2017 Diploma in Architecture Yr 03

YEAR O3
Diploma in Architecture, University of Johannesburg
2017
Architectural Design 3- STUDIO- “making responses”

Studio leaders:
Absalom Jabu Makhubu (MUD)
Tariq Mughammed Toffa (MArch)

“When we teach, we tell stories. We tell stories about our disciplines, about the place of
these disciplines in the structure of human knowledge. We tell stories about what it is
to be a human knower, and about how knowledge is made, claimed and legitimated”-
(Pagano, 1994: 252)

Contents
1. Programme outlines 1
2. Introduction 2
3. Chapter 1: “the SELF” 3
4. Chapter 2: “THERE & HERE” 19

YEAR: 3
Third Year, Diploma in Architecture NQF LEVEL 6
AIMS + PURPOSES:
The programme addresses a range of knowledge fields within the architectural discipline.
In particular it emphasises the relationship between theory, design and
technology. Design concepts and design development encourage an interdisciplinary
design approach. The programme prepares students for further study or registration
and employment as Candidate Architectural Technologists (SACAP Part 1).
To generate relevant approaches to architectural design, the programme focuses on:
•the technical making of architecture,
•appropriate architectural languages that engage the environment and user on a critical
level
•specific contexts (which includes the self as a context) with a variance in scale and
complexity,
•Producing relevant, contextual and resolved architectural responses in a connected
urban fabric.
•demonstrating an understanding of contemporary architectural theory and the application
of contemporary design tools
OUTCOMES:
•The ability to conduct architectural research.
•Identifying and taking cognisance of contextual and environmental imperatives.
•Using historical and theoretical precedents in technological design development and
documentation.
•Applying architectural design processes and principles creatively in designing construction
details.
•Designing, selecting and incorporating appropriate structural systems, construction
methods, materials, building services and systems.
•Applying professional architectural office management practices and procedures
within the framework of standard professional documents, guidelines, legal and ethical
prescriptions.
•Using professional-standard computer programmes for, and solving problems pertaining
to the production of standard documentation.
1

Architecture is explored and developed in the physical context of the studio and the
city (namely Johannesburg). In the Second semester, the project builds up and deepens
critical thinking and relationships between design, technology and context from the
elective system in first semester.
Reinforcing connections between critical thinking, design and technology helps to
establish a ‘critical tectonics’, whereby technology and making becomes an embodied
component of each project. To the ancient Greeks for example, work with the hands
or techne, meaning ‘skill with art or craft’, was inferior to philosophical speculation.
Thus philosophers like Plato and Plotinus schematized a hierarchy of knowledge that
expanded in an ascending scale from crafts to science, as it moved from the physical
to the intellectual. Technical art however ranked somewhere in the midpoint of this
schema. Furthermore, Aristotle believed that the business of techne was to “bring
something into existence.”
Thus, tectonics in this schema means not only technology deployed to find an optimal
solution for a structure, but could be conceived as joining the intellectual with the
physical, while poetically facilitating the uses, meanings and experience of space. This
is how we wish to pursue and understand tectonics, as a craft that is both intellectual
and imaginative
2

