History Portfolio Third Year by Stefanvh32

HISTORY PORTFOLIO Stefan van Heerden 2192396

TABLE OF CONTENTS

Reflection/Introduction to Portfolio Project 1 - Womans World Project 2 - Historical Model Project 3 - KwaThema Project 4 - Graphic Novel Sketchbook Drawings + Notes Process work of all Projects

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REFLECTION/INTRODUCTION:

This portfolio displays work completed for ARPL3021A, Histories and Theories of Architecture. I think that the year has helped me to develop select skills. From essay writing + research (Project 1), Model building (Project 2), Mapping and drawing a place in its existing context (Project 3) and a Graphic Novel (Project 4). The graphic novel is something I have never attempted to do in the past and I do think it presented better than I thought it would. The compilation of projects forced me to approach each project differently, either through research, drawing or site visits. Overall, I think the course offered a wide range of different skills to be learned. I thought that the lectures where interesting, in terms of the content and how it was presented. I also enjoyed engaging with the sketchbook drawings.

IMPACT on architecture and the view of women

Compilation of zaha hadid’s projects that followed after the vitra fire station.

zaha went seemingly from being known as the paper architect, to “the queen of the curve”, with her elaborate and expressive architecture. her buildings where structurally complicated and her design thinking did hinder her abilities to realize architecture , however that did not last long28.

HER IMPACT ON THE VIEW OF WOMEN, NOT ONLY IN ARCHITECTURE CAN SEE HER AS

Zaha hadid’s vitra fire station was the start of her legacy. this building defines the word form vs function. the building breaks away into explosive action to protect the factories.

a comparison of zaha hadids career, where this building was her breaking away from the closed, and breaking away from designs that where unbuildable34. seemingly unable to escape the paper that it was drawn on. THIS OPENED THE WORLD OF ARCHITECTURE FOR WOMEN ON A GRAND SCALE.

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Since the design of the vitra fire station, zaha hadid’s career exploded into life, her “unbuildable” buildings came soon to be realized.

LINA BO BARDI - SESC POMPEIA FACTORY It was interesting to do the research for this project, and to see how Lina applied her This case study looked at Lina Bo Bardi’s designed design thinking to this building that was a building the Sesc Pompeia Factory. Within renovation of old warehouses. Even if it is not the project as a group we researched certain the most beautiful building in the world, but it categories to understand the building better. is contextually appropriate for Sao Paulo(A sad Categories such as Concept, Context, Circulation, city). Spatial Organization, Materiality, Construction, Facades and Fenestration. I think drawing the building in 3D helped me to The categories were sub divided between the understand how it was put together and how group, to ensure each group member contributed. these complex spaces relate to each other. All images drawn by seperate group members are Seeing how all the different category came labelled. together helped me to understand the building more collectively than just the materiality or Project Roles: 1. Kendall Gow - Lina Bo Bardi History, context and Bibliography: circulation Lina Bo Bardi was a prolific architect and 2. Claudia Glashoff, Concept, spatial Organization, designer who devoted her working life to composition of final report/presentation. promoting the social and cultural potential 3. Stefan van Heerden - Materiality and of architecture and design. Lina Bo Bardi construction, gathering and distribution of book associated the practice of architecture with sources from the Architecture Library (JM), everyday culture and its experience with the modeling SESC pompeia in Revit 2021. (Drawings theatre of life. on Page 8 - 10)

Figure 1: Lina Bo Bardi

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Project 1 - Womans World

PROJECT INTRODUCTION:

Figure 2: Sesc Pompeia Factory

Famous works:

CONCEPT:

SESC (Social Service of Commerce) was founded in 1940 as private houses and in 1986 they moved into the ‘Pompeia Leisure Centre’ (Khu SESC Pompeia - Lina Bo Bardi, 2016). The ‘SESC Pompeia Leisure Centre’ focused on creating a place of conviviality and shared happiness amongst the members of the SESC (Khu SESC Pompeia - Lina Bo Bardi, 2016). Lina Bo Bardi spent a lot of time and attention on helping the humble employee or inhabitants of the working-class district and so was excited to be a part of the project (Khu SESC Pompeia - Lina Bo Bardi, 2016). The building was to function as a leisure centre for the use of commercial sector employees at which it would provide members with healthcare, cultural and sporting facilities. The centre was to be an “emblem, without erasing the history of the workplace in the heart of the metropolis” and so the original barrel factory was transformed into a leisure centre full of life and joy (Khu SESC Pompeia Lina Bo Bardi, 2016).

CONTEXT: One of Lina Bo Bardi’s main considerations during the design process was to create a bold building that both respected and celebrated its surrounding context whilst simultaneously fitting in with the architectural language that brings the city to life. The addition of the sports complex contributed to the already impressive city skyline to make one of a striking nature.

Figure 3: ‘SESC Pompeia Leisure Centre’ locality map (Drawn by Gow, 2021)

Although the height of the sports complex contrasts that of the preexisting factory, it speaks to many of the surrounding buildings and creates an interesting height variation throughout the surrounding context (Khu SESC Pompeia - Lina Bo Bardi, 2016).

Figure 4: ‘SESC Pompeia Centre’ in its opening years (Camacho, 2020)

When Lina Bo Bardi was originally tasked with designing the Leisure Centre, the factory was a preexisting structure. She chose to design an additional three masses which dramatically contrasted the horizontality of the old factory, creating an “image of a citadel facing the city” (Bardi, 1977).

Lina Bo Bardi’s design concept originally included the addition of a single, much larger structure for the sports complex, but due to the presence of a canal through the site, she was forced to reimagine her original design (Khu SESC Pompeia - Lina Bo Bardi, 2016). This resulted in the building form splitting apart across the canal. Although originally a cause for frustration for Lina Bo Bardi, this necessary shift in the conceptual design led to the creation of the iconic gangways connecting the buildings across the canal. This addition has become one of the buildings most identifiable features and that is, because of these sculptural and architectural innovations, the building receives its many and increasing tourists yearly.

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The original factory was planned to go under with minor renovations which was revolutionary, as industrial architectural heritage did not exist in Brazil at this time (Khu SESC Pompeia - Lina Bo Bardi, 2016). Surrounding buildings were designed to hug the ‘Cultural Centre’ and hence the Sports Complex was created.

CIRCULATION: Lina Bo Bardi is well known for her creation of intentional and intriguing spaces that integrate with each other seamlessly. It is because of this talent that the circulation in the building works so effortlessly. Her circulation flows from open, interactional spaces to grand exterior bridge like corridors and everything in between. The horizontal and vertical circulation within both structures is a combination of common circulation techniques and a series of unique methods. Lina Bo Bardi, however, found a way to make circulation spaces that are known for their mundane nature into an experience of some kind. In the sports complex, the traditional emergency vertical circulation was designed to protrude off both structures. Except for the emergency stairwells, the only other way into the sports complex is via the gangways. The lift system in the smaller structure allows ease of access to higher levels in order to navigate the structures easily.

The circulation in the factory consists of a main entrance into the building complex which contains four multi-functional buildings with their own individual entrances. Within these individual buildings, a mostly open plan approach was taken to allow for freedom of horizontal circulation within the spaces. This will be discussed in more detail below.

Figure 5: Vertical & horizontal circulation within sports complex (Drawn by Gow, 2021)

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The presence of these gangways, however, introduces an interesting and playful form of horizontal circulation between the buildings, across the canal.

SPATIAL ORGANISATION:

The theme of movement is highly distinguishable in the building. Lina Bo Bardi designed spaces that interconnect and unite resulting in an ambience of conviviality that is carried throughout the design. Clearly depicted in the illustration above, movement was a theme that Lina Bo Bardi had contemplated from the very beginning of the conceptual development stage. The drawing expresses a chaotic yet lively sense of permanent flow throughout the design that has now been established in the existing building. The substantial consideration of movement is particularly evident in the Cultural Centre’s Library Workshop as well as the gangways that connect the SESC Pompeia Sports Centre with the Sports Ancillary building.

Lina Bo Bardi utilized the factories original structural grid to organize the different activities within the ‘SESC Pompeia Cultural Centre’ (de Oliveira, 2014, p. 196). The largest factory workshop has been split into two principal uses, namely the ‘Library Workshop’ and the ‘Theatre Workshop’. The Library Workshop consists of five structural spans that have been divided to enable users the opportunity to choose from different activities and levels of privacy (de Oliveira, 2014, p. 124). The first span is used as an exhibition space (de Oliveira, 2014, p. 202). This exhibition space makes use of temporarily constructed box’s that is separate from the old factories structure and thus can be removed at any time (de Oliveira, 2014, p. 202). Considering the exhibition boxes are stand alone elements, Lina Bo Bardi showcases a respect between the original structure’s walls, columns, and ceilings and the current ‘SESC Pompeia Leisure Centre’.

