The aesthetic design therefore strove to be transparent and light so that the bridge could be as unobtrusive as possible. The bridge design is to be open (no walls) using glass balustrades and roof to minimise the amount of structural components necessary to span the entire park (see fig. 3.39) (detailed in chapter 7).

6.37. Proportions of the horizontal tower through cross section.

6.38. Proportions of the horizontal tower on plan.

5800 (0.85x)

5800 (x)

6800 (x)

6.36. Proportions of the existing tower plan.

The horizontal tower is thus an analogical extension from the existing tower linking the mediatheque with the communications tower.

4400 (0.65x)

Echoes in Architecture: The Mediatheque, a new conception of Library

5800 (x)

Analogical extension of existing grid spacing

0 1 2 3 4 5 6 7 8 6.39

View from inside the horizontal tower towards the mediatheque Pierre De Lange - 2010

86 6.43. GKD Mediamesh. (GDK, 2010: Online).

6.40

The primary function of the horizontal tower is to link the raised public forum and mediatheque to the communications tower and eastern market in order to allow more people to enter the building. However, a new function is proposed which better integrates the park below with the bridge. The outer square (discussed in proportion) provides space for a material cladding. A media faรงade utilizing GKD mediamesh is fixed to this to create an outdoor cinema for the public (fig 6.43) (detailed in chapter 9). Furthermore the mesh is 67% transparent and thus supports the aesthetic choice of lightness and transparency. 6.41. First floor plan of horizontal tower. scale 1:250

First Floor Forum

6.42. Longitudinal section through horizontal tower. Scale 1:250. Echoes in Architecture: The Mediatheque, a new conception of Library

The media facade therefore activates the park space below when on and does not diminish it when off (due to transparency).

GKD Mediamesh

6.4.3. Function

Sunscreen

6.4.4. Space The horizontal tower is intended to act as a link and a place of transition. The space is therefore open and devoid of any fixed function. The structural rhythm is articulated with floor lights that lead the eye to the other end of the bridge. A perforated aluminium screen is placed above the glass roof to filter the sun and create a pleasant transition environment. The park below the bridge is uninterrupted, thereby maximising the public open space.

6.44. Section through the Bridge. not to scale.

Communications Tower

6.5. COMMUNICATION: THE NEW TOWER PROPORTIONS AND GEOMETRY 1) Proportions on Plan As with the horizontal tower, the plan is determined by using increments of the existing towers plan (a square)(fig 6.45). 6.45

2) Height and extents (fig 6.46) As discussed in the analysis of the existing structure, the old clock tower was located where 45° lines drawn from the base of the structure intersected. The height of the new communications tower is determined by extending one of these regulating lines. The point where this line and the centre line of the plan intersect becomes the location of a new digital clock and news screen which acts as a beacon to the public. This is also done as a technological narrative with the existing.

3) Levels The same “poetry” of the existing tower is extended into the new tower. This is in the form of the height division of levels (fig. 6.47). Once the cycle was completed, it repeated until the height reached the extents set by the regulating line from the existing.

1 2

AESTHETICS 1) Corners The existing tower articulated its corners with sandstone and mock columns. This idea is reinterpreted in the new tower by leaving the corner columns exposed to the outside (see fig. 6.46).

3 4

2) The pinnacle of the tower The remaining portion of the tower terminates

6.46

6.47 Existing Poetry in new

C B A

Alignment

Articulation: Stone

Articulation: Steel

New digital clock

Existing analog clock

Existing Poetry

7 8 Pierre De Lange - 2010

n a triangular form. This geometry is echoed in the new which suggests a triangular form by extending the columns and transmission spire. 3) A light tectonic structure is suggested to contrast the heavy stereotomic design of the existing.

6.52. Section through media tower. not to scale.

Observation deck 6.48

FUNCTION AND SPACE

[T]op floor plan (fig 6.51): The elevator is terminated at the observation deck. From this point people get a 360째 view of the city including an uninterrupted view of the entire Civic Spine. Here the new development can be read in context with its historical origin. The act of viewing assists in creating a link between the historical and contemporary city.

6.49. Ground floor plan of media tower. Scale 1:250.

LED Light tubes

[G]round Floor Plan (fig. 6.49): Due to the reality of crime, a security room is required before entering the tower. This heavy concrete structure is contrasted by the fully glazed, transparent base of the tower. The tower houses an elevator and staircase which connect to the horizontal bridge and the top of the tower.

