Portfolio
ARPL 3021: Histories and theories of architecture lll Rachael Da Fonseca
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Context
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Introduction + Reflection
02-04
Project 1 Counter publics case study Songtaaba women's center by Francis Kere.
05-15
Project 2 Double sight/site The mask aesthetic and cultural significance.
16-23
Project 3 Small essay Developing new housing standards.
24-35
Project 4 Sutton close Open the close- WITS THINK TANK.
36-51
Sketchbook notes Collection of semester 1 and 2
ARPL 3021: Histories and theories of Architecture. Introduction + Reflection .
This is a final collection of my third- year history projects from throughout the year. I got to have a whole new insight on the unrepresented African influences on modernity, and the shaping of racism that lead to slavery and colonization. How paradigmatic silences produce gaps in our knowledge ultimately influencing how we think about history. How this gap in our knowledge stops us from thinking outside of the colonizing machine. Learned from this how to draw up and think about my ideas differently and express them in new ways.
The second semester allowed me to look back and think about how the pandemic affected mine and may other people's lives. How sensitive architecture and design is, and that it can never stay constant as our circumstances and the world changes around us constantly. While looking back on similar consequences we have faced in the past with precedents that have many different approaches being either good or bad, helped analyze the importance of the need to change housing standards as we change around them. Finally being able to research past architect's designs and restore them to the original intent while also having additions that can improve or change the use and program of the space. To honor an architect's work such as Pancho Guedes and potentially influence future designers or architects with his visions of landscape and traditional crafts. .
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Project 1 – Counter publics case study Francis Kere’s Songtaaba women's center . Group members Andrew Boyazoglu - Hano Barnard - Michael Peneda - Willem Maritz
Introduction + reflection This project was a group case study project about the Songtaaba women’s educational center designed by Francis Kere. An architect who grew up in Gando, Burkina Faso, and brought back the knowledge and skills he learned from studying architecture in Berlin Germany. He wanted to give back to the community he grew up in by building multiple schools, libraries, and centers. His design of the women’s center uses passive sustainability concepts. With the steel elevated roof for natural ventilation and cooling of the interior spaces. The use of thick clay thermal mass walls to control heat gain and loss while also keeping grains cool and fresh that is stored in clay pots that are placed within the walls. Each of his buildings not only gave back to the community by creating learning spaces but, the construction of the buildings also became a project for the community where people could learn new and basic construction methods helping people in the area get basic skills to find jobs.
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Model Renders
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Project 2 – Double sight/site The mask: Aesthetic and cultural significance
Introduction + reflection This project looks into Picasso's art and how he took inspirations from African art and masks but stripped these culturally rich art pieces from their true meaning down to objects that could be used to fill in all the artistic expressions of modernity. I then look at the mask differently than Piccaso by performing the methods of modern art such as abstraction, juxtaposition, and fragment while still keeping the meaning and significance behind the mask. From this developing a manifesto behind the mask and its multiple meanings from past African cultures into today's modern society. How people hide behind fake masks that are displayed to us daily
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READ + TRACE ” Picasso adopted African forms as a way of thinking through the limitations of the forms of representation favored by the art academy, namely a sense of order, proportionality and idealization.” (Gikandi: pg40) The different aesthetic of the African art pieces allowed Picasso to create art that somewhat ticked all the boxes in order to create what interprets modern art. This aesthetic appeal became a tool that was used to take this unknown art piece/ object and form it into something that could be very beneficial to modernity. “The African masks presented a solution to the tradition and perspectives in Western art.” (Adinkrahene 2018) Not only did they take the aesthetic appeal from these African masks but in order to make them objects of reference he had to strip away the fear connected to these primitive objects, They were stripped of their true meaning and significance in order to become “pure” and something that could not harm them. These modern interpretations of the masks can then be said to not be true embodiments of an African mask. African masks have a much deeper significance behind them as said by (Adinkrahene 2018) “African masks are used in many rituals and ceremonies and are said to carry sprits and entities of ancestors.” He even speaks about how the mask are passed down in the family for generations to inherit the skills and spiritual powers. Possibly could explore the reiteration of a Picasso artwork of a mask and reinsert the meaning that was stripped from the mask to create a modern artwork that is not view in the eyes of being primitive The Grebo mask (Gikandi: pg51)
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DEFINE Abstraction of the MASK
The act of considering something as a general quality or characteristic, apart from concrete realities, specific objects or actual instance. The mask being an abstraction of a human face.
