oNform Publication 2020: T-01

T - 01

T-01 2020

The Act of Service: GOD

Cover image by DADA Collective (image of Jesus in pain with a crown of thorns)

Published by Unit 19 of the Graduate School of Architecture (GSA) in Johannesburg, South Africa.

No part of this publication may be reproduced in any manner without the written consent of the publisher.

Graphic designer DADA Collective

Editors Tuliza Sindi Muhammad Dawjee Unit 19’s oNform T-O1_The Act of Service: GOD 114pgs 19x25cm Includes Acknowledgements

Unit 19 Unit System Africa Graduate School of Architecture (GSA) Faculty of Art, Design and Architecture (FADA) University of Johannesburg (UJ)

List of Current Publications Unit 19 Primer 2020 (this can be accessed on Issuu)

Awards, honours & mentions • 2020 Dean’s Award won by M1 student Miliswa Ndziba • M1 student Miliswa Ndziba featured in The Funambulist Magazine’s Game-changing Architecture Graduates Blog.

How to reach us Instagram: @gsa_unit19 Issuu: GSA Unit 19 Youtube: GSA Unit 19 GSA Website: www.gsa.ac.za

Unit website to follow in 2021.

© 2020

GSA UJ

All rights reserved.

This first edition of Unit 19’s oNform is dedicated to my blood ancestors from Kayanza in Burundi and Bukavu in the DRC respectively, who have been so graciously leading my steps.

Thank you to my living elders and guides, both young and old, familiar and unfamiliar, affirming and unsettling, and voluntary and involuntary.

Thank you to the black women who were forced to live as shells of themselves, and obliged long enough to birth worlds, and to birth us into those worlds, to live as whole expressions of ourselves, and the unfulfilled versions of them.

I’m listening.

Tuliza

iii oNform EDITOR’S NOTE / 2020

EDITOR’S NOTE THE MASTER’S TOOLS The Declaration L: Unit 19 students and tutors after field trip. Photo by: Ivan Meyer

The name of the still poignantly relevant 1984 essay, The Master’s Tools Will Never Dismantle the Master’s House, by US poet and author Audrey Lorde has over the years been turned into a question.

She was however, making a statement. The essay was not a mere provocation, but a declaration.

The conclusory nature of her statement can be unpacked in three ways, the first two of which she does herself.

The first is in how the master’s house as the object of interest in the pursuit for emancipation is a false premise. She talks of the onus being on the marginalized to educate their ignorant oppressors of their existence and needs – in the face of tremendous and ongoing resistance – with this old diversion strategy requiring the marginalized to prioritize the master’s concerns at their own expense. Her ask is that we decentre the master’s house, and quotes Simone de Beauvoir in saying, “It is in the knowledge of the genuine conditions of our lives that we must draw our strength to live and our reasons for acting.”

The second way that we can unpack the statement is around two aspects of the master’s tools: who is the author of the tool and what was the tool made for? She states: “They [tools] may allow us temporarily to beat him at his own game, but they will never enable us to bring about genuine change. And this fact is only threatening to those… who still define the master’s house as their only source of support.” The origin of the tools used to build the master’s house are not articulated as nuancedly as they should be, because to call it the master’s tools is to assign both authorship and ownership to the master, i.e., when black populations were modelled into tools to build the master’s house, the statement would then imply that black people remain the property of the master even when politically freed.

It is important to note that before the master’s tools are politicized by being co-opted into servitude toward capital gains, they exist as nature. This distinction is important.

The politicized version of the tool cannot undo the house because it was designed specifically to

maintain and sustain the house, i.e., we cannot, while in a position of servitude, dismantle the house, but only sustain it and hence continue to produce mutated versions of the master’s house.

The final point is around how, to operate within the confines of the master’s house and tools is to operate from a place of subservience to that master. The dichotomy that the statement makes clear, and why it has become a question, is because it reveals the dichotomy of needing the master’s tools to function within the master’s house.

Despite this, the Unit aligns with Lorde’s declaration, and works to make the distinction between what the tools are politically and how they have (and still do) existed in its natural form.

The Unit strongly opposes that systems of oppression (i.e., the master’s house) are our only starting point from which new worlds can be imagined, negotiated, and established. It opposes the idea that it is even a negotiation, as if there is no place outside of it from which one is able to practice.

It is here that Toni Morrison, in her book, Home paints a picture of ‘liberated zones’ in manifest form.

These zones must be differentiated from ‘safe spaces’. Where safe spaces assume an inherent presence of safety by virtue of who is allowed and not allowed, liberated zones do not afford anyone the benefit of the doubt, and require ongoing active participation in the pursuit of liberation and safety. The name implies the action of rendering liberated from something. Where safe spaces are about absence, liberated zones are about radical presence.

Liberated zones posit that healing of

the oppressed is not dependent of the outcome of the oppressor, and in Home, her characters that have been victimized deprioritize structural justice toward the perpetrator to first prioritize their own independent healing. Her work presents being cured and being healed as two separate things and pursues healing as the more critical pursuit. Unit 19 pursues a presence as a liberated zone within the Graduate School of Architecture (GSA) and within the practice of architecture on the African continent and in the world.

The space of the Unit is our first practice of space-making, even before the work of the Unit.

The Unit’s aim is not to discard the master’s tools, but to liberate them from their political forms, and to negotiate them on their own inherent terms, outside of the master’s structural scaffold as a centre of inquiry and practice. Despite that, our use of the tools remain political due to the politicized nature of our identities and contexts, but as a Unit, we prioritize the practice of liberation.

One such captured tool is the act of ‘service’. At the core of colonial conquest was the production of servitude and a servant class.

The Unit approaches service infrastructures, such as religion, the law, the military and administration/ civic as the most significant political tools toward state production and preservation, and then makes sense of how to engage them on liberated terms.

Service as a political construct is an economy. It is done with an expectation of a predetermined transactive outcome. Service as a natural order, also reaps rewards, but it is not done for that reward, and does not depend on the presence of a reward. Service in its

v oNform

The reclamation of service as a natural order, and intrinsic to our collective survival as an interdependent specie, has been a highlight during the COVID-19 pandemic. Being asked to stay at home to protect those we don’t know, where we won’t know whose life we save by doing so, or to buy groceries for an old person we’ve never met, or to make masks (PPEs) for those we will never know wore them, or to pray for those who are infected that we don’t personally know, or to check in on those who were living alone during isolation, or to sustain the pay of low-wage earners, have coloured our collective behavioural requirements. Every place that underwent lockdown was unable to function without the service industry, many of whom were suddenly deemed essential.

Those who clean our surfaces were labelled frontline heroes, and nurses our lifelines. Yet, because the nature of their service is not inherently transactional, the world still fails to transition that now recognized value into our language of transaction – money – through increased pay and benefits. Most of their job description remains unquantifiable (i.e., invisible and/ or expected). Our collective spirits understand the perverse nature of engaging that form of humanity on the terms of transaction, but in a transaction-based world, that comes with inhumane consequences to those whose service has yet to find acknowledgement. In line with this, the work of the Unit this year did not look directly at the pandemic, but at its overarching ask to serve.

Religion, or the practice of faith as a tool, has equally so been captured. On the one hand, it is the practice of connecting to what we understand to be greater than and beyond all human understanding.

It is about a connectedness and an interconnectedness beyond our human capacity. On the other hand, faith through the missionaries was weaponized as a tool of control, manipulation, and the centralizing of knowledge through concepts that sustainably subdues populi. For that reason, we approached in the Unit’s first year, the Christian faith not as a religious system, but as a political infrastructure complicit in the sustained practice of oppressive ordering and control.