[1]First Floor Plan (fig. 6.50): This is the point at which the horizontal and media towers connect. They are only connected with a small bridge thus articulating the two elements. GDK Mediamesh

The tower is intended to act as a beacon of information to the public walking below. This is achieved by using the Mediamesh which can double as a digital billboard bringing in revenue for the functioning of the mediatheque. The tower also doubles as a radio/cellular transmitter.

Observation deck

Connection to Bridge 6.51. Top floor of the communications tower (observation deck). Scale 1:250.

6.50 Echoes in Architecture: The Mediatheque, a new conception of Library

Basement

0 1 2 3 4 5 6 7 8 6.53

View from raised public forum towards horizontal and communications tower. Pierre De Lange - 2010

6.6. GATHERING: THE PARK AND MARKET

Open

6.54. Diagrammatic sketch of design decisions on the park. not to scale.

Extend

Continue

Open

Intersect

6.55. Plan of the park and market area. not to scale.

he park, as a fore court to the mediatheque and market, would need to accommodate various uses. The intention was not to design a public park with fixed functions, but rather to provide a space which encourages multiple civic uses. The design approach therefore focuses on how the periphery of the park can be designed to enclose and frame the interior space while allowing maximum permeability. 1) The spacing of windows of the existing Post Office (also the new grid spacing) extends outwards to create a framework to work in. 2) A green belt is used as a buffer between the hard street surface and the park environment. Trees are planted and street lights placed along the grid which assists the buffer zone and encloses the park more effectively. 3) Fixed seating spaces are positioned on the inner edge of the park which place focus on the open interior space and formalises seating when the outdoor cinema is active. 4) This entire perimeter buffer is then interrupted at equal increments along the grid to allow free access into the park. The historical axis is extended to the eastern side of the park to create a main entrance from the market area. The market roof utilises the same language as the roof of the offset geometries. The point at which the historical and pedestrian axis intersect the market roof is lifted and is the same language as the suspended canopy above the public forum. This is to create a better visual integration with the development.

Echoes in Architecture: The Mediatheque, a new conception of Library

0 1 2 3 4 5 6 7 8 6.56

View from market of the new park and mediatheque Pierre De Lange - 2010

6.7. REMEMBERING: THE EXISTING RUIN According the previously developed heritage stance, the culturally significant parts of the Post Office are to be kept and preserved.

6.57. Cutaway perspective of the public forum and existing tower.

The external structure of the tower is therefore left unchanged so that it can communicate its own story. The internal use is changed to suite an art gallery. An open volume is situated in the centre of the plan articulating the verticality of the tower. This also directs visitors to circulate in a non-linear direction which encourages a pause to appreciate the artworks displayed. A staircase on the third floor leads up to an observation deck where the existing clock was once located. From this point visitors can see the civic spine to the west and the new media tower to the east.

6.58. Ground floor.

6.59. First Floor.

6.60. Third Floor.

6.61. Observation Deck Echoes in Architecture: The Mediatheque, a new conception of Library

6.62

6.8. SUPPORTING: SERVICES The mediatheque would not function without support from various essential services. These are located in the basement so as to maximise served space in the public domain above. The administration area is located below the south wing for easy acces to the mediatheque lounge.

1 2 3 4 5 6 7 8

6.63

Basement plan. not to scale Pierre De Lange - 2010

6.9. CONCLUSION

he marriage between the existing Post Office ruin and the contemporary insertion was explored through the concept of echoes in architecture. This is the continuation and adaptation of historical motifs such as proportion, geometry and function to suite contemporary life in an evolving city and society. The method supports an architecture which is rooted in its past but provides a space wherein new individual memories and a collective cultural identity may be developed.

6.63

East section/elevation showing the new facade with the existing.

Echoes in Architecture: The Mediatheque, a new conception of Library

95 6.64.

Aerial view from observation deck towards mediatheque

0 1 2 3 4 5 6 7 8

Pierre De Lange - 2010

CHAPTER 7

Technical Investigation 7.1. PROTECTING THE EXISTING

t has been discussed how geometry, proportion and aesthetics of the resultant design was influenced by the concept of echoes. This chapter explores a possible technical solution by explaining the design using fundamental elements of any building: structure, wall, floor and roof (fig. 7.1).

7.1. Basic elements of a building to be discussed.

1) Erect a temporary steel structure on the outside of the building (north, west and south facades) which laterally brace the existing.

7.2

2) The insignificant elements are then removed while the steel frame stabalises the significant parts.

7.3

Echoes in Architecture: The Mediatheque, a new conception of Library

Due to its shape the internal and external walls of the existing building are giving the structure stability (Mckechnie, 2010: Personal Communication). Removing the insignificant parts of the building could in fact destabilise the entire structure causing a collapse of the culturally significant elements to be preserved. A different construction process is proposed in order to prevent the collapse of significant elements of the existing. The proposed method is to:

3) The new structure is inserted into the cavity, which is designed to support its own functions and brace the existing shell preventing collapse.