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Juxtaposition of the MASK
Two things being seen or placed close together with contrasting effect highlighting its difference or similarities. The mask being a juxtaposition of the African body/ face to become something that represents a sprit. When the mask is worn the spirit possesses the wearer through a cultural ritual or ceremony. Juxtaposition of the mask and the person behind the mask.
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Fragment of the Mask
An isolated, incomplete or broken off part/piece of something. Fragmentation of the mask, of how it is made up from different components that all mean a different thing or create a different aesthetic. As said by (Adinkrahene 2018)� The horns of the mask being for protection or the smoothness of the mask shown youthfulness.�
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MANIFESTO The face behind the masks
The mask‌. Is not just an object, but has a whole narrative, costume, dance and act behind it. All these aspects behind the mask turn it into a performance. This performance shows the persona that is behind the mask. For the Grebo mask this is the role of a huntsman or war fighter. Its about relating and having a connection with the mask and its different aspects that make it special to the wearer. In our lives today we can see a similar aspect to this performance behind a mask on tv or in the movies. Where a specific character is displayed, typically all showing the same characteristics, specifically for female characters. Displaying women to be a specific weight, height and typically one race. Which can set unrealistic standards for young girls watching. Not only setting body image standards but as a South African how characters talk, the schools they go to, the places they live and go are all very different to what we see and experience in our day to day lives. Therefore, it can become very unrelatable. When south Africa is represented it is typically in a very bad representation or set up to be villain. I wanted to take this idea of not feeling represented or being able to relate to something and turn it on its head. Try take it back and maybe be able to encourage people to start creating their own representations of them selves through there own mask. Not to compare or put them into a hierarchical order but be able to look at all the different masks and embrace all their differences.
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TRANSFORM + OPERATIONILZE
Overlaying of the different “masks” showing how they may be represented differently.
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STORY BOARD Abstraction process
Wasn’t showing the abstraction of the mask but more of Picassos Paintings and mask representation.
Overlaying the mask to try creating an abstraction.
Playing with the abstraction of the masks shape and geometry.
Taking the first idea of using the Picasso representation and abstracting it with the mask.
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Juxtaposition process
Placing the different mask representations in relation to each other to show the juxtaposition between them. Didn’t use the mask as the means of juxtaposition. Used it as a logo or symbol for the project.
Playing with how the world is seen behind the eyes of the person wearing the mask.
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Fragment process
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Fragmenting the mask to become unidentifiable.
Playing with fragmentation of the world around the mask rather than the mask.
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Project 3 – The small essay Developing new housing standards.
Introduction + reflection
This essay project looks into the recent pandemic that we are facing and the different issues we all faced during the lockdown. Being isolated in our homes for months opened up many new problems with housing standards leading us to look into what these new standards should be. Looking at passed precedents of housing designs and standards along with the different issues we faced within different types of homes. To create standards that can help improve our mental health and lives during a potential future lockdown or pandemic. This project helped me think about how the world never stops changing and as architects we have to be able to adapt to these changes.
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These four walls During the lockdown is where the four walls of my bedroom became the small space where I would attend lectures, work on my multiple projects and sleep. After some time the lines between these activities became blurred where sitting at my desk staring at my laptop screen all day became a normal thing. With my only small escape's being going to the grocery store or taking a break for fresh air in the garden and throwing the ball for my dog. While everyone seems to be questioning how long will this happen? and will we cope with its effects shown in the multiple emails I would receive daily from wits trying to assure us everything will hopefully be okay. And the nights spent waiting for Cyril to address us on how things are going to be handled, with my single mother of two besides me worried how long will she have reduced pay and will it potentially become none. Saturdays became days I could sleep in not being able to go to work as my car sits lonely no longer safely taking to work or wits. The lock down even though taking its toll mentally making it feel as if nothing lies behind the four walls for my room and making me miss my friends / family tremendously . It also made me grateful for having a warm home with food on the table and the means needed to transfer to online learning.