Chapter 1: “the SELF”
This chapter comprises of the first 3 brief of the semester (issued weekly), each provoking
the student to reflect on the self and the world around them. Putting the student
both as the researcher and the subject of the inquiry.
Brief 1: ARRIVAL ‘You are here’
An ‘inquiry’ is a personal engagement with a question- explored through design.
Unlike more linear, time consuming, modernist methods of design, where projects are
set already with an end goal in mind, inquiry through design/design through inquiry
begins through ‘qualitative’ design inquiry, rather than ‘quantitative’ mapping and
analysis. The process is a search, the outcome a discovery.
In this process, mapping/analysis/research in not separate from design. It does not
end before design begins. Rather, design and inquiry are integrated, each guiding and
informing the other. Design and inquiry occur at all stages. New information is fed into
the process without the need to restart the whole process when decisions evolve and
design becomes more clarified. The result is a design that is thoughtful, engaging and
integrated.
Task 1: carefully curate 3 x 2Dimesntional line monochromatic drawings (approx. A2 in
size) that explore/investigate and capture your personal views/experience of what the
title of this brief ‘Arrival * YOU are here ’ means to you in this place. Mount these images
as though for a gallery exhibition (on foam boards cut to size.) , Although static,
drawings must explore flow and movement.
Give a short (200 word) and poetic description of your drawings and how they relate
to the theme
Outcomes: conduct qualitative research. Description of concepts through use of architectural
graphic techniques.
Evaluation criteria
•Depth of inquiry and investigation (level of engagement with theme, research, personal
reflection, interpretation) (50%)
•Quality of drawings (scale, line weights, type and quality, hatching, drawing layout/
balance and narrative/s)- (35%)
•Quality of presentation-size mounting quality, arrangement and flow of exhibition
including titles and description of drawings (15%)
Brief 2: LEXICON
1. the vocabulary of a person, language, or branch of knowledge.
2. a catalogue of a language’s word
3

Briefs, in the architecture industry, are how we provoke thinking and initiate progress
in the academic realm. Through the careful use of language, we design how you, the
student, should see and approach the world. In practice, briefs tell us what the client
wants. The vision that the designer creates is founded on the terms that are outlined in
the brief. Ultimately, briefs inspire the world we are likely to create.
Task 2: create/design a VISUAL LEXICON (24 xA6 Entries -Words, photographs and
found objects) of things/thoughts/places that brought YOU HERE/ keep YOU HERE/
shape YOU HERE/ support YOU HERE/ things you LEFT behind. Consider how your 24
entries come together when mounted. How do they speak to? Do they tell a story?
Outcomes: ability to appraise and define urban and cultural issues related to inquiry,
Ability to present ideas/concepts in a logical manner, Ability to develop design principles
Assessment Criteria:
Depth of research and inquiry of the lexicon (language)
Presentation quality of Narrative of the lexicon- is it clear, logical and professional
Brief 3: Artefact
Urban artefact
An inquiry through design
Reinforcing connections between critical thinking, design and technology helps to
establish a ‘critical tectonics’, whereby technology and making becomes an embodied
component of each project. To the ancient Greeks for example, work with the hands
or techne, meaning ‘skill with art or craft’, was inferior to philosophical speculation.
Thus philosophers like Plato and Plotinus schematized a hierarchy of knowledge that
expanded in an ascending scale from crafts to science, as it moved from the physical
to the intellectual. Technical art however ranked somewhere in the midpoint of this
schema. Furthermore, Aristotle believed that the business of techne was to “bring
something into existence.”
Task: create/BUILD an artefact no smaller than 250mmx250mmx250mm built using
your subjective/introspection (brief 01 and 02) that EXPLORES the RELATIONSHIP
it(brief 1 and 2) has spatially (through form, space, experience, shelter) with the following:
“MY university” and or “THE universe-CITY”
Outcomes: knowledge of critical urban issues. Ability to present design synthesis in a
logical manner.
Assessment Criteria: level of critical engagement with subject matter (university), clarity
in argument-research.
4

Arrival
Lexicon
Artifect
Kingsley Mashau
5

6

Arrival
Lexicon
Artifect
Richard Krige
7

8

Rehan Vermeulen
9

10

There’s a war inside my head, sometimes I
wish that I was dead, I’m broken. The deadliest
war in history, in terms of deaths since
its start, is the Second World War, but this is
not that kind of war. It’s the kind that keeps
me up at night with answers to questions I
haven’t even formed. War is characterized
with aggression, destruction and mortality.
War is often a mass discharge of accumulated
internal rage where inner fears are discharged
in destruction. But my war is fueled by frustration
at the inability to master my own self.
Acceptance of who I am, why I am and where
I am. Not accepting the everyday image of a
self-portrait in the mirror. There is no general
agreement on which are the most common
motivations of war. Every day has its own kind
of war, its own limiting conditions, and its
own peculiar preconceptions. I have ARRIVED
on the battlefield of my own mind.
So I search the city streets, trying to find the
missing piece of my mind. So now I’m going to
show you crazy. Isn’t it funny how this battle
in my mind can control me every day in this
mundane life? Battling a war of self-acceptance,
questioning everything that I do, every
step that is taken. Questioning the morals of
existence and why I am here. It’s not a battle
to be won or lost but simply just a struggle
of every day. Every day might seem like an
ordinary face but the real truth of me lies inside
my mind, and oh what a scary and crazy
place it is. But I’ve mastered the art of crazy. If
we wore our minds on our foreheads, what a
different place it would be.
So HERE I AM, I HAVE ARRIVED in a place
where I learned that we never lose our demons,
we only learn to live above them.
Liezel Steyn
11