7.4

4) Once the new frame braces the existing, the temporary steel frame on the outside is removed and construction of the new walls and floors begin.

7.5

7.2.THE OFFSET GEOMETRIES As discussed in the previous chapter the aesthetic treatment of these insertions was derived from an abstract interpretation of the existing structure (Renaissance in origin). This renaissance tradition of a heavy, rusticated Piano Nobile followed by lighter, finished materials above is extended into the superstructure of the new. This is achieved by using contemporary construction materials; the steel frame (light) on top of reinforced concrete (heavy) (fig. 7.6).

Thick off shutter concrete columns support a concrete floor which is cross vaulted to avoid the use of beams and as an echo of the arched windows of the existing Piano Nobile. This allows for a cantilever which articulates the visual effect of a box offset from the existing. A light steel frame rests on top of the new Piano Nobile supporting infill walls and floors. The steel frame will be interrupted where the concrete walls are located (varies due to wingâ&#x20AC;&#x2122;s asymmetrical treatment).

1 2 3

305 x 305mm I-Beams used as main roof structure cut and tapered to ends.

406 x 146mm steel C-Channel as secondary beams.

4 5 6

406 X 178mm Steel I-Beams as main cross beams.

500mm RC Floor slab vaulted in both directions to 750mm at columns.

7 8 500mm X 500mm reinforced concrete columns.

7.6. Perspective of structural method employed in the north and south wings.

300mm X 300mm Steel box sections/ columns bolted to concrete floorslab. Pierre De Lange - 2010

98 7.2.1. STEEL FLOOR SYSTEM The steel floor consists of a primary I-beam 406 x 178mm in size(1) which is bolted to the supporting columns. Secondary 203 x 133mm I-beams (2) are bolted to the main beam and used to support a 50mm deep steel IBR profile permanent shuttering (3) for a 100mm concrete slab (4). A 25mm thin screed (5) levels the slab while a ceramic floor tile is used as a finish (6). On the under side of the floor a void is created by using a suspended ceiling (7). This void is used to house various services (electrical and HVAC). The ceiling is stepped and longitudinal light fittings (8) create a rhythm which is intended to echo the rhythm of the timber floor rafters used in the existing.

Thin floor slab

Strip lighting

Primary Beam

7.8. Perspective of steel floor construction used in upper floors. Echoes in Architecture: The Mediatheque, a new conception of Library

7.7. Section through steel floor. not to scale.

Ceramic tile finish

Ceiling void for services

Secondary beam

99 7.2.2. FLOATING ROOF SYSTEM 7.9. Section through floating roof

7.10. Section through roof showing tensioning cables

The main structure for the floating roof is a series of 305 x 305mm steel H-beams (1) which are bolted to the main supporting columns. These are tapered at the ends to appear as light as possible. 30 x 30mm alumiunium purlins supported on these beams form the substructure for the glass (2). In order to reduce the amount of substructure to support the glass a network of tensioning cables (3) transfer the load back to the primary beams. On the space above the roof terrace 12mm clear glass (4). The main overhang which appears to be floating from street level uses 12mm semitranslucent glass (5). Water is drained via gutters positioned on the main beams which connects to downpipes in the main columns.

0 1 2 3 4

5. Semi-translucent glass

4 .Clear glass

5 6 7

Tensioning Cables 280 x 100mm gutter

Downpipe 7.11. Perspective of floating roof showing tensioning cables and glass types. Pierre De Lange - 2010

100 7.2.3. Stratified ash concrete

Echoes in Architecture: The Mediatheque, a new conception of Library

Pigmented concrete

Exterior

450

550

450

Steel Formwork

Steel reinforcing

7.13. Perspective of concrete wall showing construction method.

Interior

7.12.Section through concrete wall.

500

This heavy element is designed as an analogy to the rusticated Piano Nobile of the existing ruin. A 500mm brown pigmented concrete wall is used as the base material (1). Burnt timber rafters from the existing structure are reclaimed and used in the new. In order to create a stratified effect a 50mm layer of these ashes are rammed into the concrete wall at 500mm increments (2). For the black horzontal lines to be visible each layer should be cast individually so that the ash and concrete do not mix. The different layers are bound together by the steel reinforcing (3) and a keycoat applied before casting. After completion the layers of ash are treated with a sealant coat to avoid weathering. On the cantilever, the wall is supported by a 500mm upstand beam (4). This uses the same pigment as the concrete to create a uniform finish.