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Figure 6: Conceptual drawing showing movement in the design (Bardi, 1977)

The following two spans function as the library space (de Oliveira, 2014, p. 202). Lina Bo Bardi employed a technique at which height is used as a tool to generate more intimate spaces at which different activities can take place. The different levels have been created by constructing a cube like half height terrace as well as a mezzanine level. The cube-like forms use parapets to entirely separate the public spaces available on the ground floor from the more intimate spaces on the half height terrace and mezzanine level. To circulate through the different library levels, Lina Bo Bardi has created numerous independent staircases that encourage easy movement from space to space. The last two spans within the ‘Library Workshop’ operates as a “User-Friendly Area” (de Oliveira, 2014, p. 202). This space consists of a captivating stream that punctuates the space as it flows down the room, leaving meanders and bends behind in its path. Along the curves of the stream, Lina Bo Bardi has furnished the space with armchairs she had designed herself. The chairs were designed in such a way where it can be placed in different modular arrangements dependent on the users needs at the time. The curves along the stream together with the chairs create agreeable areas where users are encouraged to “converse, daydream or rest” (Khu SESC Pompeia - Lina Bo Bardi, 2016).

Figure 8: Interior perspective of ‘User Friendly Area’ and its stream (Monografías, 2015)

Figure 9: Exterior perspective of ‘SESC Pompeia Sport Complex’ from gangway (Drawn by Glashoff, 2021)

The grandeur scale of the Sports Complex makes a move on the scale of the city, contrary to the minimal changes of the factory.

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Figure 7: Interior perspective of half-height terraces and the individual staircase (Drawn by Glashoff, 2021)

In addition, the stream serves as a metaphorical representation of the theme of movement that is an essential within the building. The ‘Theatre Workshop’ consists of two structural spans (de Oliveira, 2014, p. 204). The one span functions as the entrance to the theatre, whilst the other is the theatre itself. In the theatre, she has utilized the longitudinal layout of the original workshop to create a traverse theatre where half the audience faces each-other maintaining the theme of conviviality within the building. The ‘SESC Pompeia Sports Complex’ continues the theme of movement and conviviality throughout the design however with its brutal characteristics it creates a much more powerful atmosphere within all the different spaces.

Each floor within the ‘Sports Complex’ is open plan with no structure interfering in the space (de Oliveira, 2014, p. 210). This allowed for full sized sporting facilities such as a swimming pool, a gym, a football pitch and various courts (de Oliveira, 2014, p. 210). Lina Bo Bardi was particular with symbolism and it manifested into the ‘Sports Complex’ design with her colour coded sporting courts. She didn’t want people to “suggest a meeting on the fourth floor”, instead she preferred that users should “find each other on Autumn or Winter” and so each floor has been colour coded relating to a season, providing each space its own identity (Monografías, 2015, p. 88).

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Figure 10: Interior perspective ‘Autumn’ court within ‘SESC Pompeia Sport Complex’ (Drawn by Glashoff, 2021)

MATERIALITY:

The SESC Pompeia material pallet is rough and brutal in its appearance. Most of the materials from the original factory workshops were preserved, such as the face brick walls, the timber roof structure and concrete columns. Lina Bo Bardi wanted to keep the old factory buildings as they were. In her own words Lina Bo Bardi emphasized how “the priority, therefore, was to maintain and promote this vital activity, without demolishing the existing structures, designed by the French François Hennebique, one of the pioneers in the use of reinforced concrete” (Monografías, 2015). Lina Bo Bardi has made us of concrete to express the buildings brutalist concept. “She quite explicitly decided to use exposed concrete, whose rough quality supports the impression of [poor architecture], which she herself even described as ugly” (Lepik, 2014, p. 267). She made these design decisions to portray São Paulo as a sad city. The sports complex and the circulation tower were new additions to the existing site. They were constructed out of reinforced concrete. As seen in the photograph above, when the formwork was removed, it creates a concrete off-shutter facade which radiates the architectural aesthetic that flows throughout Lina Bo Bardi’s design.

Figure 12: Concrete columns on interior of old workshops (de Oliveira, 2014, p. 129)

Clearly depicted in ‘figure 20’ above, the water tower has an intentional ruffled concrete finish and was built out of cylindrical concrete sections. Lina Bo Bardi rejected the idea of applying a finishing to the tower, instead the traces of poured concrete were preserved leaving the raw and unfinished aesthetic that Lina Bo Bardi wanted to manifest throughout the design. The concrete columns in the workshops as seen in ‘figure ?’ above, utilize a tapered design. This technique makes the columns look like they are spanning higher than they are and in consequence creates an effect where the spaces within the workshops, feel larger and more open.

Figure 13: Exterior of circulation tower (de Oliveira, 2014, p. 121)

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Figure 11: Concrete water tower (Selby, 2016)

CONSTRUCTION:

The axonometric diagram above presents the original timber truss system and concrete beam and column structure used within the roof of the original factory. Lina Bo Bardi chose to strip back the unnecessary partition walls within the structure and expose the bare structure which completely opens up the spaces and continues the crucial theme of permanent flow throughout the design. The original finishing of the interior wall was removed resulting in the face brick being exposed on the interior and exterior wall. This aesthetic serves as a symbol to relate the ‘Cultural Centre’ back to its original use as a working factory.

Figure 14: Construction methods of workshop spaces (Drawn by van Heerden, 2021)

Figure 15: Construction of the circulation and water tower (Drawn by van Heerden, 2021)

Figure 16: Construction of the circulation and water tower (Drawn by van Heerden, 2021)

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The gangways utilize strong and rigid angles that differ as you travel up the building. As a result, from below, the ramps form a stark silhouette against the sky, conforming with the brutalist nature of the building.

The axonometric diagram on the previous page explains the construction of the ‘Sports Complex’. The sports complex was intended to be supported without a column grid system. This creates an unobscured space for sports activities on the interior. This has been achieved by the beam system spanning in two ways, supporting the suspended floor slabs above. Lastly the window openings have an organic shape. The manner at which Lina Bo Bardi achieved this sculptural void was to place a polystyrene plug within the reinforced concrete wall before the concrete was poured. When the concrete dried, the polystyrene plug was removed to create the organic void.

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Figure 17: Construction of the sports complex windows (Drawn by van Heerden, 2021)

FACADES AND FENESTRATION:

Lina Bo Bardi recycled the structure and the facades from the old industrial factory. She decided to preserve the historic nature of the original building and renovate it based on her love for nineteenth century industrial architecture (de Oliveira, 2014, p. 267). The concrete frame structure marks out the windows, doors, and the ridge of the roof. The gaps in the structure are filled with exposed brickwork or glass. These elements, along with the asymmetric roofs, promotes a pleasing and uniform aesthetic to the exterior of the building.

Figure 18: East facade of the ‘SESC Pompeia Leisure Centre’ (Drawn by van Staden, 2021) Figure 20: Façade materiality of the ‘Sports Complex’ (Drawn by van Staden, 2021)

Figure 21: ‘Sports Complex’ circulation gangways (Drawn by van Staden, 2021)

Figure 19: Detailed east façade of the ‘Cultural Centre’ workshops (Drawn by van Staden, 2021)

The ramps become a prominent feature of the building as the massive volumes creates an impressive accumulation of visual effect (Khu SESC Pompeia - Lina Bo Bardi, 2016). The size of the ramps along with the connection to each building displays an extraordinarily strong bonding relationship between the two buildings.

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Lina Bo Bardi expressed how she wanted the concrete towers of the ‘Sports Complex’ to appear as “three brutal buildings in the middle of [a] concrete jungle” (Khu SESC Pompeia - Lina Bo Bardi, 2016). She succeeded in this by using an exposed concrete finish for all three towers of which gives off no idea as to what the interior function of the building truly is and so it becomes “a ray of sunshine in an over-populated city” (Khu SESC Pompeia - Lina Bo Bardi, 2016)

Perfect square windows are organised somewhat ‘randomly’ and ‘unaligned’ within the ‘Sports Complex Ancillary Building’ to a create blunt visual impression onto its users. These “out of the box” windows completely differ from the ‘pre-historic ([holed windows])” that accompany the ‘Sports Complex”. Figure 22: Hand drawing of ‘Sport Complex Ancillary Building’ windows (Drawn by van Staden, 2021)

The ‘Sports Complex’ utilizes strangely shaped windows that attract your attention as you approach the building. These windows are placed on a vertical grid format of which occupies the entire facade of the building.

Figure 23: ’Pre-historic’ windows on the ‘Sports Complex’ (Drawn by van Staden, 2021)

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The ‘pre-historic holes’ are paired with timber trellis’ that allows for an increase in air flow and ventilation through the space as well as preventing the glare of any harsh sunlight. These timber trellis’ are also effective in keeping the sports arena balls inside and not flying out through the holes (Khu SESC Pompeia - Lina Bo Bardi, 2016).