12
Seabi Lekoape

Arrival
Lebo Mbewe
Artifect
Blessing Mohape
Lexicon
13

14

Arrival
Alex Pottie
15

Lexicon
Artifect
16

Joshua Errero
17

18
Lexicon

Chapter 2: THERE & HERE
In this chapter, the students are introduced to their physical site of inquiry where
question about the self are further tested. Students work in groups to unpack the site
of inquiry through the lenses of their first 3 briefs. The chapter itself, comprises of two
briefs (4 and 5).
Brief 4: Read a Place
Mapping
“To have an understanding of the status quo of a city, we utilise mapmaking, which is
primarily quantitative. It sets out a basis of empirical knowledge, through recording
and measuring of a broad range of variables. Mapping is also qualitative, whereby emphasis
is also placed upon the networks, lineages and associations that exist between
specific places and the people that occupy and transform them. Mapping opens the
frame of reference and widens the inquiry from narrow absolutes to become inclusive
of both phenomenological and structural aspects of urbanity. These all become valuable
informants to place making. The relationship between material and phenomenology
is dynamic and difficult to trace, it requires creative means of reading-critical
mapping. ” Ludwig Hansen
Critical mapping can follow many methods:
Erasure-the removal of non-essential information
Amplification- developing a core idea
Collapse- represents the merger of different sources
Inscription- building new knowledge
TASK
In the groups given, You are required to investigate the relationship between material
culture (urban form) and human experience (phenomenology) of your study area:
University of Johannesburg’s Doornfontein Campus and its surrounds, using critical
mapping technique/s.
Deliverables:
3x A1 PANELS (edited and well curated) narrating your findings through scaled maps
(1:200/ 1:500/1:1000), photographs, diagrams, written narrative (400-500 words) and
models
Sketchbook with all field notes, diagrams, photographs of site thoughts and record
(rough work/unfiltered thoughts).
Assessment Criteria:
•Knowledge of the differentiation between reading a place as a ‘planner’ vs. reading a
place as an inhabitant of the ‘everyday’.
•Clarity of narrative (graphic quality of presentation)
•Application of critical mapping technique/s- giving supporting arguments for the
choice of technique/s.
19

SITE: University of Johannesburg’s Doornfontein campus and the surrounds
20

Brief 5: Design Your Intentions
“Architects produce diagrams, not buildings, but diagrams that are wholly immanent,
wholly embedded and coextensive with the materials, configurations, and forms of
buildings.
(…) Architectural concepts only exist fully in their realization, as discoveries through
the non-linear process called design. That condition of immanence inspires the recurring
attention to method and process in the architectural discourse and equally the
frustration with the embedded quality of the theorizing that it reveals.”
William Braham (2000) After typology: suffering diagrams
TASK
In Brief #3—“Artefact”—you were required to write a place (‘the university’) through
your own voices and perspectives.
In Brief #4--read a place-- you were introduced to Doornfontein and asked to investigate
the relationship between material culture (urban form) and human experience
(phenomenology).
In this brief, Brief #5, you are asked to design your intentions.
First, it means that you bring together and integrate your own voices (briefs 1-3), with
your study of the material conditions/urban tissue of the site and its human experiential
and everyday (phenomenological) conditions (brief 4).
Second, based on this complex, integrated and layered perspective, you (as a group) are
tasked to identify three conditions/environments for intervention.
..Why have you identified these areas for intervention?
..Why are they important?
..What themes/principles have you applied to identify them?
..How could these conditions/environments be transformed?
..What would this facilitate for?
Conceptually and principally represent how you would intervene/change/improve these
three conditions/environments.
PURPOSE
To develop your own voices/values. To read environments both quantitatively (material
infrastructure) and qualitatively (human/experiential). To develop means to appropriately
engage conditions of urbanity by considering the quality of the pedestrian
(everyday) environment. To explore various representation formats to express intent
and expectations.
21