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Developing new housing standards Abstract
Introduction
With the recent global pandemic, many people were confined to their homes rising problems for people with inadequate living conditions. Thus, highlighting the importance to adjust and improve on current living standard, to help prevent future hardships in a potential pandemic or disease outbreak. I look into four precedents to help determine what the new standards should entail. The first precedent looks into the experience of a third-year student to highlight the problems brought by the pandemic lock-down. The second is an adaptation of a religious space that allows people to continue participating in religious prayers and rituals when limited to the small space of a home. The third and fourth looking into different levels of housing design for private and public living spaces. Using the insight from each to develop means on how to design public communal spaces to improve the connection of community thus creating healthy and safe living environments. Finally looking into what standards need to be set to lower the chances of the spread of present or future pandemics.
How do we rethink and design the very spaces we live in from our day to day lives? We can all see the need for this adaptation of space from the hundred-day lock-down we experienced in South Africa in private and public homes as a result of the COVID-19 pandemic. Where spaces such as the dining room or bedroom doubled as an office workspace, and the difficulties that this brings up with large families where there may not be enough space to accommodate everyone, creating many problems. While also blurring the lines of when one activity begins and the next ends. By looking at past and present precedents on home design that account for spirituality needs, community, interaction, and economically differing living conditions, we can use this information to help set out new housing standards. Providing people with healthy living conditions that are adaptable to their changing needs and requirements, that also helps to bring people closer together creating a community.
The Covid-19 pandemic took an astonishing toll on many of our lives. Mental health problems become prevalent from being isolated in our homes. Whereas for most people in South Africa, do not have adequate living conditions or even none at all. An experience of a fellow student within the third-year class paints a picture of inadequate living spaces. The family of four live in a small one-bedroom house with a conjoined living, dining, and kitchen area. This arises problems for him as a student as there is no dedicated study or workspace for him. Therefore he has to move back and forth between the single bedroom and living area according to what other people are doing around the house “Now that everyone is home studying became a nightmare having to share a table in the bedroom as the other people are watching tv.�(Ncalo:2020) Changes need to be made to housing standards to take into consideration, isolation within the space of the home. Adaptability needs to be considered within the spaces to allow for different tasks to be performed according to the person’s needs.
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The house has no connected bathroom, as they have a community toilet that is shared with 30 other people. “30 other people from the community share the toilets and tap systems enriching danger within the household…” (Ncalo:2020) Although the family is staying at home under the lock-down conditions to be as safe as possible from the virus, they still stand a high chance of contracting it as they share facilities with the community. Highlighting the need to create new living standards so that we can update how shared spaces are designed to reduce the potential health risks with the spread of viruses and disease in and out the context of a pandemic.
The second is designed Balkrishna Doshi’s which is the Aranya low-cost housing design. That gives us a new lens on how to approach designing low-cost housing for higher and lower-income brackets. giving a deeper insight into how low-cost housing can be designed by giving people independence and the dignity to create their own living spaces. “Housing and revolution: From the Dom-kommuna to the transitional type of experimental house.” Written by Daniel Vega which shows different experiments on how housing can be designed to be private or public in the most efficient way as possible.
Religious needs
Figure 1:One-bedroom house plan (Ncalo:2020)
The precedents I explore are each different to help bring as much insight into what the new living standards need to be. To not only provide people with healthy and comfortable living conditions but also encourage public interaction. Helping to bring life to the streets and buildings which in return creates a closer community. The first precedent is “spiritual devices” by Matilde. Cassani who talks about how we can design spaces to be more adaptable to our different religious needs. As being in a country like South Africa has a lot of different religions and cultures.