In closing, there are certain points to highlight about the Unit stance. Firstly, the Unit approaches architecture as a set of instructions; as didactic. It both gives and takes instruction. It exists as a manifestation of collective agreements around social, political, economic and environmental etiquette and ritual performances that reflect our collective mythological frameworks.

Through performative use, our engagement with and participation in architectural conditions ritualises in us its ideological prescriptions.

Secondly, a crucial tool of design in the Unit is the act of revealing.

To reveal is to design. The Book of Revelation in the Bible is a prophetic chapter. It reveals the future to us in ways that ask us to revisit what we think we know about the present, and then asks us to design our present in ways that accommodate the future that has been revealed. New information gets presented through revealing, which exposes new worlds and ways of being. Revelation instigates complete shifts in practice and thinking and renegotiates proximities to those

EDITOR’S NOTE / 2020

natural form is about relationships, rather than transactions. Sometimes the form of its rewards cannot be predicted, seen or quantified. It is the sun heating the earth, trees producing oxygen, or spending time with your ageing parents.

revealed worlds.

Thirdly, the work is both selfconscious and conscious of self.

Lastly, the Unit is the space of our ancestors’ wildest dreams: us; and I am both deeply grateful for and humbled by it.

From love, Tuliza Unit 19 Leader

vii oNform iii EDITOR’S NOTE

The Master’s House: The Declaration x INTRODUCTION

The Act of Service 2020 T-01: God (Church Service) xii PURSUITS

Emerging Themes xiv PROJECTION

Site: Three-Year Ambition

SCRIPT 020 M2 The Volksmoeder Myth:

A Modern Finishing School for the Afrikaans Christian Woman.

LYNETTE BOSHOFF 026 M1 The Sleep Institute.

BRIGHTON MATAMBO 032 M1 Tales for the Nursery.

MILISWA NDZIBA 038 M1 The Story Lexicon of True South

African Dwellings.

SHILOH RAKUMAKWE

EDITOR’S NOTE_CONTENTS / 2020

CONTENTS

BODY 046 M1 Moments in Time:

Framed Perspectives – The Framing of Black Womanhood.

TSHWANELO KUBAYI 052 M2 Soundscapes of Belonging.

IVAN MEYER 058 M1 Invisible Cities:

A Re-membering.

THANDEKA MNGUNI 064 M1 The Parable of Re-stitching:

The Production of the Subdued Black Female Body.

DIMPHO SELEPE

RITUAL 072 M1 Taxi Chronicles.

DEBRA BHUNGENI 078 M2 Nothing to See Here:

Stages for Latent Revolutions.

BYRON CORRIGAN 084 M1 To Put on Trial an Idea:

Cousins vs. Political Correctness.

GREGORY COUSINS 090 M1 Identity Crisis.

KATLEGO MALEBYE 096 M1 Branding Desire.

TUKI MATHIBEDI

103 COLLECTIVE EXHALE

incl. prizegiving 106 THE ACT OF SERVICE 2021

T-02: War (The Myth of Violence) 108 UPCOMING IN 2021

Studios, Exhibitions, Curations, Publications

ix oNform CONTENTS / 2020

111 ACKNOWLEDGEMENTS

Acknowledgements

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INTRODUCTION THE ACT OF SERVICE 2020 T-01: God (Church Service)

Unit Leader: Tuliza Sindi Unit Tutor: Muhammad Dawjee Unit Local Critics: Kgaugelo Lekalakala, Stephen Steyn Unit International Critics: Natache Iilonga (Namibia), Patti Anahory (Cape Verde), Leopold Lambert (France)

“The appearance of égalité is always discursively sustained by an asymmetric axis of master versus servant.” (ŽIžek 2008:62)

Unit 19 examines the sociopolitical characteristics of service infrastructures, and their historical and continued contributions to society-making. Service infrastructures are varied in definition. State structures refer to them as systems such as municipalities and built infrastructures like highways and water supply systems. It defines the body (servitude, slavery), roles (civil servant, servant of God), is used in some commercial industries as a unit of measurement (service ratings), and defines entire industries (service industry). NGOs and social enterprises identify it as their bottom line, and it is also used to describe facilities, ceremonies, and rituals (military, funeral, and church services). The word’s root servise (old French) means “act of homage” (Hindley, Langley & Levy 2000), which describes a public expression of faithfulness – social contract or

public declaration of trust – toward one’s shared values.

These human constructions of service, rather than the ideological condition of it, is rooted in transaction (over relationship), but what/who the giver is and what/who the receiver is, is not always conspicuous; and even what is given and what is received can be ambiguous. It operates performatively, taking place primarily in conditions of public life, from the scale of the individual to the scale of state systems.

Unit 19 is interested in the Trojanhorse agreements made between states through the service-based relationalities that function as tools of permission, legitimation, structuration, and absolution for power structures.

Three outputs (or ordering tactics) that both architecture and service have in common are of interest to

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Through primary embodying methods of scripting and performance, and embedded within that, methods such as cataloguing, stitching, collaging, prototyping and installing, the Unit works simultaneously at the scales of society and of the body, to reveal their interconnectedness and interdependence. What this means is that our performances at the most intimate of scales are instructed at the highest levels of societymaking, but our bodies in space as a determinant of the form that societies take is foundational to the practice of architecture.

The Unit starts from the position that architecture is an extension of our bodies. We explore what happens when our bodies – as politicized – are not extended and left to function in the world mostly through, and as, the extensions of others, leaving one to become their own architectures as well as the architectures of others.

The Unit investigates the way that space can mirror those who have been rendered dispossessed, infrastructural and without reflection.

For this reason, the Unit invites students to act as living archives as they produce reflections of themselves in their works, as

an evidencing of their forms of existence.

This year, the students proposed a ‘Ritual Service’ for their Major Design Project (MDP), i.e. a service infrastructure around “…a series of actions performed according to a prescribed order” (Oxford University Press 2019). Although immaterial in definition, i.e. a ritual service is performed into existence and disappears after the performance is concluded, it requires a vessel in which to play out; its bounds determined and concrete. The students’ proposals are rooted in a Christian religious concept/concepts, and approaches society-making as a continuous and upscaled ritual service (i.e. tithes as tax, churchgoers as surveillance, Bible-as-law, and so on), to reveal Christianity’s role as a disarming vessel through which socio-political orders are offered and performed.

The Church Square Precinct in Pretoria, South Africa was the Unit’s site of enquiry for 2020. Students engaged site within their current geographic location, while traversing its realities and time. In 1904, the church from which the Pretoria city plan was borne and radiated, was demolished. The church provided a scaffold for the city, and held that space temporarily, allowing the city’s blueprint to emerge. Once able to stand on its own, the city removed its church scaffold without erasing its ritual foundations. Now a public square in an ever-evolving central business district (CBD), the students observed the space’s ongoing spatio-political evolution.

Borrowing from the biblical concept of predestination, projections of the future were tested by stepping into them in the present, to negotiate their lifelines against the threats that the present poses. This allowed the students to interrogate simultaneous and comparative ‘presents’.

INTRODUCTION / 2020

the Unit: 1. the first output is the categories that they produce, i.e. they differentiate public from private, solid from void, native from transgressor, and believer from unbeliever; 2. secondly, they build associations.

The word ‘association’ comes from the same Latin root for society socius, and describes the act of producing society (de Vaan 2008), and 3. finally, they produce obligations; to permanence, to consequence, and to meaning.

PURSUITS EMERGING THEMES The students’ work is broken up into the 3 main blanket themes that have emerged from the year’s work, surprisingly and unintentionally embodying the ritual of mass in Christian practice, where the body of Christ and the blood of Christ are eaten and drank in holy communion.

In 2020, student works typically fell across several thematic territories within the Unit. The outline below serves only to express and hierarchise themes most pertinent to the Unit’s current emergent research findings.