Ash infill layer

101

7.2.4. Aluminium curtain wall 1 2 3

A thin aluminium panel is perforated with squares to create a single modular panel. By varying the sizes of the perforations a pattern can be created so that from a distance larger squares are visible on the facade (fig. 7.15). This design is intended to be the light finish material above the Piano Nobile and the square motif originates from the proportions of the existing plan and tower. These 1350 x 1350mm panels (1) are riveted to 75 x 25mm vertical aluminium mullions (2). These are screwed to a steel sub frame consisting of 50 x 50mm square sections (3) positioned at each floor level. The sub frame is hung as a curtain wall at each level by means of 50 x 50mm steel struts strengthen with flanges on each end, welded to a base plate, and bolted to the floor beam (4). The panel functions as a sunscreen which filters direct sunlight creating a soft light inside the building which also reduces glare. Single panel design

This is repeated and copied. A single modular panel simplifies the construction process and creates and interesting effect on the facade.

7.16. Perspective of perforated screen showing connection to primary structure.

1 2 Second Floor

3 4

406 x 140mm Steel C-Channel

Aluminium frame glass infill wall

Mirrored twice

Mirrored once

7 First Floor Exterior 7.14. Section through curtain wall. not to scale.

8 7.15 Pierre De Lange - 2010

102

7.3.THE HORIZONTAL TOWER

7.17. Perspective of structural method employed in the horizontal tower.

The structural aim of the bridge element above the park is to be as transparent as possible to avoid a visual division of space. This is achieved by using a light structural system. Eight modules on a 5,8 meter grid are used as a starting point. (dimension related to existing structure). Relatively deep primary beams on the floor and roof (1) are connected with smaller sized columns and beams (2) created a box truss. However cross bracing is still needed to stabilise the structure.

Instead of using heavy truss with thick cross bracing members, steel cables are used to span the park (3). Tensile rather than compressive forces allow a much lighter structure to be introduced. The cables transfer the load to thick concrete pillote (4) which are slightly arched to assist in weight distribution and to communicate the same language of the offset geometries. The steel frame on concrete is also an application of the echo of Renaissance architecture.

300 x 150mm steel rectangular hollow sections as the primary beams.

150 x 150mm square steel hollow sections as secondary beams/columns.

20mm High tensile steel cables fixed to the truss using an engineers detail.

500mm deep beam arched to 750mm on 500 x 500mm RC columns.

Echoes in Architecture: The Mediatheque, a new conception of Library

103 7.3.1. FLOOR SYSTEM: Light inset floor 1

7.18. Section through floor of bridge. not to scale.

In order to articulate the rhythm of the grid a light is inset into the floor. 125 x 75 x 20mm steel lipped channels (1) are welded to the 150 x 150mm secondary beams (2). A 50mm deep IBR permanent shuttering (3) is positioned on top of this. In order to create a channel for the light to fit in, a light steel section is used (4) and 75mm concrete floor is cast around it (5). 25mm screed levels the slab and is finished with a slate tile (6). A normal fluorescent light is inserted into the channel provided (7) and 12mm tinted glass is fixed with structural silicone into the channel (8). A waterproof ceiling 9 is screwed to the underside of the floor (9).

Tinted Glass

0 1 2 3 4 5

Bridge Floor

Park below

Secondary bridge beam 7.19. Perspective of bridge floor showing light inset

6 7 8

Lipped channel Pierre De Lange - 2010

104 7.3.2. WALL SYSTEM: Media facade Data from computer

+ Electrical supply

Masterbox (external)

In order to medialise the facade a provision for a large number of electrical wiring needs to be considered. A service box using varying sizes of steel angles is welded to the primary beams of the floor and roof (1). This also forms the structure for the curtain wall which support the GKD Mediamesh (2). The curtain wall employs the same method as that of the perforated alumnium screen wall, however the vertical mullions are replaced with a â&#x20AC;&#x153;slaveâ&#x20AC;?, a rainproof case housing cables according to GKD (2010: 21) (fig 7.19). The mediamesh is fixed to these slaves (3). The electrical wiring is taken through the curtain wall and into a 110mm UPVC pipe inside the service box (4). A glazed balustrade is used to maximise transparency (5).