Restrictions from the global pandemic stopped any large gatherings of people to help stop the spread of the virus as much as possible. This prevented the attendance of any religious gatherings for prayer and worship. This raises the question of how we design living spaces to accommodate our religious needs during a pandemic, where people may not have the means to continue specific religious rituals, prayer, or worship at home. The project by Cassani maybe a response to this problem, she designed four different religious boxes each with different elements that meet the needs of each respective religion. “The iconic, central, clear image of a place to worship became a box to be treated with strong faith.” (Cassani 2020). The simple idea of transforming the space taken up by one person during prayer to develop a physical thing, thus creating a transportable religious space. “My orientation is geared towards the makeshift, sometimes unofficial prayer rooms of religious minorities in European cities.” (Cassani:2010) Her design aimed to
provide people who had no means of participating in religious rituals or prayer with a device that could help them do so. The devices are 1x2meter foldable boxes that are lightweight and easy to transport anywhere. “The site is an airport, a prison, a cruise liner, a street, or a garage.” (Cassani:2010) In the context of the pandemic the site being the home. Allowing people to continue making religious connections, as many people resorted to prayer for guidance and hope on how to cope with the harsh impact the pandemic had on many lives. These spiritual devices can not only be a response to allow for payer at home during the higher restrictions of the lockdown where we are in full isolation but also a device that can allow for larger public gatherings where each person has their own device placed at a safe distance from the next, allowing for social distancing. Creating a safe religious environment.
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Aranya low-cost housing a symbol for individual adaptability. The Aranya low-cost housing development was designed by the architect Balkrishna Doshi who had innovative design ideas on how to approach designing low-cost housing for people with lower incomes in India. Doshi believes that “building homes is about creating a sense of belonging, about participatory involvement and the expression of aspirations, relationships, and desires.” (Doshi;2019) He’s design was a very different approach to what has been designed before. Instead of designing the whole home and how all the spaces are articulated around each other. With the Inhabitants having to adapt their specific needs into the pre-determined design. Doshi provides a serviced plot on which a concrete plinth is built. Each plot is serviced with water supply to toilet facilities, drainage systems, and an electrical connection. The differently sized units were thought to be stacked on top of one another with the larger units at the bottom and the smaller units on top creating small terraces for the units above. This also allowed for people of different incomes to live harmoniously together as the larger units cost more than the smaller ones but still exist within the same context. “Doshi’s conspicuous idea of placing the ‘poor fellow’ on top of the ‘rich fellow’ surprised many but he proved the sceptics wrong, as the project was about empowering the residents, creating interdependences and changing perceptions.” (Mollard:2019)
Each plot with the provided electrical and sanitary services could then be added onto with the size and layout of space and determined by the residents according to their specific needs. (Refer to figure 3) Or the residents could build what they could afford and add on extensions once they had the means to do so. “Doshi created a set of ingredients giving residents language and the space to upgrade their lives.” (Mollard:2019)
Figure 4:Vernacular architecture. (Baan:2019)
Figure 3:Concrete plinths with sanitary and electrical services. (Baan:2019)
Each home was built by a group of contractors who would return to build as the residents wanted to add to their properties. The building materials consist of a simple load-bearing brick structure placed on top of the cast-in-situ concrete plinths. The walls are all plastered and painted with red paint. Whereas add-ons were built walls could be painted new colours which in return created a beautiful language of vernacular architecture. (Refer to figure 4)
As each plot was gradually added onto it started to create small spaces between each plot along with the stepped terraces, public steps, and communal street /open spaces informing an interesting articulation of private spaces blending into public spaces. Creating a hierarchy of public to private spaces. “Intimacy is preserved in niches and private corners, but the abundance of life is allowed to spill out onto these intricately planned hierarchical spaces, overflowing the larger, communal open spaces, planted with bottle brushes, casuarina and eucalyptus trees.” (Mollard:2019). The addition of natural vegetation to me is important as plants take in carbon dioxide and release clean oxygen and are also proven to improve mental health. Vegetation also provides shade within the small niches where people can gather to relax in the shade on hot summer days.
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“The building and strengthening of ties between social activities and physical structures translate into specific architectural elements.” (Mollard:2019) These elements being the niches, terraces, roofs, and steps that become public or semi-public spaces that encourage interaction amongst residents helping to form a close intimate community increasing public safety as everyone knows each other and there’s always eyes on the streets or public spaces.