DELIVERABLES
(1)1x A1 Poster of the plan (monochromatic, line drawing).
(2)Diagrams should be used to support the design principles. Each diagram should try
to use 2 mediums (i.e. ink, pencil, colour)
(3)3x (594`mm x 210mm) conceptual but detailed 3D Layered, physical montages of
views of the identified areas of improvement
(4)700 word description of the process factored into the overall presentation (not a
separate A4). You must show evidence of reading, with correct supporting referencing.
ASSESMENT
(1)This Task will be marked to form a part of the overall Design mark for this project.
(2)The Task will form “PART 1” of the overall History and Theory (DAHA 1Y3) mark for
Semester 2.
READINGS
Bentley, I. Alcock, A. Murrain, P. McGlynn, S and Smith, G. (1985), Responsive Environments,
Architectural Press, London UK.
Lynch, K (1981), Good City Form, The MIT Press, Cambridge, Massachusetts.
Tibbalds, F. (1992), Making People Friendly Towns: Improving the Public Environment in
Towns and Cities, Longman, Harlow.
Trancik, R. (1986), Finding Lost Space: Theories of Urban Design, Van Nostrand Reinhold,
New York
For History and Theory 3 also consider the following readings:
Architecture South Africa, Journal of the Institute of South African Architects, Special
Issue: November/December 2004: ‘Integration and Transformation in Education: A 10
year profile of Architecture & Planning, UCT.’
Certeau, Michel de, 1984. Chapter VII, Walking in the City. In, The Practice of Everyday
Life. University of California Press: Berkeley. Available at: http://users.clas.ufl.edu/rogerbb/classes/berlin/de%20certeau.pdf
Murray, Martin, 2011. ‘Introduction: Spatial Politics in the Precarious City. In, City of
Extremes: The Spatial Politics of Johannesburg. Duke University Press
Tschumi, Bernard, 1995. Event-Cities (Praxis). The MIT Press, Cambridge, Massachusetts.
Braham, William 2000. After Typology: the suffering of diagrams. University of Pennsylvania
press. Available at: http://repository.upenn.edu/cgi/viewcontent.cgi?article=1024&context=arch_papers
22

Brief 6: Intergrated Design and Theoritical response
TASK
In Brief #3—“Artefact”—you were required to write a place (‘the university’) through
your own voices and perspectives.
In Brief #4--read a place-- you were introduced to Doornfontein and asked to investigate
the relationship between material culture (urban form) and human experience
(phenomenology).
In Brief #5, you were asked to design your intentions. That is, bring together and integrate
your own voices (briefs 1-3), with your study of the material conditions/urban
tissue of the site and its human experiential and everyday (phenomenological) conditions
(brief 4).
In this brief, Brief #6—frameworks + resolutions—you are first tasked to build on brief
#5 and resolve your intentions, and secondly you are to identify an area/space of intervention
to resolve in more detail.
TASK 1: DETAILED FRAMEWORK
As a group, reflect on your intentions from brief #5 and resolve your framework spatially
by considering the following: built form (buildings-use, typology, density), movement
systems (identifying patterns), open spaces (types, use, access, opportunities),
thematic issues (‘you’, ‘others’ and /in university), threshold, and overlaps.
TASK 2: ARCHITECTURAL RESOLUTION
Individually, From your group’s Detailed framework, identify an area/space/site to
investigate and resolve in more depth individually.
This site/area/space must relate to some of the discoveries from inquiries in briefs #1-
3.
The site/area/space must also reflect engagement with complexities in material culture
(urban form) and human experience (phenomenology).
Your resolution must reflect a thorough understanding of the pragmatics of architecture
(structure, form, tectonic, scale, typology, services, sustainability
PURPOSE
To develop your own voices/values. To read environments both quantitatively (material
infrastructure) and qualitatively (human/experiential). To develop means to appropriately
engage conditions of urbanity by considering the quality of the pedestrian
(everyday) environment. To explore various representation formats to express intent
and expectations. To learn to shape architectural resolutions through these layers of
complexity.
23