7.21. Section through top of bridge wall.

7.22. Section through bottom of bridge wall.

3 4

Slaves (rainproof)

Mediamesh

7.20. The mediamesh functions. (GKD, 2010: 21) Echoes in Architecture: The Mediatheque, a new conception of Library

7.23. Perspective of horizontal tower shoing the mediamesh in scale.

105 7.3.3. Solid

roof system

The horizontal tower makes use of two types of roofs: a solid one positioned on the modules that cantilever, and a glazed one between the columns over the park. The glass roof uses the same structure as the roof of the offset geometries. The solid roof is seen below. In order to maintain a light structure a low pitched corrugate steel roof is

used (1). This pitch is achieved by using different sized steel purlins (2). To avoid a cluttered appearance 300 x 200mm gutters are recessed behind the primary beams (3). Water is drained by means of a 60mm downpipe (4) taken through the structure. A suspended ceiling uses the same recessed lighting as the offset geometries (5).

1 2

7.24. Section through roof of horizontal tower. not to scale

3 1

Low pitch maintains simplicity of geometry

5 Service Box

6 7

7.25. Perspective showing recessed gutter.

Recessed Gutter

Pierre De Lange - 2010

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7.4.THE PUBLIC FORUM

Transformed grid canopy The existing postal hall had a glazed ceiling in a grid pattern. The design of the canopy above the raised public forum originates out of a reinterpretation of this idea. A grid module is used as a starting point (fig. 7.27). In order to span between the two wings the grid is transformed into a series of three-dimensional steel arches. The 150 x 100mm longitudinal arches (2) are positioned above the shorter 100 X 75mm arches (3) which transfer the load to a 250 x 150mm perimeter steel beam (4). A glass cladding (1) is used in order to promote transparency and lightness and to be an echo of the existing postal hall ceiling. The entire frame is suspended from the roof structure of the north and south wings using steel cables (5). Both structural and floor systems use the same technique employed in the two wings but using smaller members.

Glazing

Longitudinal Arch

Cross Arch

7.27. Transformation of the existing grid to suite structural needs. Perimeter Beam 1 x 1m Grid

Transformed once

Transformed twice

Putting it together

4 7.26. Perspective of floating canopyâ&#x20AC;&#x2122;s construction method.

Echoes in Architecture: The Mediatheque, a new conception of Library

7.28. Section through portion of the canopy showing connection with perimeter beam. not to scale

107 Pinnacle of tower

7.5.THE MEDIA TOWER The new tower makes use of steel frame construction. This light structural method is used to juxtapose with the heavy existing. This is also to create a narrative for technological advancement. Using the same footprint of the existing new materials allow for a much higher tower to be constructed. Four 350 x 350mm steel corner columns are used as the primary load bearing elements (1). At each level 305 x 165mm steel I-beams (2) are bolted to the columns thereby creating a rigid frame. In order to resist lateral forces and efficiently transfer load to the foundations 20mm high tensile steel cables (3) are welded where the columns and beams meet. As with the horizontal tower, using cables for the cross bracing maximises structural transparency. A central elevator core is supported at each floor.

7.30. Perspective of Media tower.

0 1

2 3 4

Wall Systems

7.29. Elevation of how media louver system is put together.

Waterproof Casing

The west and south facades are clad with GKD mediamesh using the method discussed in the horizontal tower. The north and east facades employ and a different type of digital screen (fig. 7.29). Purpose-made aluminim louvers are fixed to the subframe. LED lights are enclosed inside the louver with a plastic waterproof casing. LED Strip Lights

Aluminium mullion on subframe

Putting it together

Base of Tower Pierre De Lange - 2010

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7.6. OPPENHEIMER PARK

7.6.1. Planted floor slab A 250mm reinforced concrete slab supported by columns and beams below is used as a base for the planted area (1). A 250mm up stand beam creates an enclosed area wherein the grass can be planted (2). A screed is sloped 1:100 (3) towards full-bores located above each column which then drain the water through cast-in downpipes (4). Two layers of Derbigum waterproof membrane are torched onto the screed (5). This is followed by a 50mm Nofa Drain drainage system (6) covered with an anti-root membrane (7). A 100mm layer of gravel (8) is followed by a 300mm layer of earth (9) whereon the grass and other small shrubs can be planted.

Gravel threshold/ water filter

2 1

7.32. Section through planted slab. not to scale

Tiled walkway

Grass

Up-stand beam to enclose planted area Full-bore Anti-root membrane Primary supporting beam

7.31. Perspective of how the park is planted. Echoes in Architecture: The Mediatheque, a new conception of Library

109 7.6.2. Basement wall and planter bed The basement roof / park floor slab is transformed into a stepped seating area for the outdoor cinema and to define the perimeter of the park (1). A 400mm reinforced concrete retaining wall (2) is tanked with a 20mm soft board layer (3) and a torch on waterproof membrane (4). The planted area (5) is recessed below natural ground level in order to create a 500mm ventilation point (6) and make the seating appear to be floating. A 300 x 200mm precast concrete channel (7) prevents water penetration through this opening. This is supported by 150mm square steel columns (8) and closed with a vertical louver system (6). The planter bed is defined by a simple 220mm face brick wall and precast concrete coping (9). This entire system in interrupted to create entrances to the park.