Figure 5:Sketch by Doshi showing how spaces can be added into overtime. Overlaid with the beautiful vernacular architectural language;
Experimental housing to produce new standards. In 1928 the Standardisation department at Stroykom developed new housing standards and dwelling types to meet the needs of different people. “Among the tasks, for the institution were not only the development of new dwelling types and standards but also the technical training of construction workers, to increase their skills in dealing with new building materials and techniques.” (Kazus;2009)
The additional idea of training workers on how to build with new building materials could also be used today but this training can be for the actual residents. Where they could be taught standard construction principals to be able to add on to homes provided to people in need. This going back to the ideas of Doshi in allowing people to develop their own living spaces to their own personal or family needs. Different types of dwellings and circulation options were experimented with to help develop the best response to new living standards. Each dwelling was designed to try meet four objectives being(1) “Meet the demand for workers housing in large cities.”(Vega 2020:pg5) This would still have to be an objective to meet today as within the context of Johannesburg there is a shortage of affordable and safe housing for workers within the city. They have to travel far distances in unsafe taxi commutes, pay taxi fees on top of other living expenses and taxi strikes can leave workers without the means to get to work. (2) “The second objective was to improve the quality of the apartments by establishing a catalogue of basic standards of equipment for all new apartments.”(Vega2020:pg5) (3) “The third to reduce the usable floor area of small apartments based on an estimation.”(Vega 2020:pg 5) To reduce the floor area as much as possible but still have habitable spaces that are adequate for living, a study was done to determine an equation that would calculate an area per person within the dwelling. This would ensure each home was built adequately to fulfil the spatial needs of every member within the family. (4) “The creation of a new residential type called the transitional type: a residential building in which small individual units were completed by sharing service areas.” (Vega 2020:pg5).
This residential type would allow for homes to be built smaller as programming such as dining rooms, kitchens, study areas, and bathrooms would be redundant within the private dwelling, therefore, reducing the costs of each dwelling making it more affordable for people. Amongst the multiple options developed the two types F and K were the most successful with option K gearing towards people or families that want their own private spaces away from the community and option F for those who want to be more connected to the community with shared spaces or have more affordable living. The communal living option F was designed to have small private spaces for individuals but have shared laundry facilities, kitchens, dining rooms, and libraries. “The promotion of communal amenities and the encouragement of new and improved relationships among family members and residents.” (Kopp1970:145) The communal spaces allow for interaction amongst residents where a larger sense of community can be developed. The design, of the communal public spaces, should not only be seen as the basic communal spaces where people can interact i.e. Dining hall but also the circulation spaces within the building should also be designed to encourage interaction between people even if they do not use the designed communal spaces. (option K) Although these ideas of having communal spaces for residents are successful in creating affordable, community-driven safe living conditions how do we design these exact spaces to be safe within the pandemic restrictions?
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Figure 6: Plan of residential option K (Vega 2020) RED- living and bedroom spaces. BLUE-Bathroom facilities. GREEN- Kitchen. GREY- Circulation spaces.
developed in the experimental housing units to reduce the number of people who use the same space. Such as the third objective where equations were produced to determine a healthy and adequate measurement of space per person living within the dwelling We could use the same idea but concerning how many people use the same communal spaces controlling the population and therefore reducing the risk of disease or virus transmission. Thus, either having multiple communal spaces in which different groups of a controlled size each have an allocated communal space. OR the communal spaces need to be designed to be convertible into different sections where groups of people can be allocated reducing the number of people in once space at a time.
Services The supply of adequate services such as water supply, drainage systems, and electrical connections should be the first aspect thought of when supplying people with housing. These services are the base of what people need to keep their selves and surrounding spaces hygienic, therefore helping to prevent the spread of disease and viruses. This idea as seen by Doshi who believed the services should be the first thing provided to residents. There should also be the introduction of water hand wash stations where people can wash their hands before entering a building or public space. “Most modern buildings do not have taps anywhere near the entrances, as bathrooms, considered primarily as private places for toilet functions, are located deep within them.” (Le Roux 2020) This needs to change to normalizing the design of taps within public building entrance foyers and in exterior city spaces.
Exterior spaces Figure 7: Plan of residential option F. (Vega 2020)
Pandemic response to the design of communal spaces. New standards need to be determined for communal spaces in residences to be safe for human use and help prevent the spread of recent and potential future health threats.