1. Script (frameworks & mythologies): • This refers to the societal frameworks and mythologies that introduce the way that socialization should play out.

2. Body (the elements that enable ritual performance of frameworks and mythologies): • This refers to the elements that are co-opted by societal frameworks and mytholgies in order to bring those ideological concepts to life as social/cultural practices.

3. Ritual (performance): • This refers to the performance of the ideological concepts embedded in proposed societal frameworks and mytholgoies.

These three themes refer not only to the students’ points of inquiry, but to scales of engagement, which invites pointed negotiations of the media and language of those scales.

oNform xiii PURSUITS / 2020 R: Unit 19 themes matrix for 2020 student works. Compiled

by Tuliza Sindi and Muhammad Dawjee

PROJECTION SITE Three-Year Ambition

The initial aim of the Unit was for Church Square Precinct in Pretoria to be the Unit’s literal site of enquiry. Due to the pandemic and our limited capacity to further engage with site, the Unit made a conceptual adjustment to approach Church Square as an archetype of religious concepts made manifest as architectures. Through the lessons learnt from Church Square, students were able to pick their project sites anywhere within South Africa, wherein ritual concepts are or could be made manifest. Due to this shift, some students retained Church Square as their site of study, while others deviated.

Church Square sits at the centre of our administrative and de facto capital city, Pretoria, where the Union Buildings, or our equivalent of the US white house, resides. The Square was the place where fleeing Afrikaners settled after the Anglo-Boer war, to start again and to create a space of safety, community and belonging.

with milk and honey, just as what God promised his people in the Christian faith. They built a church at its centre, hence its name, and operated at all forms of societymaking from there, from politics to commerce, schooling and civic life.

The church building presented a shell structure that housed varying performances of citizenry, and it was in those performances that spatial and societal definitions were continually derived. The city then radiated outward from that church, and it became both its ideological and infrastructural cornerstone. The church ultimately got demolished, and the point where it once stood was replaced by a statue of former Afrikaans head of state Paul Kruger. Over the years, this statue has been and remains a source of contention in the country’s ongoing conversations surrounding the tearing down of colonial and apartheid figurehead statues. Church Square exists as a space of perpetual tension and political productivity.

The Afrikaners believe that like the Jews, they are God’s chosen people, and they saw the site as their promised land flowing

With the help of the year’s requirement to rethink forms of engagement with site, new definitions of site emerged that

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extend beyond physical territories.

Some students explored the site of the imagination and dreammaking, some explored the physical body as a site (of violence and objectification), some explored memory (or a collection of memories and its documentation) as site, while others explored language as site.

To a [African] people whose modern relationship to land, space, borders, territories, community, belonging, settlement and identity is that of fiction and sustained dispossession and dismemberment, a myriad of ways outside of the immediate vocabulary of architecture are used to produce and sustain those conditions while still in those dispossessed states. As a result, the Unit picks a physical site of inquiry, but leaves the translations of its conditions as site open to student interrogation and provocation.

The first 3 years of the Unit focusses on the foundational building blocks of modern colonial state formation: 1. Religious service (2020) 2. Military service and defence (2021) 3. Administration and civil service (2022) This will be succeeded by explorations around the formation of law, economy and communication/ media in the 3-years that will follow on from that.

The intent of these thematic choices is to better understand the foundations upon which we build as spatial practitioners. These forces are often not known nor acknowledged as parameters in architectural practice. We acknowledge budgets, but not the structure that determines where those budgets come from, what it prioritizes and how much of it is allocated. We acknowledge building regulations, but not

who determines those laws and who/what they protect, or the administrative channels put in place to sustain and police its change (or lack thereof). We acknowledge safety and security as spatial needs, often without interrogating surveillance morality issues, or who we are commissioned to keep out, or protect.

These themes remain the invisible systemic forces that establish our greatest design limitations and drivers. Revealing the mechanisms of these systems gives spatial practitioners the opportunity to expand both the material and tool palettes, toward producing alternate mythologies and worlds.

PROJECTION / 2020

L cont.: Unit 19 field trip to Church Square, Pretoria. All photos by: Muhammad Dawjee

PROJECTION / 2020

oNform 000 xvii

oNform 019 2020 PROJECTION_SCRIPT /

SCRIPT

020 M2 The Volksmoeder Myth:

A Modern Finishing School for the Afrikaans Christian Woman.

LYNETTE BOSHOFF 026 M1 The Sleep Institute.

BRIGHTON MATAMBO 032 M1 Tales for the Nursery.

MILISWA NDZIBA 038 M1 The Story Lexicon of True South

African Dwellings.

SHILOH RAKUMAKWE

THE VOLKSMOEDER MYTH A Modern Finishing School for the Afrikaans Christian Woman SITE: Church Square, Pretoria, SA

M2: Lynette Boshoff Lynette has always found herself in-between worlds - she feels a duty to see both sides to every story and knows that the difficult conversations are by far the most interesting to be a part of. She continues to make friends and family uncomfortable with unexpected questions and suggestions.

Etiquette, as a collectively agreed upon set of performances, is closely related to architecture in how it prescribes spatial use.

The etiquette of the Victorian era was primarily a moral framework that translated virtue into a set of behaviors (Hartley 2011). In similar fashion, Afrikaner etiquette was founded on Christian values: President Paul Kruger, the personification of ‘Afrikanerdom’, claimed never to have read any book apart from the Bible (Meredith 2007:76).

The target audience of this study is the Afrikaans Christian Woman (ACW). Lauwrens and Mans (2013:45)

write that the construction of an ‘ideal Christian-Afrikaans woman’ stems simultaneously from Afrikaner Nationalist, and Christian constructions of the ideal woman. Patriarchal expectations of contemporary Christian Afrikaans femininity result in the continued subjugation of the members of this group.

The project uses architecture to orchestrate liberating spatial uses that reveal and question the inherited etiquettes of the ACW in the historically subjugating and maledominated public domain. Church Square in Pretoria forms the historical underpinning of this domain and is the site of the proposal.

The Volksmoeder Myth: A Modern Finishing School for the Afrikaans Christian Woman_M2_SCRIPT /

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O i l

i n

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A f r i k a n e r

m e m o r a b i l i a

Paul Kruger statue represents all symbols of Afrikaner collective memory which have been retained and protected

S p r a y S a n i t i z e r | A f r i k a n e r

p r o t e s t o r s

Sanitizer does not eliminate paint, but rather forces it to regroup, making it a darker, clearer element in the water. Also divides paint into and reveals weaker sections.

Afrikaner love of own heritage strong line of EFF invaders

EFF yet to enter space

Paint | Economi c Freedom Fighters (EFF) The EFF defaces the Paul Kruger statue and thereby challenges all Afrikaner symbols.

Oil (Afrikanerdom) momentarily retreats.

W a s h

w i t h S o a p

|

M u n i c i p a l i t y

Soap dissolves paint on edges, but does not eliminate it - rather, the remaining paint finds entry into the water.

Remaining paint rubbed with soap, causing dissolution

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P-TL: Poisoning the Boeretroos – a defiant Zenia emerges.

P-R: The time warp: history repeating itself.

T-L: Chemical material study.

B-L: The Volksmoeder as seen in Afrikaner media.

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Architecture here is explored as a means to train social assassins – individuals who disrupt inherited etiquettes - and is proposed as a curriculum for a modern Finishing School for Afrikaans Christian girls in Pretoria, titled, The Boerenooi

Etiquette Manual.

LESSON 02

SPELETJIE KAARTE

Elke taak vind op ‘n baie spesifieke plek in die Plein plaas.

r e a c t i o n s

Students are briefed on the format of the game - for each new task, they will be given clue cards, containing a riddle and image which gesture toward the expectation for each task. Tasks take place in particular locations in the Square.