DELIVERABLES
Part 1: Detailed Plan and section or detailed scaled model at 1:500 or 1:200 (dependent
on scale of intervention)
Part 2: Well curated Panels following architectural representation conventions (Plans,
sections, elevations, Perspectives, exploded axonometric, skin details, series of conceptual
models and 1x presentation model at appropriate scales) and OTHER (Films,
montages, installations)
Individually, write a 700 – 1,000 word description of the process (framework & architectural
resolution) factored into the overall presentation (not a separate A4). The text
must be coherent (not fragmented sentences), showing the development of your own
thought. You must show evidence of reading, with correct supporting referencing.
ASSESMENT
Design: This Task will be marked to form a part of the overall Design mark for this project.
History and Theory: The Task will form “PART 2” of the overall History and Theory
(DAHA 1Y3) mark for Semester 2. Both “Part 1 & 2” must be pinned up at the final presentation.
Correct referencing is ESSENTIAL, of (1) the images, (2) the text, and (3) the bibliography/source
list (see FADA style guide);
Construction of a logical argument; Appropriateness and relevance of illustrations;
And academic professionalism: grammar, spelling, presentation and pagination.
The above evaluation criteria is grouped and marked into four basic categories:
References – in image, text, source list (AUTOMATIC FAIL WITHOUT REFERENCES),
Images, Language, Content/critical thinking.
READINGS
Bentley, I. Alcock, A. Murrain, P. McGlynn, S and Smith, G. (1985), Responsive Environments,
Architectural Press, London UK.
Lynch, K (1981), Good City Form, The MIT Press, Cambridge, Massachusetts.
Tibbalds, F. (1992), Making People Friendly Towns: Improving the Public Environment in
Towns and Cities, Longman, Harlow.
Trancik, R. (1986), Finding Lost Space: Theories of Urban Design, Van Nostrand Reinhold,
New York
For History and Theory 3 also consider the following readings:
Architecture South Africa, Journal of the Institute of South African Architects, Special
Issue: November/December 2004: ‘Integration and Transformation in Education: A 10
year profile of Architecture & Planning, UCT.’
Certeau, Michel de, 1984. Chapter VII, Walking in the City. In, The Practice of Everyday
Life. University of California Press: Berkeley. Available at: http://users.clas.ufl.edu/rogerbb/classes/berlin/de%20certeau.pdf
Murray, Martin, 2011. ‘Introduction: Spatial Politics in the Precarious City. In, City of
Extremes: The Spatial Politics of Johannesburg. Duke University Press
Tschumi, Bernard, 1995. Event-Cities (Praxis). The MIT Press, Cambridge, Massachusetts.
Braham, William 2000. After Typology: the suffering of diagrams. University of Pennsylvania
press. Available at: http://repository.upenn.edu/cgi/viewcontent.cgi?article=1024&context=arch_papers
24