Adaptability/population control Firstly, we need to think of how communal spaces can be designed to allow for adaptability to reduce contact between too many people and implement ideas of social distancing. We could use concepts
Figure 8:Diagram representing how buildings can be divided into sectioned populations each with their own shared communal spaces. (Vega 2020)
“The courtyard allows for households to interact with sunlight and open-air without needing to step into the public realm.” (Le Roux 2020) Spaces such as private courtyards or balconies become the only spaces for most people to escape to. Which is vital to the human need for fresh air and sunlight. Especially under the lock-down conditions where people were confined to the small spaces of their homes and needed the escape to outside safe spaces. Balconies and terraces can also be the means for safe social interactions between people in different homes. This was seen in Italy where people would gather on their balconies to sing, play instruments or talk to one another while still social distancing.
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Material choices The choice of materials needs to be rethought within our building designs as different material properties allow for certain materials to be cleaned easily and Properties of how long viruses or germs survive on certain surface materials. “The newest coronavirus appears to attach well to modern materials like glass, some metal alloys, and plastics.” (Le Roux 2020) These modern materials mentioned, although they allow for viruses/ germs to survive for longer periods of time they can be cleaned very easily. These materials should be used sparingly or be used in areas of the building where there is minimal human contact with such surfaces. “In contrast, the roughness of organic surfaces such as fabrics, and possibly wood and raw ceramics, appears to break up the RNA chains.” (Le Roux 2020) These organic materials should be used more expansively within public space design to help prevent the spread of viruses. The use of organic materials can also help improve on sustainability concepts as organic materials have lower embodied energy and can be resourced locally.
Conclusion From each of the precedents we can draw up standards that meet will the needs of people in the pandemic context. Spaces within the designed homes should be designed adequately to ensure a sufficient area per person within the household. As to have enough privacy for each member. In communal designed spaces design precautions need to be made to ensure the health safety of all residents against disease and viruses.
References Such design precautions are: In shared communal spaces there should be a maximum population of people allowed in each space. This should also be designed with respect to how many people need access to such spaces. Adequate water supply and drainage systems should be supplied to every home. Each dwelling should have adequate lighting and ventilation. Should also have means for exterior spaces. Whether they are communal or private. Within all public communal spaces, there should be supplied means for hand washing. Material choices for frequently touched surfaces should be easily cleaned or such surfaces should be designed to prevent contacts as much as possible.
Cassani.M: Spiritual Devices. Online. Württembergischen Kunstverein, 2010 http://www.matildecassani.com/#. Accessed on 14/08/2020. Kazus.I. Architecture of the 1920s: A mapping of organizations. Moscow progress-traditsiya.2009. Kopp.A. Town and revolution: Soviet architecture and city planning. New York 1917-1935. Le Roux, H. Architecture: four ideas from history that offer healthier design. Online. https://theconversation.com/architecture-fourideas-from-history-that-offer-healthier-design134261.2020. Accessed on 08/09/2020 Mollard.M. Revisit: Aranya low-cost housing, Indore, Balkrishna Doshi. AR House+ social housing: The architectural review 2019. Ncalo.S.1907038_Mapping_proj_3_s_ncalo https://padlet.com/hannahleroux4/fzce2hy3d3ov msdk. 2020. Vega Movilla, D. Housing, and revolution: From the Dom-Kommuna to the transitional type of experimental house (1926-30). Architectural histories 1-16. Ubiquity press 25 February 2020 Wurster Bauer, C. The social front of modern architecture in the 1930s. Berliner Wahnbauten. 2020.
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Project 4 – Sutton close Open the close WITS THINK TANK Group members Emma Skudder – Franco De Abreu – Tammy Ohlson de Fine – Simone O’ Maker.
Introduction + reflection This group project looks into the design of Sutton Close by the great architect Pancho Guedes. My group's presentation and research topic was on the pebble embedding Pancho uses within the Sutton close text of the central circle. We looked into the history of pebble embedding in European and African influences, how these line up with the timeline of Pancho’s life to later inform his use of pebble embedding in many of his designs. Wanting to celebrate and uses the space designed by Guedes we created an inter-faculty event where students and lecturers from each faculty in the university could come together in a debate. To discuss the different issues, we may be facing or have faced
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Central circle Measured drawings
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Benches and concrete planters Measured drawings
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Central circle Digital drawings
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Central circle Digital perspective drawing
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Central circle Digital drawings
Section of central circle and Sutton close
Birds eye view of Sutton close 29
Material history Use of pebble embedding
Mural noun /myʊrəl/ a painting, usually a large one, done on a wall, sometimes on an outside wall of a building.