Park side

6 8

1 2

2 3

7.34. Section through planter and seating area.

Poplar Trees

Street side

5 6

Seating Area

7 Basement below

8 7.33. Perspective of planter and seating area. Pierre De Lange - 2010

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7.7. TREATMENT OF THE EXISTING

7.7.1. Lateral bracing and waterproofing The main bracing elements consist of 254 x 146mm steel I-beams (1) bolted to the main supporting columns (2) and welded to a steel plate which is then fixed to the existing structure (3). Varying sizes of rectangular steel sections placed on top of this beam (4) create a slope and substructure for a glass roof. The glass is inset in a prefabricated aluminium panel (5). Water is collected via a 300 x 150mm steel gutter which is drained by a downpipe inside the column (6). Steel flashing is chased into the existing structure and fixed to the glass with structural silicone (7). A second layer of waterproofing overlaps this protecting the coping of the existing ruin (8).

7.36. Section through glass roof. not to scale.

Waterproofing Existing Structure

Window infill

Semi-transluscent glass

New structure

Purpose-made aluminium frame 7.35. Perspective showing waterproofing and lateral bracing. Echoes in Architecture: The Mediatheque, a new conception of Library

Gutter

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7.37. Detail photos showing the extent of the Post Officeâ&#x20AC;&#x2122;s disrepair.

7.7.2. Treatment of the exterior of the ruin

7.7.4. Generic window detail

The initial heritage stance as discussed in chapter three was to minimise changes to the significant parts of the existing. These parts should also speak truthfully of its own memory. No reconstruction or restoration will be done, only preservation. A simple method of cleaning the facade is proposed. This would involve removal of flaking paint (1), all un-used service elements (downpipes)(2). Once this is complete the facade is washed with water, non-corrosive soap and non -abrasive brushes in order to remove as little of the original material as possible. The facade is left untreated so as to allow further memories to be deposited on it in the future.

Due to the existing walls forming part of the envelope of the new building a generic detail for new windows needs to be developed. Rather than recreating the existing windows as false copies, a new frame is designed. A steel frame of 75 x 75mm angle irons (1) is pre-manufactured wherein a single sheet of 6mm safety glass is fixed using structural silicone (2). Some larger openings may require 10mm thick glass. These prefabricated panels are then bolted to the interior of the existing ruin (3). The new window is clearly articulated from the existing. This deep set window is barely visible from the exterior making the existing still appear to be a free-standing ruin.

1 2 3 7.39. Perspectives of generic window detail.

7.7.3. Treatment of the interior of the ruin

7.38. Elevation of interior of ruin showing treatment. Unplastered

The memory of the floor levels and rafters are preserved and treated the same as the exterior. The charred walls are plastered and painted a neutral white, however, this plane is interrupted at corners, openings and where existing interior walls were removed. This allows the new to be read as a separate plane and the existing memory is preserved (fig 7.37).

Exterior

Interior

Existing Opening

Existing floor line and rafters New plaster and paint

7.40. Plan of generic window detail. not to scale Pierre De Lange - 2010

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CHAPTER8

Conclusions 8.1. FINDINGS OF THE STUDY

This dissertation began with describing how the past shapes our identity as individuals and as a society. Our actions today are underpinned by our memories and experiences of the past. A total break from oneâ&#x20AC;&#x2122;s history is thus impossible and we as South Africanâ&#x20AC;&#x2122;s should embrace our past rather than try to forget. Therefore history can be used as a reference point when evolving new positive ideas for our society. Furthermore, it was identified that cities concretise memories in built form. With time the city becomes a theatre of memory and identity portraying both positive and negative memories. As an encyclopedia to a society the city should preserve these memories while constantly storing new ones. The idea of the Collage City which recognises multiple ideas in a single city supports this argument.

This together with the idea that the present is a continued analogy of the past leads to the development of the concept of Echoes in Architecture. The echo is informed and supported by history but embraces hopes for the future. It is the transformation of past ideas to suite present needs and provides a window to the future. The architectural echo can act as a mediator between the past and the future, between memory and hope. It was discussed how this issue is extremely relevant in South Africa due to our turbulent past and the uncertain future. The idea of echoes gives us a method of reconciliating the painful memories of the past with the possibility for a bright future in built form. This idea was presented through the adaptation of the derelict Rissik Street Post Office in the Johannesburg CBD. The future conception of a library was born out of a tradition rooted in its past; the mediatheque.