25

26

Ethembeni Children’s Home
Ivan Andonov
27

28

29

30

A Sense of Place
Mnvuleni Mnisi
31

32

33

34

35

36

37

38

39

40

41

42

eMakethe
Fezekile Nombembe
43

44

Doornfontein Social Centre
Portia Mabudisa
45

46

47

48

49

50

Porous Boundaries
Samkelo Maseko
51

52

53

54

Untitled
Aobakwe Mathlaku
55

56

Untitled
Bunny Bala
57

58

De/Re-Spiritual
Zakkiyyah Haffejee
59

60

61

62

63

64

65

66

Denstiny Walk
M Nemukula
67

68

69
NEW THEATRE

UJ DOORNFONTEIN
RETAIL
STRIP
NG CHURCH
JOHANNESBURG
70

Untitled
Carl Du Plessis
71

72

73

74

75

76

77

78

79

80

81

Broken Boundaries
Lethabo Mathabathe
82

83

84

Self Knowledge Centre
Mukhethwa Nevhutanda
85

86

87
One with Nature
Alex Pottie

88

89

90

91
Knowledge Park
Joshua Erero

92

93

94

95

96

Connection
between University & Trainstation
(Doornfontein)
Group Y
Doornfontein mapping
Lebo Mbewe 201383187
Martin Botha 201472286
Franklin Ndhlovu 201581220
Rhodé Lubbe 201590679
Lebo
Based on Task 1-3, the notion of finding a purpose
within architecture has been a consistent theme.
The university experience has played a major role in
transforming a superficial idea of architecture to one
which embodies a fluid identity of sensitivity to one's
context. In this task, the aim is to find the relationship
between the experiences and personal views of the
'self' with the other thus, broadening the lenses in which
university and the city should be studied. My primary
focus is mapping typologies with a purpose in a physical,
metaphorical and phenomenological sense.
Martin
Project 1: DEPARTURE
“Finally you got to settle somewhere
You have no place to go anywhere
One can think of resting there
It is wonderful place with no fears”
“It is opening of new chapter
The life to be made joyous and roar in laughter
Each day is to be lived new challenges and outcome
Not to be afraid of any eventuality but always welcome….”
Project 2: Rhythm through the journey I took to come here,
where I saw an opportunity to study, and to explore the
city through architecture and music.
” the more objects or artefacts found together,the easier it
may be to determine what type of society had lived there.”
Project 3: How I see the University ;By defined subdivision
of the broader discipline of anthropological archaeology that
seeks to examine the ways in which the social dimensions
of human life structured,social relations inform and influence
present interpretations,the study of the development, structure,
and functioning of human society.Developing a body of
knowledge about social order, acceptance, and change.
Frank
Task 1 spoke about my development through
learning and meeting other creative minds
through varsity.
Task 2 began to unpack key events in my life
that molded me to what I am today. Expressing
the contrast between my experiences as a
teenager within relation to being an adult.
Task 3 artefact gave an overall perspective of
my 1.1 and 1.2, which expressed that through
time body and mind developed through experiences
and learning.
Rhodé
In my task 1
Lexicon, and
personal vie
Everything w
an influence
explained th
personal vie
I covered a l
cracks that s
for people to
universe insi
the whole ide
manner I dec
thresholds. T
my personal
of the univer
Connection
between University & Trainstation
(Doornfontein)
MANUFACTURING PRECINCT
LOCALITY
The railway to north and east, Nugget Street to the west and Bezuidenhout to the south.
The area is approximately 40ha
CHARACTER
Predominant land uses are-warehousing and industrial uses.
This precinct is historically industrial and therefore has few community facilities.
It is home to the Jeppe Police Station and the Doornfontein station.
CURRENT LAND USE PATTERNS
The land use zoning for this area is mostly general, allowing for a mix of land uses.
COMMUNITY FACILITIES STRATEGIES:
Strategy 1: Support the networking and interaction between institutions to share
information on their facilities, programmes and resources to facilitate access by others
in the precinct and the larger Study Area.
Strategy 2: Support any regeneration project that provides additional open space or
squares as the area needs 'opening up' and gathering places for students –including
the Beit Street Piazza.
Strategy 3: Support initiatives that will improve physical access to facilities through
the station upgrading and road proposals.
Strategy 4: Support environmental upgrading of the area to improve visual and
security aspects to encourage access to facilities Proposed Phasing.
97

-3, arrival you are here,
my artefact I explain my
ws on the university in general.
orks together and has
on each other, this is
rough mind maps on my
ws. Creating my artefact
ight with a black box with
hows how there is potential
escape from the small
de the universe. To sum
a up in an architectural
ided to concentrate on
his will allow me to connect
views to the disconnect
sity.
University of Johannesburg, Doornfontein Campus
98