Mosaic noun /məʊˈzeɪɪk/ a picture or pattern made by placing together small pieces of glass, stone, etc. Of different colours.
Pebble noun /ˈpebl/ a smooth, round stone that is found in or near water
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Material history Use of pebble embedding
Pebble mosaic, or pebble embedding, is a decorative technique using natural stones to create surface patterns. Remnants of this patternmaking technique can be found in Anatolia (historical Asia Minor, also known as Turkish Andalou) from as early as 1200 BC. Asia Minor was the peninsula of land connecting Asia and Europe, and was “a crossroads for numerous people migrating or conquering from either continent.� (https://www.britannica.com/place/Anatolia). The technique was replicated with largely black and white pebbles on pavements throughout the Mediterranean, becoming more and more sophisticated over several hundred years. It was ultimately refined by the Ancient Greeks who, in the 3rd century BC, began to cut the stones into tiny cubes to create more detailed and colourful mosaics.
The physical appearance of pebble embedding is reminiscent of naturally formed stone conglomerates. A conglomerate is formed when metamorphic rocks are shaped into smooth pebbles through a weathering process caused by strong water currents in a river. Beds of pebbles are then covered by finer sediment particles that are compressed into the gaps between the pebbles. Over time, heat and pressure cause the finer particles to act as a binder, resulting in the amalgamated rock formation.
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Material history Use of pebble embedding
The beauty, strength and durability of pebble embedding meant that it became widely used on pavements throughout Europe. The Portuguese Pavement, calรงada Portuguesa, became a prominent element in the decoration of town squares, pavements and public spaces in Portugal, and eventually spread to the former Portuguese Colonies. Between 1415 and 1999 the Portuguese Crown had claimed territorial rights in Canada, South America, North, East and West Africa, Oceania and Asia. The influence of Portuguese architecture, including calรงada Portuguesa, is evident in all of the former colonies.
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Material history Use of pebble embedding
Pancho Guedes was born in Portugal and moved with his family to Lorenço Marques (current day Maputo) when he was seven years old. He studied Architecture at WITS and later became the Head of the WITS School of Architecture. He was particularly inspired by Picasso and Miró, and the Mexican muralists José Orozco and Diego Rivera. Guedes own art, sculpture and architecture began to incorporate the influences of these artists, but he felt strongly that he needed to replace paint, which deteriorated quickly, with a more robust material. So he returned to his Portuguese roots and began to introduce pebble embedding into his projects. Some of the notable examples of this technique in Pancho Guedes’ work are Edificio Dragao (Maputo, 195153); Predio Abreu Santos e Rocha (Maputo, 1954); and O Leao Queri (Maputo, 1957).
In 1979 Guedes was commissioned to design the Sutton Close courtyard at WITS to commemorate Prof. Sutton who was retiring. One of the major features of the design is the large pebble embedded circle in the centre with surrounding text. From the midpoint of the circle one can draw lines to the corners of the Robert Sobukwe Block and the Richard Ward building, making the circle the clear setting out point for the design of the courtyard. The text reads ‘SUTTON CLOSE’ in Guedes’ signature font, in letters that are 840mm high and embedded with the same pebbles found in the central circle. This is a nod to Guedes’ own Portuguese heritage; to his belief that architecture, art and sculpture are one and the same thing; and to African arts and crafts, by which Guedes was deeply inspired.
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WITS THINK TANK Event proposal for Sutton close
Link to stop frame animation https://vimeo.com/470774349
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Semester 1
Lecture 1 : Modernity and African mobilities.
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Songtaaba Project research
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Lecture 2 : Paradigmatic silences
4/02/2020
Lecture 3 : Transatlantic slavery
21/02/2020
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Lecture4: Capitalism, slavery and modernity
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Walter Hood seminar
05/02/2020
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Modernism, purity and transgression
20/03/2020
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Semester 2
Housing for all
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Habitat : Building communities after WWll
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Non normative housing
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Modern materials
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Material consequences
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Abstraction
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Postmodernism
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Altermodernism
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