From the first physical testing of the lesson in Church Square, four characters were derived - each with their own point allocation on the scale. All of the girls, save for one, opted to attempt fulfilling tasks in a perfect, or Volksmoeder-like, fashion. The leader of this group, was Magdelaide, shown at the top of the scale.

It became clear that the lesson would need specific adjustments to disrupt Volksmoeder-like behaviours and encourage girls to transition from initial Magdelaide-like engagement, toward Zenia-like disruption of the tasks.

Task 1

Task 4

“Boeretroos”, or “farmers’ comfort”, is the nostalgic description for coffee made the Afrikaner way.

As an establish unique bonding household chore Great Trek.

Hot, strong, and sweet, every Afrikaner knows the revitalising smell of farmhouse coffee that lifts the spirits. A cup of boeretroos comes with a caffeine injection and a sugar rush: one supplied either with a heavy sugar-hand, or a dollop of condensed milk.

oNform 023

Elke nuwe uitdaging word deur ‘n kaartjie voorgestel wat vir elke deelnemer uitgedeel word. Die voorkant gee ‘n aanduiding van waar die taak plaasvind, en op die agterkant sal jy ‘n raaisel vind wat jy moet ontsyfer om uit te vind wat die verwagting van die taak is.

In this task, stu pride to their p shared memory, Afrikaner-heroin

2020

r e t r o s p e c t i v e

In this task, girls are asked to make coffee for the “Ooms” of the laager - a common chore for young girls during the Great Trek.

In the following section, some tactics are proposed that might help the eductaor (myself) in disrupting girls’ performances, should they attempt to perform them in a Volksmoeder-like fashion.

Task 3 (Volkspele) was used to experiment with these tactics.

The Volksmoeder Myth: A Modern Finishing School for the Afrikaans Christian Woman_M2_SCRIPT /

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Task 2

Task 5

During the Great Trek, the only form of literature available to the Trekboers, was the Bible. Paul Kruger, who partook in the Trek as a child, famously claimed no education apart from his father’s Calvinist teachings.

Kruger’s father provided him and his siblings with religious teachings for the duration of the Trek: they were expected to recite biblical passages from memory each day after lunch and dinner (Meintjies 1974:410).

By denying poli their most effec

In this task, girls are asked to recite the 10 commandments in their correct order, thereby proving their religious discipline.

In 2006, a so by his stage na is now referred (Grundlingh&Hu an Afrikaner he despite denial o some considere anthem - provi

In this task, stu song to celebra volks-heroine.

Task 3

Task 6

Volkspele are Afrikaner folk dances, which correspond to particular Afrikaans songs. Each song has its unique set of steps, performed by a group of dancers, also known as a laer (while a get-together of a group of laers is called a saamtrek, or rally).

Sunday lunch, meal - it is an Rondebord - lit

In this task, girls are aske to do a traditional volkspele dance around the statue of Paul Kruger.

The round plate (Grundlingh & different kinds o like pumpkin or like tomatoe or vinegar. She no “round”, and th its “roundest” -

In this task, pa perfect “rondebo

Online Resource: Lesson2 Introduction

The choreography for a male-female dance to Lesson 2 Reactions Online Resource: “Afrikaners is Plesierig”.

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for a male-female dance to L E S The 0 choreography 2

The choreography for an all-girls46dance to “Afrikaners is Plesierig” is identical in format:

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The choreography for an all-girls dance to “Afrikaners is Plesierig” is identical in format:

m e m “Afrikaners o r a nis Plesierig”. d u m

LES 02

m e m o r a n d u m

T-R: Navigating the white laager: tasks.

B-R: The choreographies for a male-female and allgirls dance to “Afrikaners is Plesierig”.

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T A S K 4 - F O L K T A L E S visitors are introduced to a handful of compilations of the most famous afrikaner folktales - one compilation focuses specifically on child heroes, which sparks the conversation around indoctrination from a young age for children to be heroic, self-sacrificial and brave

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T A S K 3 - V O L K S P E L E visitors are led to two different audio-visual stations, where they can experience a traditional volkspele dance being performed to either a traditional version of the afrikaner song, afrikaners is plesierig (afrikaners are a pleasant folk), or its alternative rock version, wherein satire is used to point out how afrikaners are separated from their south african context by their class, culture and remnant feelings of superiority. milk or condensed milk?

Click for Video

sugar... or salt? black coffee

apple pips

T A S K 1 - B O E R E T R O O S the first station consists of a small coffee station with various fixings, where, depending on who it is they are serving, visitors might choose to use different fixings for each cup of boeretroos. a server might choose to make a black cup of coffee for a simple visitor, or one with condensed milk to prove their affluence to an important guest…or they might opt to substitute sugar for salt, if they dislike the recipient.

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References L: Navigating the white laager: A Church Square game.

T-R: Mobile Church Square.

1) Hartley, F. 2011. The ladies’ book of etiquette, and manual of politeness: a complete handbook for the use of the lady in polite society. [O]. Boston: G.W. Cottrell.

Available: https://www.gutenberg. org/files/35123/35123-h/35123-h. htm#CHPTR_XXVI

Accessed 10 February 2020.

2) Lauwrens, J., Mans, H. 2013.

Christian-Afrikaans women under construction: an analysis of gender ideology in Finesse and Lééf. [O].

Available: https://repository.up.ac. za/bitstream/handle/2263/39971/ Mans_Christian_2013. pdf?sequence=1&isAllowed=y

Accessed 20 July 2020.

3) Meredith, M. 2007. Diamonds, Gold, and War: The British, the Boers, and the Making of South Africa. New York. pp.76

The Volksmoeder Myth: A Modern Finishing School for the Afrikaans Christian Woman_M2_SCRIPT /

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2020

T A S K 6 - S U N D A Y L U N C H visitors are tasked with creating a perfect ‘rondebord’ lunch from a few taster plates - this exercise allows them to get acquainted with afrikaner cuisine and to have a tangible experience of the preparation that goes into a typical sunday lunch

THE SLEEP INSTITUTE SITE: Church Square, Pretoria, SA

M1: Brighton Matambo Brighton grew up making toy cars and guns out of wire in his small village in Zimbabwe, which piqued his interest in design and assembly. Now, with the added skill of being a critical thinker, he is deeply passionate about architecture and design.

The bible reveals a war that took place in heaven, wherein Michael and his angels fought against Lucifer.

Lucifer ultimately lost and he, with his angels, were thrown out of heaven.

The author posits that this war has since continued, with earth as the battleground for good against evil, and religion framing it as the war for souls and the war of worship.

In the context of this battle, the natural world exists as a proxy for the spiritual realm, with humans mainly asleep to this battle and requiring a spiritual intervention to be awakened to this reality.

reconsidered (1992:pg 3-41), Susan Buck-Morss explains our sustained state of sleep by claiming that “phantasmagoria are the only media that shape lived perception and experience; they are a dream from which we need to wake...” (BuckMorrs 1992).

Through a sleep institute, the project investigates the following question: Can architecture, that renders asleep through the production of ritual patterns and habits, awaken people out of that sleep, and in the process awaken them to the greater supernatural forces at play?

In Aesthetics and Anaesthetics:

Walter Benjamin’s Artwork Essay

The Sleep Institute is located where

oNform 027 2020 The Sleep Institute_M1_SCRIPT / 14

14

T-L: The Totem.

T-R: The production of disclosure.

B-R: The assembly of Church Square programs.

Owl: Symbol of Athena goddess of wisdom , it suggest wisdom in decoding the message wherever it is used. Was used on a 1 United States dollar note, which studies have revealled that it has a lot of acult symbols.