1. Azure, 2020. Lina Bo Bardi: Habitat. [Online] Available at: https://www.azuremagazine.com/events/lina-bo-bardi-habitat/ [Accessed 8 April 2021]. 2. Bardi, L. B., 1977. Movement within SESC Pompeia. [Online] Available at: https://linabobarditogether.com/wpcontent/uploads/2012/08/WT_1977_SESC-F%C3%A1brica-da-Pomp%C3%A9ia_web630x275.png 3. Camacho, S., 2020. Retrospective: Lina Bo Bardi. [Online] Available at: https://www.architectural-review.com/essays/retrospective/retrospective-linabo-bardi [Accessed 8 April 2021]. 4. Camacho, S., Pockson, J. Karampatakis, D. Moore, R. Wilkinson, T. Serapião, F, Beaumont, E. and Carvalho, L, 2020. Retrospective: Lina Bo Bardi - Architectural Review. [online] Architectural Review. Available at: <https://www.architecturalreview.com/essays/retrospective/retrospective-lina-bo-bardi> [Accessed 9 April 2021]. 5. Castilho, R., 2019. Melhores Destinos. [Online] Available at: https://www.melhoresdestinos.com.br/masp.html [Accessed 8 April 2021]. 6. de Oliveira, O., 2014. Lina Bo Bardi: Obra Construida - Built Work. Barcelona: Gustavo Gili, S.L. 7. Khu SESC Pompeia - Lina Bo Bardi. 2016. [Film] Brazil: Handhome. 8. Lepik, A.,2014. Lina Bo Bardi at 100: Brazils alternative path to modernism. Hnatje Cantz: Germany 9. Martins, R., 2016. Behance. [Online] Available at: https://www.behance.net/gallery/40359473/Sesc-Pompeia [Accessed 4 April 2021]. 10. Monografías, A., 2015. Lina Bo Bardi: 1914 - 1992. Madrid: Arquitecturaviva. 11. Pinterest, 2021. [Online] Available at: https://ro.pinterest.com/?show_error=true [Accessed 8 April 2021].

13. Vitruvius, 2019. [Online] Available at: https://vitruvius.com.br/revistas/read/projetos/19.223/7432 [Accessed 8 April 2021].

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12. Selby, R., 2016. Brazilian Concrete. [Online] Available at: https://brazilianconcrete.wordpress.com/2016/10/28/visit-sesc-pompeia/ [Accessed 27 March 2021].

PROJECT INTRODUCTION:

Project 2 requires an architectural model of a building from the time period between the 1960’s to 1970’s. The building that I have chosen is the Lutheran School of Theology, the building construction finished in 1968.

Project 2 - Historical Model

The reason why I chose this building is because I found the façade, particularly the south façade to be an interesting and elegant design that does not look too complicated to unpack. The design is modernistic with clean lines. Although there is still a complexity to the windows that are not on the same plane or even the same size on the façade. The following analysis will look at the wall/window detail from the buildings facade below.

Figure 1: South facade of the Lutheran School of Theology (Drawn by Stefan van Heerden, 2021)

Figure 2: Hand drawn analysis 1 (Drawn by Stefan van Heerden, 2021)

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PROCESS DRAWING:

REFLECTIVE TEXT:

For me the detail that I have chosen is quite interesting. It really shows a range of composite materials used together to enclose the building. This is essentially an envelope detail. And it shows the difference between the inside and the outside of the building. The detail, illustrates the wide range of options one has to design a window sill or even a window lintel for instance. This is an assembly of aluminium components . I think this is a good example of modular construction. As I see each window as a modular panel, combined together to make an entire facade. When I first analyzed the drawings it looked like a solid metal section that was used to express the window sill. But through closer inspection it is hollow (probably saving on materials costs and aluminium is not typically used as a structural material, more of a finish material (smooth), it also need minimal maintenance compared to steel and timber window frames). Its interesting that one can choose 2 different areas of the sill to place the window. The sill is also angled as to allow for more direct southern sunlignt into the building (Northern hemisphere) and it helps to quickly drain water off the building.

Figure 4: Callout A of perimiter (Drawn by Stefan van Heerden, 2021)

This if you look on page 2 of the report, you can see it creates a textured/3D effect on the facade. I think with the use of mullions it adds to the textured affect. The mullions on the exterior can also be used to block some sunlight from the east and west. However not a large amount of sunlight would be blocked in the summer due to how the window frame is angled. Overall, I think its an interesting detail and it can be easily adapted onto other buildings. 1.

Figure 3: South facade perimiter section (Drawn by Stefan van Heerden, 2021)

10.

Figure 6: Callout C of perimiter (Drawn by Stefan van Heerden, 2021)

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PROCESS IMAGES:

Figure 5: Callout B of perimiter (Drawn by Stefan van Heerden, 2021)

Materials

- Recycled Triplex (From previous projects) card as an expression of something that is light weight like the aluminium window frame.

Figure 9: Final Model image 1 (Photograph by Stefan van Heerden , 2021)

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Figure 7: Hand drawn analysis (Drawn by Stefan van Heerden, 2021)

Final Model Image

- Recycled Grey Board (From previous projects) used to express something heavy like a concrete floor.

Figure 8: Final Model image 1 (Photograph by Stefan van Heerden, 2021)

PROJECT INTRODUCTION/REFLECTION:

Project 3 looked at drawing and mapping KwaThema. The mapping segment of the project is accompanied with a route around open spaces within KwaThema. Important elements and buildings/open spaces throughout the route had to be documented and researched. The idea of the project is to provide a guide book of this particular route. The majority of the group went to visit the site and saw what Kwathema looked like in person, for me this was an experience of how people in Kwathema lives and how they have adapted to current conditions.

Project 3 - KwaThema

Researching how KwaThema was intended to look like by DM Calderwood is vastly different. Seeing the houses in-person, I was struck by the neatness of every house and how each house looked different from each other. In a way the architecture adapted to peoples styles and needs. This is big contrast in what Calderwood had envisioned for “minimum” housing. These houses represented the absolute minimum that people would need and I found it facinating to see in person. Project responsibilites are as follows: The 11KM route was divided up into 1km segments and sub divided under every group member. Just to ensure that each group contributed towards the final booklet. The roles for each group member is outlined below:w This also relates to the drawings done and imaged found on each individual page.

A study of

OPEN SPACES

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KWA-THEMA

[Group 5_- Open Space] Ana = 0 - 1km [Kwa - Thema Training Centre + Open Space on Masinga Street] Justine = 1 - 2km [Eudy Simelane Park] Stefan = 2 - 3km [Indaba Tree Heritage Park + 2008 Shabangu Street, hand drawn image of cover page to the left, compiling research, Project 3 Part 2, set up of MS teams folder for group members + drawings and text on page 21] Combining Docomomo Fiche documents for group. Ciara = 3 - 4km [Tlakula Ground] Arabella = 4 - 5km [Rendered plan on page 22, Christianity and Church Culture, rendered cover page, setup final document layout] Mercy = 5 - 6km [Extension 7 ground] Tom = 6 - 7km [Funerals] Zahirah = 7 - 8km [Ntokozweni Primary School] Georgia = 8 - 9km [Enuthokulo Public Park] Jack = 10 - 11km [Kwa Thema Container] Keagan = 11 - 1km [Buffer Zone]

The Kwa Thema

Training Centre

The updated programme is made up of a liquor store, funeral parlor, shebeen and café – the Kwathema Café. And can be used for community gatherings. The Training Centre is an important part of Kwa Thema’s histor y because it shows the beginnings of Kwa Thema. Kwa Thema is one of the oldest townships in South Africa.

Situated on the corner of Monametsi and Thema Street, originally called the Training Centre. In 1952, w hen the building was completed, its initial purpose was to provide a space where the local workforce in Kwa T hema could be taught the construction skills to build the original model township.1

George Motlhaping – a local of Kwa Thema – shares his view on the Training Centre

Open Space – Masinga St

George is the community messenger with municipality of the Centre caretaking. He believes that the Training Centre is a good place to bring the community together but unfortunately it is quite run down, and it saddens him that it hasn’t reached full potential due to limited resources for the caretaking of the building.

You are here

They believe that George has not done his job as the caretaker of the Training Centre and said that he has taken control of it completely. This situation has resulted in the Training Centre not being as accessible to the community as it should be. Despite this, the community still strongly desires the Training Centre to be reestablished in order to give opportunities back to the community and, more importantly, to the youth of Kwa Thema.

The building is made of bricks and plastered and painted. The building is surrounded by two churches on adjacent sides. There are residential houses across the street. The building is a simple rectangular shape with a sloped roof. The windows and doors frames are made from steel. The building has developed in small increments over time but has been degrading over recent years. The original structure has been mostly preserved such as the door and window frames which retains the building’s history; however the exterior shows a huge amount of degradation in recent years.