Look back and remember

PAST

Echo

Look forward and hope

PRESENT

Informs the present

Created by dreams Indirect Influence

Echoes in Architecture: The Mediatheque, a new conception of Library

Echo

FUTURE

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8.2. SELF EVALUATION AND CRITIQUE Advantages of the design

The design respects the scale of the Post Office in height and mass. It successfully achieves the goal of being an echo of the existing which is adapted to present day needs. Without the theoretical discourse and site investigation guiding the design process the resultant echo would not be possible.

Shortcomings of the Design

Finances: the reason why the building has not undergone a change for the positive is the reluctance for financial investment, not only by the managing bodies. Security: due to the reality of crime in the Johannesburg CBD and the permeability of the design safety becomes a problem. However, it is believed that good architecture and good management can help reconciliate the past, present and hope for a better future.

4 5

Possibilities for the site not explored Limiting the design to a respectful scale is an appropriate response to the site, however it does not explore an extreme alternative for urban redevelopment. The possibility exists to introduce a hundred storey skyscraper on the site. The Rissik Street Post Office was one of the seeds from which Johannesburg grew. Thus proposing such an iconic structure to be a new seed for transforming the Johannesburg CBD is an optimistic alternative. This would lay the foundations for a CBD which could compete with international cities such as New York, London and Shanghai.

6 7 8 The optimistic possibility of the site. Pierre De Lange - 2010

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8.3. NARRATIVE

Whispers on the Wall Left derelict; my keepers' cowardice The walls whisper 'origin', lest you forget Slaughter me as limbo does not suffice Divorced by space and time, actions regret Blackened face exposed by the veil of truth Behind sight they infect poison, VIRUS! My neighbours gossip, I scream abuse. Countless eyes glance but never see righteous. Seeking my saviour in the foul cinders Hear my wisdom, hidden in black disguise Summon remembrance before it withers I was born where giants now hope to rise Unfold my wings permit us unity Grind in my soul and show me purity - Pierre R De Lange

Photos taken during the second site visit on 11 July 2010 with assistance from the citizens of Johannesburg.

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8.4. BIBLIOGRAPHY BOOKS Ankersmit, F.R. 2005. Sublime Historical Experience. Cultural Memory in the Present. Stanford University Press, California.

Bachelard, G. 1938. The Psychoanalysis of Fire. Beacon Press, Canada. Bastea, E(ed). 2004. Memory and Architecture. University of New Mexico Press, Albuquerque, U.S.A.

Birksted, J. 2000. Landscapes of Memory and Experience. Spon Press, New York.

City of Johannesburg. 2006. Joburg!. The passion behind a city. Affinite Publishing, Johannesburg. Johannesburg. 1986. Johannesburg 1886-1986. One Hundred Years. Chris Van Rensburg Publishing, Johannesburg. Joubert, O. (ed.). 2009. 10 Years + 100 Buildings. Architecture in a democratic South Africa. Bell Roberts, Cape Town. Littlefield, D & Lewis, S (eds.). 2007. Architectural Voices: Listening to Old Buildings. John Whiley & Sons, England.

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Lowenthal, D. 1986. The Past is a Foreign Object. Cambridge University Press, England.

Magagnato, L. 1982. Carlo Scape, a Castelvecchio. Ediziono di comunita, Milan. Murphy, R. 1990. Carlo Scarpa and Castelvecchio. Butterworth Architecture, London. Murray, N., Shepherd, N. & Hall, M. (eds.). 2007. Desire Lines. Space, Memory and identity in the postapartheid city. Routledge, United Kingdom. Nesbitt, K. 1996. Theorizing a new agenda for architectural theory, 1965-1995. Princeton Architectural Press, New York. Smith, A. 1956. Pictoral History of Johannesburg. Juta & Co. LTD, Johannesburg.