Sun: Sun worship has been used frequently as a term for “pagan”religion, but only a relatively few cultures (Egyptian, Indo-European, and Meso-American) developed solar religions.

The imagery of sun as a ruler of both the upper and the lower worlds that he majestically visit on his daily round is prominant in most these cultures.

Lion: symbol of’power, strength’used by British Empire.

S02

Fasces: a bound bundle of wooden rods, sometimes including an axe in the middle with its blade emerging. It was used in ancient Rome as a symbol of power and authority. It used to be carried by the Empire and the Magistrate. It was also used

by Benoto Musolini and Adolf Hitler.

Paul Kruger: Leader of Voortrekkers “Afrikanerdom”.

The sun is bestower of light and life to the totality of the cosmos, with his unblocking, all-seeing eye, he is the stern gurantor of justice, with the almost universal connection of light with enlightmwnt illumination, the sun is the source of wisdom.

Unnamed Soildiers: symbol of security to the Voortrekkers leader.

Purse: Mecury is sometimes represented as holding a purse, symbolic of his business fucntions.

28

KERKPLAIN

DIRECTOR

:

PUBLIC

CHURCHSQUARE

PROSECUTIONS

Caduceus: a staff carried by mecury with two entined serpents in opposite directions with their heads facing each other.

Mecury: In Roman religion, he is a god of commerce, travelers and transporters of goods and thieves and tricksters. He is also a messenger of gods.

S01

S03

16

Logic.

n:

T-L: Church Square index.

Found Condition: the church on Church Square once model that represents the existing condition of Church Square,

stood, taking the place of the church

ck person. This part of the project reflects my subconscious

B-L: Model of h church the video (TFC) square.

My handsexperiments represent supernatural powers,intheattempting to awaken the masses

obscurity on Churchthe masses. supernaturalforms powersofand the clay symbolises by first revealing the fascist layers Proxy. of

Square. e was about making a model that represents Church the existing condition Churchtoday.

Square, Square as it of stands ugh the lenses of a black person. This part of the project reflects my subconscious T-R: I The Sleep Festival.square. My hands represent supernatural powers, the ring the time spent at church sents the proxy for the supernatural powers and the clay symbolises the masses.

T

B-R: Quiz Exposé: Level 3.

on of Church Square, my subconscious rnatural powers, the lises the masses.

Context.

Logic.

Proxy.

he Mind:

How does the mind wor

The mind is sectioned into thr One can think about the mind

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he Mind:

Un-conscious mind: beliefs, va Detail.

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The Sleep Institute_M1_SCRIPT /

2020

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Cell # 3

Cell # 2

Cell # 1

1st Chamber 2nd Chamber 1:100 2

0

2

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1st chamber

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References L: The Totem Experience.

1) Buck-Morss S, 1992, Vol. 62 “Aesthetics

T-R: Totem: section.

and Anaesthetics: Walter Benjamin’s Artwork Essay Reconsidered”. Pp. 3-41.

TALES FOR THE NURSERY SITE: Childhood Bedroom & Palace of Justice, Pretoria, SA

M1: Miliswa Ndziba Miliswa has a deep appreciation for aesthetics. For as long as she can remember, she has been consumed with the desire to foster the human need for beauty and to inspire creativity.

Through toys, Tales for the Nursery produces microcosms of realities in current day South Africa.

Architecture has been used to socially engineer rituals of performance that exist in current day South Africa. Aiding this, toys have been used as a tool of engineering to reinforce – and make replicable – this architecture in the imagination of the youth. The study explores how rituals of performance that are embedded as a collective consciousness during childhood facilitate the sustained production of erasure of black people in South Africa.

The work is a family memoir set in three time periods, namely: colonial

South Africa, Apartheid South Africa and present-day South Africa.

The collection of toys, presented to the child as components with corresponding assembly instructions, employs alternative ways of seeing South African spatial history, through tools such as a paper theatre, a colour-by-number triptych and a dollhouse. The work references Amy Weinstein’s Once Upon a Time (Weinstein 2005) for effective methods of imparting information to children through sustained practice, play and repetition. The child’s reward for their ability to follow direction and instruction is a toy that reveals to them the systemic rituals of erasure invariably performed in South African society.

oNform 033 2020 Tales for the Nursery_M1_SCRIPT / T-L: The Mephisto Waltz colour-by-number triptych.

T-R: Floor plan of the Tales for the Nursery showroom.

B-R: The Adventures of uVuka picture book.

T-L: Damnatio ad Bestias: The Tale of Church Square paper theatre.

B-L: Damnatio ad Bestias: The Tale of Church Square paper theatre: Characters.

T-R: Sophie Dream Lounge: Makeover Edition paper house: Off-load.

B-R1: Sophie Dream Lounge: Makeover Edition paper house: Perform.

B-R2: Sophie Dream Lounge: Makeover Edition paper house.

Tales for the Nursery_M1_SCRIPT /

2020

oNform 035

T-L: The Buried Giant dollhouse glass pieces.

M: The Buried Giant dollhouse components.

B-L: The Buried Giant peep show.

R: The Buried Giant dollhouse, installed.

Tales for the Nursery_M1_SCRIPT /

2020

oNform 037

THE STORY LEXICON OF TRUE SOUTH AFRICAN DWELLINGS SITE: Visual Lexicon of the South African Dwelling Book

M1: Shiloh Rakumakwe Shiloh was labelled a hippie in high school and still carries that, aspiring to spread love, light, and happiness wherever she goes. She’s passionate about societal change and stands up to those who feel superior to others, never shying away from speaking her mind.

The project explores the absence of content reflecting black identity and experience within current recommended reference literature in architecture schools in South Africa - a country made up of over 80 percent black citizens. S. Bazana and O. Mogosti’s (2017:2) article on transformation in higher education states that “Studies have proven that institutional cultures in historically white universities alienate and exclude black students’ identities. These students’ sense of social identity, which includes culture, heritage, language, and traditions, and consequently self-esteem and self-concept, is altered in these institutions”.

The project approaches architecture as a tool of profiling that polices belonging by revealing the continued negation of any form of belonging for black born-frees within architectural institutions due to their constant absencing from curricula.

The project takes the form of a lexicon, in direct response to a seminal prescribed reference book for several schools of architecture in South Africa, Visual Lexicon of the South African Dwelling, compiled by University of Pretoria lecturer Roger C. Fischer. The book becomes the author’s site of intervention. The proposed lexicon presences the relationship that black South Africans have to place, space and narrative

25

T-L: Actionabols.

T-R: Social puppetry.

B-R: Demonized landscapes.

The Story Lexicon of True South African Dwellings_M1_SCRIPT /

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oNform 041 2020 T-L: The reflection of the past.

B-L: Historically white designated suburbs.

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The Story Lexicon of True South African Dwellings_M1_SCRIPT /

63

by providing a language for the conditions of blackness that continue to be erased and/or absenced from the academy.

T-R: Township ‘suburbs’ (or ‘kasi’).

B-R: Rules of composition for nouns and pronouns.

4646

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oNform 043 2020 The Story Lexicon of True South African Dwellings_M1_SCRIPT /

References T-L1: Collective symbolisms.

T-L2: Symbol derivation.

B-L: The story of Smangelo: The boy with a dream.

T-R: The story of Nomangisi and the hopes for a better future.

1) Bazana, S and Mogotsi, O. 2017.

Transformation in Higher Education. Vol 2. Available: https://thejournal.org.za/ index.php/thejournal/article/view/25.

Accessed: 03 September 2020.

2) Fischer, R. 1992. Visual Lexicon of the South African Dwelling. Cape Town: Unibook(Pty) Ltd.

oNform 045 047 2020 046 M1 Moments in Time:

Framed Perspectives – The Framing of Black Womanhood.