The Link Between Neuroscience and
the Built Environment 25 July, 2017
Sarah Williams Goldhagen: “What’s
important is what’s on the ground, and
how people respond to it. Ultimately,
the architect’s intentions are of
secondary importance.”
Section
1:200
Livon Diramerian: ”Architecture is not
only how we see a space, but it is more
important how people feel the space &
whether they are comfortable or not.”
Section
1:200
The psychology of architecture
Section
1:200
The psychologist Joan Meyers-Levy, at
the Carlson School of Management,
conducted an interesting experiment tha
examined the relationship between ceilin
height and thinking style. She demonstra
that, when people are in a low-ceilinged
room, they are much quicker at solving
anagrams involving confinement, such a
"bound," "restrained" and "restricted." In
contrast, people in high-ceilinged rooms
excel at puzzles in which the answer
touches on the theme of freedom, such
"liberated" and "unlimited." According to
evy, this is because airy spaces prime us
to feel free.
Section
1:200
r
Space Framing
Rhode Lubbe
We're only beginning to grasp how the insides of buildings influence
the inside of the mind. For now, it's safe to say that tasks involving accuracy and
focus - say, copyediting a manuscript, or doing some algebra - are best suited for
short spaces with red walls. In contrast, tasks that require a little bit of creativity and
abstract thinking benefit from high ceilings, lots of windows and bright blue walls
that match the sky. The point is that architecture has real cognitive consequences
JONAH LEHRER SCIENCE 04.14.11
99

100

Healing the City
Lebo Mbewe
101

102

103

104

105

106

107

108

109

110

111

Come In
Franklin Ndhlovu
112

113

114

115

116

Skills Transfer
Billy Kgoedi
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119

120
Free Space
Liezel Steyn

121

122

123

124

125

126
The Bilboa Effect
Richard Krige

ARIAL 3D 2
AXONOMENTRIC SECTION
ARI
AXO. SECTION 1
ARI
ARIAL 3D 3
127

SCALE: 1 : 500
Elevation 2 - d1
The Backbone
SCALE: 1 : 500
Jabu Maluleka
128

129

24H Centre
Edward Bikitsha
130

131

132
Work/Play/Live
Markos Themba

Lefetong Multipurpose Centre
Never Nyakane
133

134

135

136
Un-masquerade
Rehan Vermeulen

137

138

139

140
Biophilic
Kingley Mashau

141

142

143

144

145

146
The Transition
Jennifer Sibanda

Community Health-care Center
G Huma
147

Unitiled
Sibulele Jayiya
148

149

SHWR
WC
FEMALEBATHR OM
UR UR
SHWR
SHWR
MA LE BATHROOMS
MALEBATHR OMS
WHC
WC WHC
DUCT/SERVICES
AREA
UR UR
SHWR SHWR
SHWR SHWR SHWR
SHWR SHWR
WHC
WHC
POWE RACK
Machine Weight: 805
Heavy-duty frame construction
Non-slip diamond-plated spo ter stands
Standard w eight horns – 10
DUAL ADJUSTABLE PU LEY –
Stand alone unit
20 adjustment positions per
column = 25 di ferent exercises
GYM AREA
DUAL ADJUSTABLE PU LEY –
Stand alone unit
20 adjustment positions per
column = 25 di ferent exercises
FEMALEBATHR OM
ENTRANCE North 21 0 mEAST NORTH
w ith tw o st el and gla s double d ors
Reception area w ith
security guards
POWE RACK
Machine Weight: 805
Heavy-duty frame construction
Non-slip diamond-plated spo ter stands
Standard w eight horns – 10
Sports ro l ru ber fl oring
5 0x5 0x15 m, simple
lay dow n fixing w ith PU
adhesive
WAITING AREA
1 0 mheight and 15 interior w a l ith 1 0 m
height d or w ith 50 st el
d or frame
DUAL ADJUSTABLE PU LEY –
Stand alone unit
20 adjustment positions per
column = 25 di ferent exercises
Sports ro l ru ber fl oring
5 0x5 0x15 m, simple
lay dow n fixing w ith PU
adhesive
POWE RACK
Machine Weight: 805
Heavy-duty frame construction
Non-slip diamond-plated spo ter stands
Standard w eight horns – 10
Ind or ENTRANCE from the
library
WA ITING A REA
w oden
12 0x760 co f e table
at w aiting area
RECEIPTION
Sleigh retro sofa
(3) seated sofa
915x2150x5 0 m
Seat, backrest and armrests
ENTRANCE North
21 0 m WEST
w ith tw o st el and
gla s double d ors
STAIRCASE NOTE:
concrete staircase
1 0 m st el railing, 50 st el
post and 50 st el rods
50 m a luminium noising
riser: 150 mX
tread: 2 0 mX
6
1
L
79
2
2
A117
10 8
3
11
4
12
5
H I J
Gym Roof Top
1 : 200
1
A117
6
79
10 8
11
12
G H I J K
1
A117
3D View 8
3D View 7
Untitled
Ishmael Mashaba
150