Le Roux, Hannah et al., ‘Kwa Thema Afterwords’ (University of the Witwatersrand, 2019)

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Old men that run one of the Spaza shops on the premises – share their view

Open Space on Masinga Street This large open space in Kwa Thema is bor dered by Masinga Street on the north, Mapanzela Street on the east, and Matshila Street on the south and is surrounded by suburban houses as week as a petrol station with a café (Emandiliscious ), a restaurant and a Nedbank ATM service station that are situated along Thema Road.

At first, this space was left open because the land was not suitable for building due to the small river running through it, but fortunately was suitable for parks. The original programme for this open space, in the 1950’s, was meant to contain: a swimming bath on the west side (close to T hema Road), a communal hall on the east side of the open space, and a semi-detached area of land in the center of the open space.8 These buildings were never completed, and the space was left open and untouched.

In 2019, the originally empty open space was transformed with the additions of paved pathways, a children’s playground, benches, and dustbins to create a better public space and provide the community with some public space infrastructure.9 Now the space is used as a place of relaxation and rest (benches) and used as a place of play for children due to the playground. Sports practice/events are also held in and around the soccer field. The pathways through the open space connect Masinga and Matshila street allowing safe passage across the large stretch of terrain. A small bridge was also built over the trench created by the river that runs through the space. The open space is approximately 270m x 112m.10 It has become quite a littered space due to people not disposing of their rubbish properly, nonetheless, the space is still impor tant to the community. It is an important social space as it allows the gathering of people to watch sports, it allows the gathering of children at the playground to play while their parents wor k, and it provides seating for locals that would like to spend some time outside. T he space adds value to Kwa Thema and its community because it is one of the ver y few green spaces equipped with proper park equipment i.e., playgrounds and benches.

The playground Small soccer field

2 Calderwood, D, M., ‘Native Housing in South Africa’ (1953): 149 3 Observations through Google Earth © 4 Measured using Google Earth ©

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Seating areas

Outdoor furniture and brick bridge in Eudy Simelane Park

Eudy Park bridge from the road

Aerial view of Eudy Simelane Park

In April 2008, the body of former Banyana Banyna football player was found in a stream close to her home in Kwa-Thema. Eudy Simelane was not only a football inspiration for many young girls, but also a coach for ladies football, a member of the 777 Campaign and a LGBTrights activist.6 The tragic passing of Eudy has opened the eyes of many, one important person being Mally Simelane, Eudy’s mother. With the help of Smadz Matsepe, Mally fought to change the how LGBT individuals are view in society, specifically Kwa-Thema.7 While, Khotso Simelane, Eudy’s father, remembers Eudy as being popular and loved by the community.8

Lentsitse, Refilwe. 2019. “EKURHULENI PRIDE ORGANISATION COMMITTEE HOSTS PRIDE WEEK IN KWATHEMA.” Karibu!, 25 09: 1. 5

Watson, Keely. 2021. “LGBT+ History Month: Eudy Simelane the international footballer murdered for being gay.” BBC Sport , 12 02: All.

6,7,10

Senett, Keph. 2013. “Pride on the field: ending homophobic violence in sports.” Curve, 01 09: 44-45. 9

Bearak, Barry. 2009. “Mixed Verdict in S. African Lesbian’s Murder Trial.” The

New York Times, 22 09: All.

EUDY SIMELANE PARK AND EUDY BRIDGE WERE OFFICIALLY RENAMED IN 201510

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Eudy Bridge

Eudy Park bridge

HOW RIVERSIDE PARK BECAME EUDY SIMELANE PARK5: A TRAGIC STORY

Concrete bridge with park name located on Lutumbu street

Stream through Eudy Simelane Park

EUDY SIMELANE PARK

In 2009 a concrete memorial bridge was erected over the stream. 700 volunteers of the Lesbian and Gay Equality Project helped with the construction and a portrait of Simelane was imprinted on it9 along with the words “Long Live Eudy Simelane Long Live! Viva the Undying Spirit of Eudy Simelane Viva!” This bridge stands “as a reminder of the freedom, dignity and equality for all”, according to the Lesbian and Gay Equality Project.

Gable Roof

INDABA TREE / 2008 SHABANGU

Conventi onal ma terials

Ri verside Open Space

Open Space

The Indaba tree Heritage park is adjacent to the Highlands suburb. The Indaba tree almost towers over all the single-story houses, and this tree canopy was used as a critical meeting point.

you are here!

Highlands West, where this route passes through. If you look deeper within this cluster of housing, you will find more variations of the NE51 housing scheme. These buildings initialized Modernistic principles in housing, looking at the structures, its mainly rectangular with a gable roof to enclose the spaces. No ornamentation on the facades of the building. These buildings where intentionally designed to create simplistic and minimum housing of people that were forced to be segregated.

Open Space

The establishment of the Indaba Tree Heritage Park, near the civic centre of Kwa Thema, serves as a reminder of fallen heroes that passed away in 1985. 11 The Heritage Park was opened in 2015. 12 Unfortunately, the park today suffers from decay and no maintenance. During a recent site visit, the public space is seemingly abandoned. Across from the Heritage Park, you will see 2008 Shabangu Street, this is a prime example of a designed House, meaning it falls under the category of NE51/6. A historical housing model of early Kwa-Thema. This housing model was proposed by Douglas Calderwood in the early 1950’s. The designs of these dwellings were labelled as matchbox houses. They represent the minimum standard of housing. If you look at the thesis, DM Calderwood, Native Housing, it shows a wider range of different NE51 housing configurations. 13

Hi ghlands

Phomolo Bi rdseye vi ew map of Riverside, Phomolo and Highlands14

Indaba Tree Heritage Pa rk 13

"Es ta blishment of Park " Digital Image , KwaThema Indaba Tree Heritage Park officially opened, Oct 1 2015.13

Gideon Mendel, "SAFRICA-UNREST-FUNERAL", Getty Images, 16 September 2021, https://www.gettyimages.com/detail/news-photo/coffins-in-front-some-20000-peoplegathered-in-kwathema-on-news-photo/1066740182 12 Teboho Seabelo, "Kwa Thema Indaba Tree Heritage Park officially Opened", African Reporter, 16 September 2021, 13 Doughlas Calderwood, Native Housing, Parow, Cape Times Limited, 1952 14 https://www.gettyimages.com/detail/news-photo/coffins-in-front-some-20000-peoplegathered-in-kwathema-on-news-photo/10667401822 11

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This stretch of the larger route travels between a few suburbs of old Kwa Thema. The suburbs are mainly Riverside, Phomolo and Highlands. To the east of Riverside as a large open space, these spaces of you look at the map on the cover are negative spaces, compared to the more occupied spaces where people stay. The route contains the Indaba tree heritage park and 2008 Shabangu street.

No Orna mentation

TLAKULA GROUND Tlakula Grounds was originally named the High School Grounds but was later renamed after the music teacher at the school, named Tlakula.

An important event that happens on the Tlakula Grounds is the Tsamaya League ,informally know n as the Sunday League. Teams that are from the areas Tsakane, KwaThema and Duduza make up the group of Kwatsaduza Teams that play in the Tsamaya League. 16

Kwa-Thema first planned each school to have its own individual soccer field. Over time those fields have been overtaken by informal housing or had been allowed to grow over due to lack of maintenance. Therefore, Tlakula Grounds holds great significance because it is the last remaining soccer field in KwaThema. The Tlakula Grounds is home to the Valencia Football Club in the ABC Motsepe League. 15

Aerial view of Tlakula Grounds29

Tlakula Grounds Address: 24513 Ngungunyane St. Use: Soccer Field

Perspective of the Tlakula Grounds Football Field

Two boys playing a league football match

The Tsamaya League is a significant event for the community of Kwa-Thema. People of all ages in Kwa-Thema gather to watch the league. The league forms an integral part of the social climate of Kwa-Thema. 17

15,16,17

Ramaoto, Tsepile interview with Arabella Ingham, 2021

Page 22

TSAMAYA LEAGUE

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CHRISTIANITY AND CHURCH CULTURE

All churches have active communities and are active on the weekends. Although the opposing denominations are juxtaposed against each other, there is no animosity between members.18 The 5-6km of the larger route travels along Ncwadi Street between Ntshengu Steet and Vlakfontein Road and constitutes a significant portion of the church corridor.