TSHWANELO KUBAYI 052 M2 Soundscapes of Belonging.

IVAN MEYER 058 M1 Invisible Cities:

A Re-membering.

THANDEKA MNGUNI 064 M1 The Parable of Re-stitching:

The Production of the Subdued Black Female Body.

DIMPHO SELEPE

Moments in Time: Framed Perspectives – The Framing of Black Womanhood_M1_BODY BODY /

BODY

MOMENTS IN TIME

Framed Perspectives – The Framing of Black Womanhood SITE: Mother’s photo albums

M1: Tshwanelo Kubayi Tshwanelo enjoys a very active lifestyle and relates her hardworking mentality to the same physical and mental health required in the active lifestyle she upholds. She believes that if you look good, you feel good, and if you feel good, you do good.

T-L: The Garden of Black Erasure. Kubayi, T. Unit 19. 2020.

Moments in Time: Framed Perspectives – The Framing of Black Womanhood interrogates imagemaking as a tool that builds and sustains one’s relationship to the world and their perceived role in it. It first dissects and unpacks the images of the still widely used primary school (grades 1-3) Cathy & Mark storybooks used in the Apartheid era. These colonial archives maintain a violence that WEB du Bois (1903) terms “double black consciousness”, and Anna Julia Cooper (L.Staton-Taiwo, 2004, pp. 5980) terms “triple consciousness” when including gender.

The final work proposes a series

of triptychs. The first panel of each triptych is an inherited photo from the archival photo albums of the author’s mother, whilst the last panel holds representations that defined the distressed black South African experience at the same moment in history as the author’s inherited photo - images produced, curated, commissioned and/or enforced by larger society at that time. The middle panel is designed to present the reader with a space of potential malleable futures.

In this middle panel, the foreground contains moveable elements, the middle ground sits as a fixed but porous context between the

oNform 047 2020

BELONGING BELONGING

T-L: The Garden of Black Erasure. Kubayi, T. Unit 19. 2020.

T-R: The Garden of Black Erasure.

B-R: The Garden of Black Erasure. Kubayi, T. Unit 19. 2020.

pg 53

COLONIZATION COLONIZATION COLONIZATION

pg 53pg 53

THE RAINBOW THE RAINBOW NATIONNATION

pg 54 pg 53

pg 54

Moments in Time: Framed Perspectives – The Framing of Black Womanhood_M1_BODY /

pg 54

ACTOR ACTOR ACTOR

PERFORMANCE PERFORMANCE PERFORMANCE PERFORMANCE

ACTOR ACTOR

PERFORMANCE PERFORMANCE PERFORMANCE

FRAMING FRAMING FRAMING

1

pg 61

FRAMING FRAMING 22 2 33 3

11 1 1

2

2

3

44 4 3

4

4

pg 62

THE DISARMING OF INNOCENCE THEME : INNOCEANCE YEAR: 1960

pg 61

pg 62

THE DISARMING OF INNOCENCE The TheCapturing Capturing ofofawareness awareness The Capturing of awareness

PHOTOGRAPHY The Capturing awareness The Capturing of of awareness

PHOTOGRAPHY

The layers framing external factors The layers ofof framing byby external factors The layers of framing by external factors

The performance captured The The performance performance captured captured onononon The performance captured THEME : INNOCEANCE day of unrest day day ofday ofunrest unrest of unrest

Society 1.1.

Society 1.

Society

COMPOSITION YEAR: 1960

COMPOSITION

4. Self Perception 4. Self Perception

pg 65

L: The Framing of Black Innocence.

R: The Framing of Black Acceptance.

foreground and background and the background presents the paradigmatic backdrop of the time.

The author moves both in and out of the image, using voids, texture, reflection, sound and moving image to give the subject of each image renewed agency, and to enable the audience’s capacity for narrating and world-building through their experience and engagement with each image.

CONTEXT

2.2.The Family layers oflayers framing by external factors factors 2.Family Family The of framing by external Camera lens 3.3.

Camera lens 3.

Camera lens 1. Society 1. Society Self Perception 4.4.

Self Perception 4.

Self Perception 2. Family 2. Family 3. Camera lens 3. Camera lens CONTEXT

The performance captured on The performance captured on The performance captured on day unrest day of unrest day of of unrest

pg 65

PERFORMANCE

ACTOR ACTOR

FRAMING

PERFORMANCE PERFORMANCE PERFORMANCE

1

2 3 FRAMING FRAMING

4

1

2

4

1

2

1

3 2

3

3

4

BLACK ACCEPTANCE

pg 69

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FRAMING

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pg 70

THEME : ACCEPTANCE YEAR: 2000 pg 61

pg 62

THE DISARMING OF INNOCENCE

A Capturing of the Apartheid PHOTOGRAPHY Education The Capturing awareness Capturing of of awareness AThe Capturing of the Apartheid Education

PHOTOGRAPHY

THEME : INNOCEANCE

The performance captured COMPOSITION of school on the first day YEAR: 1960 The performance captured on The performance captured on The performance captured on captured The performance day of unrest day of unrest ofday unrest of school on theday first

COMPOSITION

The layers of framing by external factors

CONTEXT

The layers framing by external factors factors The layers ofbyframing byfactors external The layers of of framing external 1. Society

2. 1.

Society Society 1. Society 3.Family 1. 2.

Society Family 2. Family 4.Self Perception 2.

Society 3. Camera lens 3. Camera lens CONTEXT 3.Family 4. Self Perception 4. Self Perception 4.Self Perception

pg 73

pg 73

2020

PERFORMANCE

Moments in Time: Framed Perspectives – The Framing of Black Womanhood_M1_BODY /

ACTOR

ACTOR ACTOR ACTOR ACTOR

PERFORMANCE PERFORMANCE

FRAMING

PERFORMANCE PERFORMANCE PERFORMANCE

FRAMING FRAMING

1 1

2 1

2

2

3 3

3

ACTS OF RESILIENCE

pg 77

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4

pg 78

THEME :DETERMINATION YEAR :1976

pg 61

pg 62

THE DISARMING OF INNOCENCE AAcapturing capturingofofpower power The Capturing awareness The Capturing of of awareness PHOTOGRAPHY

PHOTOGRAPHY

THEME : INNOCEANCE

performancecaptured captured AAperformance resistance theregime regime ininresistance totothe YEAR: 1960 The performance captured on The performance captured on The performance captured on COMPOSITION day of unrest day of unrest day of unrest

The layers of framing by external factors The layers oflayers framing by external factors factors The of framing by external CONTEXT 1. Society 1. Society 1. Society 2. Apartheid regime Self2.Perception 2. 3.

Family Family

COMPOSITION

3. Camera lens 3. Camera lens

4. Self Perception 4. Self Perception

pg 81

pg 81

CONTEXT

PERFORMANCE PERFORMANCE PERFORMANCE

PERFORMANCE PERFORMANCE PERFORMANCE

1

1 1 1

1

FRAMING FRAMING 2 3 2 2 3 2

2

3

3

3

4

MINISTER OF SELF

pg 85

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pg 86

THEME : JUDGMENT YEAR : 2020 pg 61

pg 62

THE DISARMING OF INNOCENCE A Captured A Captured state of mind state of mind

PHOTOGRAPHY

A Captured state of mind The Capturing awareness The Capturing of of awareness

THEME : INNOCEANCE performance against onesself self A performance AAperformance against against ones selfones identity identityCOMPOSITION identity A performance against ones self YEAR: 1960 The performance captured on Theidentity performance captured on The performance captured on day of unrest day of unrest day of unrest

PHOTOGRAPHY

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CONTEXT

The layers of framing by external factors 1. Society 1. Society The layers oflayers framing by external factors factors The of framing by external 2. Internal self perception 2. Internal self perception 1.1.Society Society 1. Society 3. Societal ideals 3. Societal ideals 2. Internal self perception Family 2.ideals Family 3.2.Societal 3. Camera lens 3. Camera lens CONTEXT

COMPOSITION

4. Self Perception 4. Self Perception

pg 89

References L: The Framing of Black Resilience.