Agricutural Rehab
Adam Makwela
151

SARATOGA AVE
It all started with a small shanty-town in 1886. In 1888 the Braamfontein Cemetery was opened,
followed by Joubert Park, and by 1903 Johannesburg had 10 parks and one cemetery.
Before gold was discovered in the area in 1886, there were several farmers on the Witwatersrand.
These early farmers brought seeds from the Cape and planted oak and walnut trees.
The Bezuidenhout family were among the first white selers in the area and built their farmhouse in
1863 on the farm Doornfontein. They planted fruit trees in Judith's Paarl and Cyrildene, east of the city
centre, but the trees no longer exist.
The farm had a "walnut walk", an avenue of walnut trees leading to the present-day bowling green.
Walnut trees only last about 50 years, so the walk and trees are long gone. A curved row of around six
glorious large oak trees remain in front of the house, probably offspring of the original oak trees.
On the other side of town was the farm Braamfontein, owned by Louw Geldenhuys, who built his
farmhouse against the Melville Koppies ridge. His wife, Emmarena, planted an oak tree and five palm
trees in front of the house. These trees sll exist, as does the house.
When the suburb of Emmarena was laid out in 1937, the town planners wanted to cut down the oak
tree because it was in the path of a road. Emmarena put her foot down - the oak was to stay. The tree
is now on the pavement.
More recently, former mayor Amos Masondo issued a direcve to Johannesburg City Parks to plant 300
000 trees to bridge the green divide.
Tree planng commenced in areas such as Soweto, Orange Farm, Alexandra, Lenasia and Eldorado in
earnest and over 240 000 trees have been planted as part of this process.
OUTDOOR SOCIAL MARKET
SHERWELL STREET
PUBLIC SPACE AND AMPITHEATRE
WETLAND TO BE CONSTRUCTED AS A SOURCE
OF WATER FOR ALL FUTURE URABAN
AGRICULTURAL DEVELOPMENTS E.G ROOFTOP
GARDENS
BOUNDRIES
BUILT STRUCTURE, FLOOD/CAVITY DAM WALLS
AND SOFTER AND INTERACTIVE BOUNDRIES TO
BE INTRODUCED TO PROMOTE SOCIALISATION
AMONGST GENERAL PUBLIC AND STUDENTS
SHERWELL STREET PUBLIC PASS AND SOCIAL SPACE
GREEN SPACES AND WATLAND LAND CREATE A
WORKING ECOSYSTEM, THIS IS THE SAME FOR
HUMANS AND OPEN AND INTERACTIVE
WORKING SPACES
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154

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LINK
Berea Link - This provides a
link to Doornfontein and the
ReaVaya Station whilst
providing a community space
aswell as a mini market for
nearby users and residence.
Agronomic Centre - A multi-use
form acts as a halting point in the
link and provides an educational
empowerment function serving the
community and the university.
Doornfontein Link - Safe transition
across Saratoga transport route
from DFC and a link to Berea
residential fabric
ReaVaya Link - The intervention is in
close proximity to act as a proxy for
the transport station to surrounding
areas.
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Egornomics
Tyron Stephan

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