Drawing of the Church

Christian Brethren Church

Along the East of Ncwadi Street is predominantly residential units, family homes with an architectural typology that is typical to the Kwa Thema community. Along the West lies a continuance of large open spaces, where linearly adjacent to the street are a number of churches forming part of the church corridor, and further from the street is the open spaces w here multiple activities such as community gatherings and soccer matches occur. The Churches along this section of the route include; the Kwa T hema Christian Brethren Church, the International Assembles of God and the Kwa Thema St. Andrews Anglican Church. The churches display similar attributes in their simple rectilinear building forms, constr ucted with conventional building materials such as bricks and IBR roof sheeting, as well as minimal ornamental design. This implies that they were largely community projects, built for and by the community, and funded by their respective congregation. 19

Christian Brethren Church

Ramaoto, Tsepile interview with Arabella Ingham, 2021

Le Roux, H. (2019) Designing KwaThema: Cultural Inscriptions in the Model Township. Journal of Southern African Studies, Vol. 45:2, Pages 273-301. DOI: 10.1080/03057070.2019.1602323. 19

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Church Corridor

EXTENTION 7 GROUND Continuing down Vlakfontein Road, we pass through an in-between space on the tour where we are surrounded predominately by residential units and the occasional shipping container Spaza shop.

Taxi Rank

Kwa Thema Centre

The same league that plays at the Tlukula Ground occasionally plays here too.The Tsamaya League consists of the Kwatsaduze teams.20

NTOKOZWENI PRIMARY SCHOOL Travelling West on Vlakfontein Road, you will notice that most of the activity and structures are located along the right side of the road, while the left side contrasts this as it is open space. 22

YOU ARE HERE

Aerial View of Ntokozweni Primary School

Closer to the end of Vlakfontein Road, there is a lar ge open space on the right side of the road. This open field is sandy, and it is mainly unutilised, although there are numerous walking trails, that have been made overtime, w hich r un across to the other side of the open field, onto Thema Road. 23

Extension 7 Soccer Field Located right in front of the open space on Thema Road is Ntokozweni Primar y School. Ntokozweni Primary is a public, full-ser vice school, that caters to children from Grade R up until Grade 8. The school was built in 1899 and has been an educational service to the community of Kwa Thema for generations.

Aerial view of the taxi rank, Kwa-Thema Centre and the Extension 7 Soccer Field

Front view of Ntokozweni Primary

Being on the border of Kwa Thema and Langaville, Langaville Soccer field acts as a buffer zone between the two townships. Further down Vlakfontein Road, towards Black Road, lies Kwa Thema Centre- a modern shopping mall, a few corner stores and a taxi rank. 21

20,21

Ramaoto, Tsepile interview with Arabella Ingham, 2021

Mbedzi, Edwin. 2018. "NTOKOZWENI PRIMARY SCHOOL, KWA – THEMA SPRINGS SPRINGS INFORMATION". - Student Portal 22,23,24

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Perspective view of Extension 7 Soccer Field

By providing these facilities for children, and creating spaces for learning, development and social interaction, the school inherently gives back to the community by adding high social and cultural value. T he school is made of a multiple one-storey brickwor k structures that are rectangular in shape, and the gable roof is made of IBR-roof sheeting. This is a typical building type that is seen in Kwa T hema. There are some more modern shading structures that have been constructed using a steel framework, with IBR roof-sheeting. 24

FUNERALS

THE BUFFER ZONE

When looking at funerals in KwaThema it is impor tant to look at the demographic as this determines the different types of funerals. According to the census of KwaThema in 2011 the two most popular groups of people were the Zulus (56%) and the Xhosas (9%). 25 Zulu tribe funerals: Much of Zulu funeral custom have been greatly inspired by Christianity and believe that a body should be buried out of respect for the deceased, occasionally along with their personal belongings. It is important to follow the burial ceremony properly otherwise it is though that the dead will come back and cause problems among the living. 26

The buffer zone was instr umental in the apartheid regime to physically divide racial areas. The remanence of this buffer zone can still be seen today, and its effect is still prominent.

However, it may be said that the buffer zone offers respite from the busy industr y developing on the other side of the tracks.28

Xhosa of south Africa funerals: In the Xhosa community the grieving process involves an ox, cow or goat being sacrificed with the meat of the animal sacrifice is then fed to those mourning. This custom is once again replicated on the anniversary of the death of that person. These customs are believed to guarantee that the deceased can be called back by the living as a guiding ancestor.27

you are here!

ENOKUTHULA ENOKUTHULA MEMORIAL MEMORIAL PARK PARK

Figure Above: Buffer Zone MayFuneral. 2018. Funeral traditions in South Africa. 6 February. Accessed October 15, 2021. https://blog.htmayfuneralhome.com/2018/02/funeral-traditions-south-africa/. 25,26,27

Ramaoto, Tsepile interview with Arabella Ingham, 2021

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End of the tour

29,30

Ramaoto, Tsepile interview with Arabella Ingham, 2021

Page 27

Located in the portion of Kwa-Thema called Phomolo on 825 Mihla street is the site of this container structure. Guide, Tsephile Ramaoto explains that the container has a shop at the front and living quarters at the back and the mixed-use container home is the residence of foreign nationals.29 The container is fenced off from the rest of the property with its only entrance opening into an empty adjacent stand. There are a few container dwellings that act as a home and business in Kwa-Thema30

BIBLIOGRAPHY Le Roux, Hannah et al., ‘Kwa Thema Afterwords’ (University of the Witwatersrand, 2019): 30. 2 Calderwood, D, M., ‘Native Housing in South Africa’ (1953): 149 1

Observations through Google Earth ©

Measured using Google Earth ©

Information sourced from interviews with Tsepile Ramaoto done by Arabella Ingham Images sourced from Tseplile Ramaoto – taken with a phone – drawn/edited by the group

Images sourced from google earth and google maps and drawn/edited by the group

Lentsitse, Refilwe. 2019. “EKURHULENI PRIDE ORGANISATION COMMITTEE HOSTS PRIDE WEEK IN KWATHEMA.” Karibu!, 25 09: 1. 5

Watson, Keely. 2021. “LGBT+ History Month: Eudy Simelane - the international footballer murdered for being gay.” BBC Sport, 12 02: All.

6,7

Bearak, Barry. 2009. “Mixed Verdict in S. African Lesbian’s Murder Trial.” The New York Times, 22 09: All. 8

Senett, Keph. 2013. “Pride on the field: ending homophobic violence in sports.” Curve, 01 09: 44-45. 9

Watson, Keely. 2021. “LGBT+ History Month: Eudy Simelane - the international footballer murdered for being gay.” BBC Sport, 12 02: All. 11 Gideon Mendel, "SAFRICA-UNREST-FUNERAL", Getty Images, 16 September 2021, https://www.gettyimages.com/detail/news-photo/coffins-in-frontsome-20000-people-gathered-in-kwathema-on-news-photo/1066740182 12 Teboho Seabelo, "Kwa Thema Indaba Tree Heritage Park officially Opened", African Reporter, 16 September 2021, 13 Doughlas Calderwood, Native Housing, Parow, Cape Times Limited, 1952 14 https://www.gettyimages.com/detail/news-photo/coffins-in-front-some-20000people-gathered-in-kwathema-on-news-photo/10667401822 15,16,17 Ramaoto, Tsepile interview with Arabella Ingham, 2021 18 Ramaoto, Tsepile interview with Arabella Ingham, 2021 10

Le Roux, H. (2019) Designing KwaThema: Cultural Inscriptions in the Model Township. Journal of Southern African Studies, Vol. 45:2, Pages 273-301. DOI: 10.1080/03057070.2019.1602323. 19

20,21

Ramaoto, Tsepile interview with Arabella Ingham, 2021

Mbedzi, Edwin. 2018. "NTOKOZWENI PRIMARY SCHOOL, KWA – THEMA SPRINGS SPRINGS INFORMATION". - Student Portal 22,23,24

MayFuneral. 2018. Funeral traditions in South Africa. 6 February. Accessed October 15, 2021. https://blog.htmayfuneralhome.com/2018/02/funeral-traditionssouth-africa/. 28 Ramaoto, Tsepile interview with Arabella Ingham, 2021 29,30

Ramaoto, Tsepile interview with Arabella Ingham, 2021

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25,26,27

Collated and written by: Arabella Ingham Ana Damjanovic Ciara Giannoccaro Georgia Moll Jack Edgar Justine Croker Keagan Doyle Mercy Muting'a Stefan Van Heerden Thomas Roering Zahirah Moyce

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With assistance from Tsepile Ramaoto

PROJECT INTRODUCTION/REFLECTION:

For me this project is fascinating, how the plans and sharp angles work together to house programming and to explode into action when it is required. This relates directly to the programming. I think also because the building is an expression of deconstructivist/post modern architecture, it peaked my interest in trying to tell a story of how the Vitra Fire Station came into existence.

BREAKING AWAY FROM THE CLOSED

Abstract:

BREAKING AWAY FROM THE CLOSED

VITRA FIRE STATION BY ZAHA HADID

This

graphic novel looks aT The hisTory of The

viTra fire

sTaTion.