1) Bois, W. D., 1903. The souls of black folk. 2 ed. Chicago: s.n.

R: The Framing of Black Judgement.

2) L. Staton-Taiwo, S., 2004. The effects of Cooper’s A Voice from the South on W.E.B Du Bois’s Souls and Black flame trilogy. Philosophia Africana, August , 7(2), pp. 59 -80. Available : https://www.jstor.org/stable/10.5325/ philafri.7.2.0059

pg 89

2020

ACTOR ACTOR

FRAMING FRAMING

PERFORMANCE

ACTOR

Moments in Time: Framed Perspectives – The Framing of Black Womanhood_M1_BODY /

ACTOR ACTOR

SOUNDSCAPES OF BELONGING SITE: Church Square, Pretoria, South Africa Marie Thompson (2014) in her book M2: Ivan Meyer Ivan is a composer, whether through music or architecture, and designs and writes special conditions that striv-e to be encapsulating.

He wants to make the world a happier place, one of acceptance and prosperity.

Beyond Unwanted Sound: Noise, Affect, and Aesthetic Moralism, argues that silence is a luxury available only to those who can afford it. She claims how being able to purchase and own sound renders it a defensible object. This statement puts sound in the realm of binaries, differentiating noise from quiet, makers and receivers of noise, and wanted and unwanted sounds even though sound is not inherently good or bad.

Historically, sound as an architectural material was used as a territorymaking and -defining tool, as can be seen in South African Apartheid

spatial planning strategies, and today, sound-policing has become a staple practice in historically whitedesignated suburbs.

Where the private realm enables the ownership and control of sound, the public realm has limits to that capacity. Sound in the public realm is a lesser regulated space of negotiation and tension between belonging and non-belonging. What then does it mean to experience privacy in the public realm, a sense of community, belonging or comfort?

The project explores belonging within the public realm – in Church Square, Pretoria – through the use of sound as a building material.

oNform 053 2020 General standards is given to spacial designers General standards is given to spacial designers by by modeling programs such as Revit in the modeling programs such as Revit in the formform of of families.

Figure 004 show the content of a standard families. Figure 004 show the content of a standard living space. space sill undefined. living space.

TheThe space sill undefined.

Video 01 Video 01

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Figure | Cross-reference Rituals Figure 005 005 | Cross-reference Rituals

Furthermore rituals performed does define Furthermore rituals performed does not not define a a space.

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5

T-L: After Noah’s ark: departure.

T-R1: Storyboard of out-ofplace rituals.

T-R2: Revit components and cross-referenced rituals.

B-R: Church Square translation of use scenario composition.

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6

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Figure | Revit Standards Figure 004 004 | Revit Standards

Walkway 150 Gmax

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Figure 035 | Crowded sidewalk

B2

Where sidewalks became to crowded the road acted as a through fair towards site.

Figure 025 | Recourse Figure 025 | Recourse A1 Tree providing shade on the west side of the square shadow 2x3m A1 Tree providing shade on the west side of the square shadow 2x3m

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Figure 026 | Seating Figure 026 | Seating

Figure 031 | Public urinal Figure 034 | Sidewalk barricaded 21

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T-L: Church Square translation of use scenario composition.

B1

A1

B-L: EFF Protest, Church Square.

A2

Figure 032 | Public urinal

Despite public restrooms within walking distance of the square public urination was documented in two separate parts of the square.

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oNform 055 2020 Soundscapes of Belonging_M2_BODY / T-R: ’83 Bombing, Church Street.

B-R: Suburban sound lexicons.

Figure 093 | Monday Soundscape Figure 093 | Monday Soundscape

Figure Video089 09 | Wednesday Soundmap

Video 09

Figure 089 | Wednesday Soundmap

Airspace

Figure 094 | Monday catalogue 45

Airspace

Figure 094 | Monday catalogue 45

Figure 090 | Wednessday catalogue

Figure 090 | Wednessday catalogue 43

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T-L: Public Sound Map: Monday.

Figure 087 | Monday Soundmap

B-L: Suburban sound lexicons.

Figure 087 | Monday Soundmap

Figure 091 | Friday Soundmap

Video 08

Figure 091 | Friday Soundmap

Video 08

Figure 092 | Saturday Soundmap Figure 092 | Saturday Soundmap

Different cultures use the public realm differently. Some perceive religion as private, while others experience it as a function of public Different cultures use the public realm differently. Some perceive

Figure 088 | Monday catalogue

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oNform 057 2020 Soundscapes of Belonging_M2_BODY /

9 | Perspective

References T-L: Pavilion proposal perspective.

1) Thompson, M. 2014. Beyond Unwanted

Sound: Noise, Affect, and Aesthetic Moralism. Newcastle University.

INVISIBLE CITIES A Re-membering

SITE: Archetypical suburb homes with a back room

M1: Thandeka Mnguni Thandeka – who is gogo’s child – grew up in Daveyton. She spent most of her childhood with her feet covered in street dust and her teens spent with her nose in a book; which inspired her very active imagination.

“’...What would you say is the worst thing about your job?’ ‘I never sleep at home with my husband and my children. Even if I have a half-day off. I have to come back and sleep here at night’ (this worker works a 76-hour week)” (Cock 1980:63).

The effectiveness of colonial erasure, according to missionary Edwin Smith (Smith 1926: 186), was not in how well they destroyed cultural artefacts (which includes black bodies), but in how they dismembered it, by reordering, hierarchising, discarding, omitting, dissociating, superimposing, grafting, banning, and so on. The work therefore sees ‘dismembering’ – as opposed to ‘forgetting’ – as the

inverse of ‘re-membering’. Through the psychological phenomenon of “transactive memory” (Wegner 1987), the work presents black South Africans as dismembered living museums and asks: how is South Africa’s labour class continually dismembered in ways that erase their presence as indigenous infrastructures, and how can they be re-membered to their original forms?

The project posits that the bodies of colonized peoples remain their most significant evidence of both existing and belonging when their built architectures and infrastructures are dismembered.

0:44 0:44 spoken spoken narratives narratives 0:44 0:44 spoken narratives narratives spoken

1:08 1:08 seen narratives seen narratives 1:08 1:08 seen narratives narratives seen

1:16 1:16 seen narratives seen narratives 1:16 1:16 seen narratives narratives seen

1:35 1:35 seen narratives seen narratives

1:41 1:41 seen narratives seen narratives

2:04 2:04 spoken narratives spoken narratives

1:35 1:35 seen narratives seen narratives 1:35 1:35 seen narratives seen narratives

1:41 1:41 seen narratives seen narratives 1:41 1:41 seen narratives seen narratives

2:04 2:04 spoken narratives spoken narratives 2:04 2:04 spoken narratives spoken narratives

2:11 2:11 seen narratives seen narratives

2:15 2:15 seen narratives seen narratives

2:43 2:43 spoken narratives spoken narratives

2:15 2:15 seen narratives narratives seen 2:15 2:15 seen narratives Building without memories Building without memories seen narratives

2:43 2:43 spoken narratives narratives spoken 2:43 2:43 spoken narratives spoken narratives

Reflecting on the 2:11 surroundings of Church 2:11 Square, our memories are seen narratives narratives seen reflected by the experiences and not by the built form.

2:11 2:11 Reflecting on the seen narratives narratives surroundings of Church seen

do reflect not reflect on the do not on the memory, yet experiences memory, yet experiences Building without memories the buildings reflect within buildings do within notthe reflect on thereflect on memory. the yet memory. on the memory, experiences within the buildings reflect on the memory.