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116 INTERVIEWS Fraser, N. 2010. (Heritage architect in Johannesburg). Correspondence about the possible future for the Rissik Street Post Office. 16 February. Electronic mail. Hart, M. 2010. (Architect in Johannesburg). Discussion about his design and theoretical approach to the Drill Hall conversion. 10 March. Phone call to Johannesburg. Mckechnie, B. 2010. (Architect in Johannesburg). Personal Communication about his thesis proposal at the Barbican Building and discussions about the Post Office. 26 January & 5 February. Phone call and interview in Johannesburg. Paine, H. 2010. (Architect in Johannesburg). Personal Communication about his proposal for Rissik Street Post Office. 26 January & 5 February. Phone call to Johannesburg. Pienaar, F. 2010. (Architect in Johannesburg. Discussion about his urban design upgrades along the Civic Spine and possible re-use of Post Office. 5 February. Interview in Johannesburg. Prins, H. 2010. (Heritage architect in Johannesburg). Discussion about possible intervention into existing structure. 10 March. Phone call to Johannesburg. Stone, J. 2010. (Architect in Johannesburg). Discussion on the upgrades done to the Johannesburg city library. 16 February. Phone call to Johannesburg. Mauze, S. 2010. (Architect in Johannesburg). Discussion about his design for the new Oppenheimer Park and Joubert Street Market roof. 12 February. Phone call to Johannesburg. ACTS & CHARTERS South Africa. 1999. National Heritage Resources Act. Government Gazette, 19974 (406). Cape Town, Government printer. Australia ICOMOS. 1999. The Burra Charter. The Australia ICOMOS Charter for Places of Cultural Significance 1999. Australia: Australia ICOMOS Incorporated. VIDEO Frampton, K. 1988. Japan: Three generations of Avante Garde architects. Video Recording. Michael Blackwood Productions: London. Echoes in Architecture: The Mediatheque, a new conception of Library

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websites Davie, L. 2002. Rissik Street Post Office. [Online]. Available from: http://www.joburg.org.za/content/view/295/51/. [Accessed on 27 January 2010]. Fraser, N. 2008. Neil Fraser looks at Post Office. [Online]. Available from: http://www.joburg.org.za/ content/view/2834/291/. [Accessed on 27 January 2010]. Google Images. 2010. Google Images. Available from : http://images.google.co.za/imghp?hl=en&tab=wi. [Accessed throughout year]. Google Maps. 2010. Google Maps. Available from : http://map.google.com/imghp?hl=en&tab=wi. [Accessed throughout year]. Ito, T. 2005. Image of Architecture in the Electronic Age. [Online]. Available from: www.designboom. com-eng-interview-ito_statement.html. [Accessed 8 April 2010]. Johannesburg. 2010. Website for the city of Johannesburg. [Online]. Available from: http://www. joburg.org.za. [Accessed on 25, 26, 31 January, 8 February and 3, 6 March]. Johannesburg SDF. 2008. Johannesburg spatial development framework. [Online]. Available from: http://www.joburg.org.za. [Accessed on 8 April 2010]. Renlia. 2009. Renlia Development Awards. [online]. Available from: http://www.renlia.co.za/awards. html. [Accessed on 3 October 2009]. SAHRA. 2010. South African Heritage Resources Agency. Conservation Principles. [Online]. Available from: http://www.sahra.org.za/principles.htm. [Accessed on 3 July 2010]. SAHRA. 2007. South African Heritage Resources Agency. Inventory of National Estate. [Online]. Available from: http://www.sahra.org.za/inventory.htm. [Accessed on 3 July 2010]. WIKIPEDIA. 2010. Online community encyclopedia. search for Reichstag images. [Online]. Available from: http://www.wikipedia.com. [Accessed on 28 August 2010].

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118 MAGAZINES & DISSERTATIONS Engstrom, J.D. 2003. Conventry Mediatheque. A Place for Access, Action, Interaction and Creation. Unpublished Thesis. University of Cincinnati, Ohio. GKD. 2010. Media Facades. Ag4, Media facade, Gmbh. [Online]. Available from http://www.gkdmediamesh.de. [Accessed on 6 June 2010]. Levene, R.C. & Cecilia, F.M (eds.). 2005. El Croquis 123. Toyo Ito: 2001 - 2005. El Croquis Editorial: Madrid. Mckechnie, B. 2005. A Collision in space and time. Urban conservation and regeneration in Johannesburg. Unpublished thesis. University of Pretoria, South Africa. Oosterman, A., Bouman, O., Koolhaas, R. & Wigley, M(eds.). 2008. Volume. Destination Libraries. Stichting Archis, Netherlands. Patterson, R. (ed.). 2000. Architectural Design: the tragic in architecture. Signs of tragedy past and future. London, Wiley-Academy. LECTURE Noero, J. & Raman, P. 2010, Lecture on the use of history in contemporary architecture. February 2010, Bloemfontein. ELECTRONIC BOOK Digital Convergence. 2007. Digital Convergence. Libraries of the Future. [Online]. Available from http://www.uovs.ac.za/. [Accessed on 10 April 2010]. REPORT Hart, M. 2004. Project synopsis. Drill Hall Johannesburg 2004. Unpublished report. Michael Hall architects urban designers, Johannesburg.

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0 1 2 3 4 5 6 7 8 Pierre De Lange - 2010