The

Zaha hadid in 1990 and consTrucTion finished in 1993. The viTra fire sTaTion was Zaha hadid’s firsT major designed and builT projecT. The graphic novel Tells The sTory of how The building came To be, why iT was builT, so ThaT iT could fulfil a specific purpose. The building is locaTed in wel am rhein, Towards The souTh of germany. The Town borders wiTh france and swiTZerland ThaT are separaTed by The ryn river. The viTra fire sTaTion was builT for one purpose, and ThaT was To explode inTo acTion when a fire broke ouT in The indusTrial complex. a disasTrous fire broke ouT onTo The indusTrial campus in 1981 and The local fire fighTers is noT wiThin The jurisdicTion of The indusTrial viTra complex. This furTher emphasiZed The imporTance To have a “in house” fire sTaTion. wiTh The graphic novel i Tried To express cerTain elemenTs Through drawing and wiTh The use of colour, To leT Those elemenTs sTand ouT whilsT reading The novel. The impacT ThaT Zaha hadid had on The archiTecTural world was even bigger Than whaT she inTended. Zaha was more focused on being a designer and noT as an “acTivisT” for woman’s righTs, for woman To sTand up wiThin a paTriarchal profession ThaT was dominaTed by men. i Think ThaT even Though Zaha did focus on being a designer firsT, her work did impacT a loT of oTher people, even if iT was as indirecTly or un-inTenTionally. building was designed by

References (Full Notes): Cover Page was Drawn by myself

Referenced drawings where printed and traced by myself. 1

2192396

[MAP OF GERMANY] Google Maps, N/A, 2021, https://www.google.com/maps/ place/Duitsland/@51.0899048,5.9678787,6z/data=!3m1!4b1!4m12!1m6!3m5!1s0x4791ba3d51416b0d:0xd7cb3fef18f5a581!2sVitra+Fire+Station+by+Zaha+Hadid!8m2!3d47 .6003563!4d7.6147893!3m4!1s0x479a721ec2b1be6b:0x75e85d6b8e91e55b!8m2!3d51.0897 229!4d10.3820801 2

[MAP OF WEL AM RHEIN] Google Maps, N/A, 2021, https://www.google.com/ maps/place/Duitsland/@47.5991696,7.5940528,13.52z/data=!4m12!1m6!3m5!1s0x-

Tom Wilkins in the world. ny-by-zaha-h

Drawing by

“Zaha Hadid 2018, https

Zaha Hadid

Zaha Hadid photos-video

Zaha Hadid hadid-archite

Zaha Hadid architecture/

Drawn by S

Shawn Vic shawnvictor/

Shawn Vict shawnvictor/

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Project 4 - Graphic Novel

Project 4 and the final project of the year was split into 3 parts. Background research as part 1. Storyboards part 2 and I eventually chose to produce a Graphic Novel which was part 3. The reason why I chose a graphic novel is to try and develop more freehand drawing skills and to develop a sense of story telling. The project dives into the Vitra Fire Station designed by Zaha Hadid.

Shreya Ban revisiting-ico

Shawn Vic shawnvictor/

The Arch I zaha-hadid/.

The Arch In zaha-hadid/.

PROCESS STORYBOARDS:

Figure 2: Storyboard Draft 2

Figure 3: Storyboard Draft 3 Figure 4: Storyboard Draft 4

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Figure 1: Storyboard Draft 1

germany

vitra complex (TODAY)

The fire 5

Location

weil am rhein is located in the south of germany. “The building was commissioned after a disastrous fire at the Vitra plant in 1981; the local fire department has since extended its jurisdiction to cover the campus, and the building is now a gallery” written by tom wilkinson6.

weil am rhein 2

Vitra campus

7 FIRE!!!

we need a fire station!

the vitra fire station by zaha hadid

Where is the fire brigade!?

Apointment of zaha hadid as the architect

4 The vitra fire station was designed by zaha hadid in 1990, built in 1993. The building was intended to protect the industrial complex. the fire station was placed centrally within the industrial complex. The story of the fire station talks about how it came to be and its significance, not only for the complex bUt for architecture in general. PAGE

At the time zaha hadid was admired for her decoNstructivist architecture, seemingly imagining buildings on paper, being too complicated to actually build them, This gave her the reputation of the PAPER ARCHITECT. her designs where mere paiNtings displayed at high ranking museums.....until, she was commissioned to design the vitra fire station. This was her first designed and built building, that was completed in 1993. although one of many projects. in fact, this was a joint project with mayer barhle freie Architekten. Zaha’s designs at that time was considered unbuildable and radical. the odds where truly stacked against her, especially being a woman9.

PAGE 2

Page 32

The town is bordered by the ryn river. which seperates france, switzerland and germany.

At present the vitra campus is a collection of designed buildings, a gallery space of buildings designed by famous architects. obviously repurposed from its industrial age.

the concept

The concept of the building is drawn from the surrounding context. the flowing planar lines are compared to the surrounding vinEyards and plantations. the building is the connection between the campus and the external natural context.

external Vineyards and plantations In 3d the conceptual diagram explodes into a range of different lines, a comparison to the function of the fire station, that explodes into action.

12 14

The building draws plans and moving lines from the external context. this is experienced on the inside of the buIlding.

Flowing and moving forms, expressed as fluidity and motion with sharp angles and planes.

THE CONCEPTUAL MODEL SHOWS THE EXPRESSION OF ANGULAR stretched GEOMETRY.

PAGE 3

creates a strong connection with the main pathway spanning across the entire vitra campus, this could give the fire trucks easy access onto this main road to get to a fire quickly, which I think was the intended purpose of placing the fire station centrally on a main route.

PAGE 4

Page 33

15 The building concept also

The conceptual intent becomes clearer when looking at these plans below.

22 The building is a true expression of concept and built form. THIS IS EVIDENT ON THE EXTERIOR AND INTERIOR.

The second floor is thin and narrow, these spaces serve as staff quarters.

MATERIALITY

“The project, conceived as a formation of lines into volumes, defines space rather than occupy them” written by SHreya Bansal18.

the walls/planes define the space that is sandwiched in between.

Abstract lines explode over the plans, derived from the outside of the complex.

PAGE 5

the aesthetic quality of off shutter concrete creates this raw appearance. as this was the intentions of the architect to keep the finishing of the building minimalist, however the building shape and building mass is more expressive in that sense. this use of concrete is not only expressed on the outside of the building but also on the interior, this gives a sense of uniformity that contrasts with the building’s explosive and abstract exterior form.

the exploded illustration above clearly indicates the solid vs the voids, the walls of the building was intended to shape space, and not simply to house programming. every sharp angle seen in the conceptual diagramming is evident within the design of the building. the simplicity of materiality is expressed in a solid manner.

PAGE 6

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“THE SIMPLICITY AND CLARITY OF THE BUILT VOLUME IS REFLECTED THROUGH THE CLEAN, EXPOSED, REINFORCED CONCRETE IN-SITU FINISH AND ABSENCE OF ANY EDGING OR CLADDING MATERIALS. THE ARCHITECT TRIED TO ACHIEVE TRANSPARENCY OF SPACES EVEN THOUGH THE OPAQUE CONCRETE.” WRITTEN BY SHREYA BANSAL24.

IMPACT on architecture and the view of women

Since the design of the vitra fire station, zaha hadid’s career exploded into life, her “unbuildable” buildings came soon to be realized.

Compilation of zaha hadid’s projects that followed after the vitra fire station.

Zaha hadid’s vitra fire station was the start of her legacy. this building defines the word form vs function. the building breaks away into explosive action to protect the factories.

IMPERIAL WAR MUSEUM NORTH, DANIEL LIBESKIND. EST 2002

VITRA DESIGN MUSEUM, BY FRANK GEHRY. EST 1989

SEATTLE PUBLIC LIBRARY, REM KOOLHAAS. EST 2004

DANCING HOUSE, FRANK GEHRY. EST 1996

PAGE 7

DENVER ART MUSEUM, DANIEL LIBESKIND. EST 2006

VITRA FIRE STATION, ZAHA HADID. EST 1993

PAGE 8

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HER IMPACT ON THE VIEW OF WOMEN, NOT ONLY IN ARCHITECTURE CAN SEE HER AS A ROLE MODEL. SHE IS NOT ONLY A WOMAN THAT was PRACTICING ARCHITECTURE IN A MALE DOMINATED PROFESSIONS, BUT A PERSON OF COLOUR ASWELL. AS A FEMALE ARCHITECT SHE WAS AN OUTSIDER. SHE WAS SEEN AS AN ICON TO INSPIRE TOWARDS. EVEN THOUGH SHE SAW HERSELF AS An ARCHITECTURAL DESIGNER FIRST, SHE UNDOUBTEBLY MADE A SIGNIFICANT IMPACT31. YOU COULD argue that ZAHA LEVELED THE PLAYING FIELD OF ARCHITECTURE. architecture is not dominated by men anymore32.

BREAKING AWAY FROM THE CLOSED graphic novel looks aT The hisTory of The

viTra fire

sTaTion.

The

Tom Wilkinson, Extravagance meets emergency response in perhaps the most famous fire station in the world. 2016, https://www.architectural-review.com/buildings/vitra-fire-station-in-germany-by-zaha-hadid-architects.

Drawing by Stefan van Heerden, 2021.

“Zaha Hadid Documentary” Youtube Video, 0:48 Posted By “N Sapkota” June 10 2018, https://www.youtube.com/watch?v=lKT-mCO66GY.

Zaha Hadid Architects, Vitra Fire Station,N/A, https://archello.com/project/vitra-fire-station

Zaha Hadid Architects, Vitra Fire Station,N/A, https://archello.com/story/1586/attach photos-videos/11.

Zaha Hadid Architects, Conceptual Model, N/A, https://divisare.com/projects/288355-zahahadid-architects-patrik-schumacher-christian-richters-helene-binet-vitra-fire-station. 13

Zaha Hadid Architects, Paintings Zaha Hadid Foundation, 2021, https://www.zaha-hadid.com/ architecture/vitra-fire-station-2/.

Drawn by Stefan van Heerden, 2021.

Shawn Victor, Each floor and roof plan for the building, 2018, https://medium.com/@ shawnvictor/vitra-fire-station-the-phoenix-of-architecture-11aead623fa3

References (Full Notes):

Cover Page was Drawn by myself

Shawn Victor, Each floor and roof plan for the building, 2018, https://medium.com/@ shawnvictor/vitra-fire-station-the-phoenix-of-architecture-11aead623fa3

Referenced drawings where printed and traced by myself.

[MAP OF WEL AM RHEIN] Google Maps, N/A, 2021, https://www.google.com/ maps/place/Duitsland/@47.5991696,7.5940528,13.52z/data=!4m12!1m6!3m5!1s0x4791ba3d51416b0d:0xd7cb3fef18f5a581!2sVitra+Fire+Station+by+Zaha+Hadid!8m2!3d47 .6003563!4d7.6147893!3m4!1s0x479a721ec2b1be6b:0x75e85d6b8e91e55b!8m2!3d51.0897 229!4d10.3820801 3

[MAP OF VITRA CAMPUS, MODERN DAY] Google Maps, N/A, 2021. https:// www.google.com/maps/place/Duitsland/@47.5997118,7.6147602,1162m/ data=!3m1!1e3!4m12!1m6!3m5!1s0x4791ba3d51416b0d:0xd7cb3fef18f5a581!2sVitra+Fi re+Station+by+Zaha+Hadid!8m2!3d47.6003563!4d7.6147893!3m4!1s0x479a721ec2b1be6b:0x75e85d6b8e91e55b!8m2!3d51.0897229!4d10.3820801

Samantha Pires, Vitra Fire Station in Weil am Rhein, Germany, 2021, https://mymodernmet.com/zaha-hadid-buildings-queen-of-the-curve.

Drawing by Stefan van Heerden, 2021

PAGE 9

ments/

Shreya Bansal, Static Walls Mark the interior, 2020, https://www.stirworld.com/inspire-visitsrevisiting-iconic-architect-and-pritzker-laureate-zaha-hadid-s-first-major-project. 19

Shawn Victor, Each floor and roof plan for the building, 2018, https://medium.com/@ shawnvictor/vitra-fire-station-the-phoenix-of-architecture-11aead623fa3

The Arch Insider, Shaping the Fire Station, 2021, https://thearchinsider.com/vitra-fire-station-byzaha-hadid/. 21

The Arch Insider, Shaping the Fire Station, 2021, https://thearchinsider.com/vitra-fire-station-byzaha-hadid/. 22

Shreya Bansal, Static Walls Mark the interior, 2020, https://www.stirworld.com/inspire-visitsrevisiting-iconic-architect-and-pritzker-laureate-zaha-hadid-s-first-major-project. 23

The Arch Insider, Interiors of the Vitra Fire Station, 2021, https://thearchinsider.com/vitra-firestation-by-zaha-hadid/. 24

Shreya Bansal, “Revisiting iconic architect and Pritzker laureate Zaha Hadid’s first major project”, Stirworld, 31 March 2020, https://www.stirworld.com/inspire-visits-revisiting-iconic-architect-andpritzker-laureate-zaha-hadid-s-first-major-project. 25

Drawing by Stefan van Heerden, 2021

Drawing by Stefan van Heerden, 2021.

PAGE 10

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This

Maya Oppenheim, “Zaha Hadid: How did she change architecture and its view of women?”, Independant, 31 May 2017, https://www.independent.co.uk/arts-entertainment/art/zaha-hadidarchitect-why-important-iraq-women-buildings-google-doodle-architecture-a7763836.html.

Drawing by Stefan van Heerden, 2021.

“Zaha Hadid Documentary” Youtube Video, 4:42 Posted By “N Sapkota” June 10 2018, https://www.youtube.com/watch?v=lKT-mCO66GY.

Drawing by Stefan van Heerden, 2021.

“Zaha Hadid Documentary” Youtube Video, 10:32 Posted By “N Sapkota” June 10 2018, https://www.youtube.com/watch?v=lKT-mCO66GY.

Drawing by Stefan van Heerden, 2021.

PAGE 11

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Independant, Zaha Hadid: How did she change architecture and its view of women?, 2017, https://www.independent.co.uk/arts-entertainment/art/zaha-hadid-architect-why-important-iraqwomen-buildings-google-doodle-architecture-a7763836.html.

Figure 1: Monument to the Third Internationa, 1919 (Drawn by Stefan van Heerden, 2021)

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Course Notes and Analytical Sketches

ARCHITECTURE AND RIGHTS - 1ST QUARTER:

Forms of State:

Figure 4: Chisinau state circus, Moldova. (Drawn by Stefan van Heerden, 2021)

Page 39

Figure 2: PalmaNova, 1593 (Drawn by Stefan van Heerden, 2021)

Figure 3: Perspective view of Charles Fourier’s, Phalastere, 1593 (Drawn by Stefan van Heerden, 2021)

El Lizzitzky:

Figure 6: Ivan Leonidov, Competition entry for socialist city of Manitogorsk, 1930. (Drawing by Stefan van Heerden, 2021)

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Figure 5: El Lizsctisky, Orators platform, 1920 (Drawing by Stefan van Heerden, 2021)

Figure 7: Vesnin brothers, Palace of labour, 1923 (Drawing by Stefan van Heerden, 2021) Figure 8: Soviet Workers Club , 1967 (Drawing by Stefan vH, 2021)

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Figure 9: Le Corbusier, entry for the Palace of the Soviet competition, 1931 (Drawing by Stefan vH, 2021)

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Womans Rights:

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Figure 10: Vitra Fire Station, 1993 (Drawing by Stefan vH, 2021)

Figure 12: Max bond, Bolgatanga library, 1967. (Drawing by Stefan vH, 2021) Figure 11: Presedential tribane at black star square (Drawing by Stefan vH, 2021)

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The right to independence:

Figure 14: Lina bo bardi, glass house, 1992 (Drawing by Stefan vH, 2021)

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Figure 13: Demas Nwoko - Chapel Building. (Drawing by Stefan vH, 2021)

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Abstract rights, CIAM:

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MATERIAL CHANGE - 2ND QUARTER:

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Modern Materials 1:

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Figure 5: pierre chareau, maison de verre. (Drawing by Stefan vH, 2021)

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Modern Materials 2:

Systems Building:

Figure 15: maisons tropicales, brazzaille, 1949 jean prove. (Drawing by Stefan vH, 2021)

Figure 17: Norman foster, willis faber dumas, 1971 - 1975. (Drawing by Stefan vH, 2021)

Figure 18: Museum van de strom 7, antwerp (Drawing by Stefan vH, 2021)

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Figure 16: Foster + partners, Apple store fifth avenue. (Drawing by Stefan vH, 2021)

Figure 19: Peter Cook, Archigram 1960/74. (Drawing by Stefan vH, 2021)

Figure 21: Pompidou Centre (Drawing by Stefan vH, 2021)

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Figure 20: Cedric price fun palace 1964. (Drawing by Stefan vH, 2021)

Figure 23: Shigery Ban, Tamedia Office Building (Drawing by Stefan vH, 2021)

Figure 22: John Lin, houses for all seasons (Drawing by Stefan vH, 2021)

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Alternative Materials:

HOUSING FOR ALL - 3RD QUARTER:

Philantrophic Housing:

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Figure 24: Courtyard Houses Berlin, 1871 - 1922 (Drawing by Stefan vH, 2021)

Figure 26: JB Godin, Le Famistere, 1856. (Drawing by Stefan vH, 2021)

Figure 28: Tony garnier cité industrielle, 1899 - 1917 (Drawing by Stefan vH, 2021) Figure 27: Tony garnier cité industrielle, 1899 - 1917 (Drawing by Stefan vH, 2021)

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Figure 25: Karl Ehn, Karl Marx Hof 1927 - 1930 (Drawing by Stefan vH, 2021)

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Controlled Communism:

Figure 30: Red Vienna (Drawing by Stefan vH, 2021)

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Figure 29: Le Corbusier + Pierre Jeanneret, Wiesenhog, Siedlung ing (Drawing by Stefan vH, 2021)

Figure 32: 5 points of architecture by Le Corbusier (Drawing by Stefan vH, 2021)

Figure 33: KwaThema, 1951 - DM Calderwood, NBRI (Drawing by Stefan vH, 2021)

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Figure 31: Sub-economic house for europeans (Drawing by Stefan vH, 2021)

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Iconic Houses:

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Suburbs and Townships:

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North African habitats:

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Non Normative Housing:

MEDIA OF ARCHITECTURE - 4TH QUARTER:

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Abstraction:

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Transmitting Modern Architecture:

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Regionalism:

3D view of Factory (Modelled in Revit 2021) A B C D E F G H I J

Column Plan (Modelled in Revit 2021)

3D view of Factory (Modelled in Revit 2021)

Workshop Assembly (Modelled in Revit 2021)

Axo of Circulation Block (Modelled in Revit 2021)

3D view of Factory (Modelled in Revit 2021)

Axo of sports complex (Modelled in Revit 2021) 3D view of Factory (Modelled in Revit 2021)

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Process Drawings for Projects

Project 1: Lina Bo Bardi_SESC Pompeia Factory

Construction of building: Lina Bo Bardi wanted to keep the old factory buildings as they where."The priority, therefore, was to maintain and promote this vital activity, without demolishing the existing structures, designed by the French François Hennebique, one of the pioneers in the use of reinforced concrete." (Viva arquitectura). Concrete is used to express the buildings brutalist concept. "She quite explicitly decided to use exposed concrete, whose rough quality supports the impression of an arcuiterura pobre, a "poor architecture", which she herself even described as "ugly". (Andres Lepik, p267)

Structural axonemetric of sports complex Concrete channel for drainage

Concrete roof slab Reinforced concrete beams (coffer slab) Reinforced steel bar

Wooden trelice Window Opening

Window opening

Concrete floor slab

Wooden trellice reduces glare from the sky

Removed Polystyrene plug

Reinforced exterior concrete wall

Clere story glass Opening Timber purlins Exposed concrete members

Timber Truss

Facebrick walls as infill Reinforced concrete beams Reinforced tapered concrete column

Structural Axonemetric of workshops

Concrete channel for drainage Concrete water tower with off-shutter finish (76 meters in height) Staggred window openings Reinforced concrete beams Reinforced concrete walls with off-shutter finish Concrete bridge Sources: 1. - de Oliveira, O (2014) Lina Bo Bardi : Obra construida = Built work. Gustavo Gili: Sao Paulo 2. - - - (2014) Lina Bo Bardi at 100: Brazils alernative path to modernism. Hnatje Cantz 3. Arquitectura Viva, (2021). SESC Pompéia Factory, São Paulo. [online] Available at:https://arquitecturaviva.com/works/sesc-fabricapompeia-9 [Accessed 8 April 2021]

Structural axonemetric of circulation tower (SCALE OF THE CITY

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Clay tile roof

Pre - Historic Organic Window Construction (Brutalist architecture with free shape outlines, sculptured void

Materiality:

References: - de Oliveira, O (2014) Lina Bo Bardi : Obra construida = Built work. Gustavo Gili: Sao Paulo - - - (2014) Lina Bo Bardi at 100: Brazils alernative path to modernism. Hnatje Cantz

For the materiality of the Sesc Pompeia, Most of the materials in the workshop spaces have been preserved, such as the facebrick walls and the roof structure. The sports complex and the circulation tower are new additions to the existing site, constructed out of reinforced concrete. Lina wanted to express a brutal form of architecture by using the reinforced oﬀ shutter concrete.

7. Pre Historic window openings on the sports complex facade. Timber trellis is placed behind the window opening.

1. Off-shutter concrete finish on water tower.

6. Facebrick walls with exposed concrete columns on the exterior of old workshops.

5. Timber trusses on interior of restored workshops.

3. Concrete Bridges connecting circulations tower with sports complex. 4. Tapered concrete columns inside old workshops.

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2. Off shutter reincorced concrete finish on circulation tower.

Project 2: Historical Model

Planning of section detail in 3D/ orthographic.

Planning of construction detail in section

Planning of construction detail in elevation

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Section Drawing of planning model, Floor slabs drawn in revit

Concrete downstand (Malgrey)

Sill profile (Triplex)

FINAL MODEL IMAGES: Use of material: - Recycled Triplex (From previous projects) card as an expression of something that is light weight like the aluminium window frame. - Recycled Grey Board (From previous projects) used to express something heavy like a concrete floor.

ORIGINAL ARTICLE: Insulated glass (Recyced plastic)

Aluminium window frame (Triplex)

Mullion

Figure 28: Final image 1 (Photographed by Stefan van Heerden, 2021)

Figure 29: Final image 2 (Photographed by Stefan van Heerden, 2021) Figure 37: Page 179 - Architectural Record (Architectural Record, 1968)

Figure 32: Page 174 - Architectural Record (Architectural Record, 1968)

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PAGE 12 Figure 30: Final image 3 (Photographed by Stefan van Heerden, 2021)

Figure 31: Final image 4 (Photographed by Stefan van Heerden, 2021)

PAGE 10

Figure 36: Page 178 - Architectural Record (Architectural Record, 1968)

Figure 35: Page 177 - Architectural Record (Architectural Record, 1968)

Figure 34: Page 176 - Architectural Record (Architectural Record, 1968)

Figure 33: Page 175 - Architectural Record (Architectural Record, 1968)

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PAGE 14

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PAGE 15

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PAGE 11

Riverside

OPEN SPACE

Hi gh

lan

OPEN SPACE

Route between Riverside and Highlands

a nd

e re T a

INDABA TREE HERITAGE PARK This public park situated on the corner of Nkosi and Shabangu streets, aims to honou fallen heroes of this area who passed away in 1985. Ekurhuleni mayor Clr Mondli Gungubele, members of parliament, ward councillors and other government officials were in attendance, on the day in which this public park was opened.

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INDABA TREE HERITAGE PARK AND 2008 SHABANGU STREET HOUSE

2008 Shabangu Street, Highlands NE51/6 housing model

INDABA TREE HERITAGE PARK

Project 3: KwaThema Drawing project

Composed by working party of: ARPL3021_Histories and Theories_Group 5

Name of building/ group of buildings/ urban scheme/ landscape/ garden & picture

Depicted item: Exterior view of designed dwelling

Composed by working party of: ARPL 3021_Histories and Theories_Group 5

Name of building/ group of buildings/ urban scheme/ landscape/ garden & picture

date: 17 Sept 2021

Source: Google maps_Street View

free of copyrights? Yes

RIVERSIDE HIGLANDS

Image taken on group site visit, 31 August 2021

0.1

accessibility

Kwa-Thema CBD

opening hours/ viewing arrangements: Limited access, as this is a residents home

date: 31 August 2021

0.1

free of copyrights? Yes

accessibility

opening hours/ viewing arrangements:

n/a

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Depicted Item: Birdseye view of Highlands and Riverside and where this dwelling is located. Source: Drawn by Stefan van Heerden, 2021) View free of copyrights? Yes

Depicted item: Image taken of Group visit to Kwa-Thema, Indaba Tree Heritage Park

Composed by working party of: ARPL 3021_Histories and Theories_Group 5

Name of building/ group of buildings/ urban scheme/ landscape/ garden & picture

Depicted item: Birdseye drawing of Highlands west housing cluster Source: Drawn by Stefan van Heerden, 2021

date: 17 Sept 2021

free of copyrights? Yes

accessibility

opening hours/ viewing arrangements: Housing cluster, access might be limited

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0.1

Project 4: Graphic Novel

Story Telling, Pedro Segreto (Miro.com)

Figure 4: Conceptural diagram (Archello.com, 2020)

Figure 1: Exterior 2 (The Arch Insider.com, 2021)

Figure 2: Interior of building, showing architectural angles (The Arch Insider.com, 2021)

Figure 3: Conceptual Drawing (Archello.com, 2020)

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Research Images:

History Portfolio Third Year

Articles inside

Project 4 - Graphic Novel

Project 1 - Womans World

Re ection/Introduction to Portfolio

Project 2 - Historical Model