Square, our memories are reflected by the experiences and not by the built form.

T-L: Skin: Uniform as facade.

Forgetful memory Forgetful Forgetful memory memory

The dough is made to stand, but The time dough is made madefalls to stand, stand, but with it slowly back tobut what The dough is to with time it knows. with time it it slowly slowly falls falls back back to to what what it knows. knows. it

T-R: Truth and myth.

B-R: Memory in material.

2:46 We share the same 2:46 spokenexperience narratives of the Square spokenand narratives each other’s experiences that we carry, within the same space.

2:46 2:46 share the same spokenWe narratives experience of the Square spoken narratives

and each other’s experiences

that we carry, within the 2:46 2:46 same space. spoken narratives spoken narratives

3:38 3:38 seen narratives seen narratives

4:02 4:02 atlas atlas

Shared memory Those relate more Those that that relate more Shared memory memory Shared to experience, the experience, absorb to the absorb The dough is streched in the The dough dough is streched streched inpieces the more it than those more ofthat itof than those whowho Those relate more process of tearing it intoin The is the process of of tearing tearing it it into into pieces pieces areexperience, distant the same are distant fromfrom theabsorb same to the process https://www.youtube.com/watch?v=VR-qvXhejes experience experience more of it than those who https://www.youtube.com/watch?v=VR-qvXhejes are distant from the same experience

3:38 3:38 seen narratives See 01 seenvideo narratives See video 01 3:38 https://www.youtube.com/watch?v=VR-qvXhejes 3:38 https://www.youtube.com/watch?v=VR-qvXhejes seen 16 narratives 16 seen narratives See video See video 01 01 Memory that clings

4:02 4:02 atlas atlas 4:02 See video 04 4:02 See video video 04 04 See atlas atlas

https://www.youtube.com/watch?v=1Yb92ozv4Wg https://www.youtube.com/watch?v=1Yb92ozv4Wg https://www.youtube.com/watch?v=1Yb92ozv4Wg

18https://www.youtube.com/watch?v=VR-qvXhejes Memory that that clings clings Memory https://www.youtube.com/watch?v=VR-qvXhejes Memory is moulded Memory is moulded and and The dough is smeared into both the The dough doughand is smeared smeared into both both the carbdoard transparency.

Thethe shaped its surrounding shaped by itsbysurrounding The is into carbdoard transparency.

The one on the and transparency bends with carbdoard and transparency.

The Memory is moulded and onetransparency on the the transparency transparency bends with the and the bends one onwith the one on shaped by its surrounding the transparency theattempted one on the cardboard cracksand when

16

16 01 See See video video 01

18

16 16

the transparency and the one on the cardboard cracks when when attempted attempted to bend. cracks cardboard to bend. bend. to

https://www.youtube.com/watch?v=EWCsvBlRe2Y https://www.youtube.com/watch?v=EWCsvBlRe2Y

See video 02 &03 See video 02 &03

19 19https://www.youtube.com/watch?v=EWCsvBlRe2Y See video 02 &03

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1:08 1:08 seen narratives seen narratives

Invisible Cities: A Re-membering_M1_BODY /

0:44 0:44 spoken narratives spoken narratives

The practice The of Sundays practice of Sundays

play: The practice of Sundays Mambo’s play: TheMambo’s practice of Sundays Mambo’s play: The practice of Sundays

The practice of Sundays

Scale 1:50

Scale 1:50

Scale 1:50

Scale 1:50

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Aunt’s therapy Aunt’ssession: therapyThe session: practice Theofpractice Sundays of Sundays

Luyanda’s TV time: The Luyanda’s practiceTV of time: Sundays The practice of Sundays Luyanda’s TV time: The practice of Sundays

Aunt’s therapy session: The practice of Sundays

Scale 1:50 Scale 1:50

9

9

T-L: The practice of Sundays.

B-L: Skin: Component characteristics of uniform as facade.

T-R: European names as passports into white territories.

B-R: The design of the domestic worker’s invisibility.

Scale 1:50 10 10

The work reveals the disfigured architectural form of domestic workers in historically whitedesignated suburbs and works to re-member them limb-by-limb.

Scale 1:50

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13

14 14

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Your name my passport: The black women’s tale of using the white name as access to white territories.

The designing of an invisible domestic worker.

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5.1

Access given and access taken: A look at how a domestic worker is expected to use each space in the white hous, as a servant versus her negotiation of access, her strategies of sneaking her boyfriends.

Domestic worker

Feet

Employer - madam Children

11:00

Boyfriend 13:00

12:00

22:00

17:00 20:00 09:00

22:00

21:00 21:00

14:00 15:00

Ngena S’thandwa sam (Come in my love) (Seen in blue) the strategies that the domestic worker would use to sneak in her boyfriend. From wearing a dress (to look like a female visitor), to walking in backwards, and if caught they would seem like they were already leaving.

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4930

Freedom in my language: The domestic worker’s use of her own language to create private spaces within public spaces.

See audio 3

See audio 1

Public space See Audio 1

Private space See Audio 2

See audio 2 Semi-private space See Audio 3

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verb

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References T-L: Feet:The Illusion of Access.

B-L: The production of freedom through renaming and translation.

T-R: The Fanakalo Handbook for Madams.

1) Cock, J., 1980. Maids and Madams:

A study in the politics of exploitation, Johannesburg: Ravan Press.

THE PARABLE OF RE-STITCHING The Production of the Subdued Black Female Body SITE: Mother’s home, SA

M1: Dimpho Selepe Dimpho is somewhat a jack of all trades, continually exercising her skills in multiple design fields, namely fashion, architecture and the arts.

“Manual: as opposed to automatic, as opposed to starting or functioning by itself and for itself...as in need for direction...Hands no longer yours, contracted, owned, and directed by another, like a tool or object” (Hartman 2019:78).

The work approaches the South African black female body as an extension of the public realm and a site of public habitation by men.

It approaches the author’s private home as the space wherein her body is educated to belong no longer to her private self, but to communities of men. In that education, clothing is used as scaffold, shelter, programme, skin,

façade and typology: to constrain, conceal and tame the growing female assets for the male gaze.

The proposed manual reveals these body-part-specific clothing items introduced as a rite-of-passage into womanhood, and catalogues how they reconfigure the form of the body both superficially and structurally.

The author proposes a series of installations that become extensions of her body, to be installed across the home, in the spaces where those body parts have been deemed to belong in their domesticated state. The author performs across, between and

oNform 065 2020 T-R: Tree of Man.

The Parable of Re-Stitching: The Production of the Subdued Black Female Body_M1_BODY /

T-L: Let It Sag.

through these installations as a way to piece her body back together.

B-R: Ground floor plan of body installations in mother’s home.

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100 100

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oNform 067 2020 B-L1: Breast section showing structural changes caused by bras.

B-L2: Matswele (breast) renovation drawings.

R: Overextended.

The Parable of Re-Stitching: The Production of the Subdued Black Female Body_M1_BODY /

T-L: Bra: structural components.

oNform 069 2020 T-L: Resisting domesticity.

B-L: Resisting domesticity: assembly drawing.

T-R: Hands off.

1) Hartman, S. 2019. Wayward Lives, Beautiful Experiments. New York: W.W. Norton & Company.

The Parable of Re-Stitching: The Production of the Subdued Black Female Body_M1_BODY /

References

oNform 071 075 2020 072 M1 Taxi Chronicles.

DEBRA BHUNGENI 078 M2 Nothing to See Here:

Stages for Latent Revolutions.

BYRON CORRIGAN 084 M1 To Put on Trial an Idea:

Cousins vs. Political Correctness.

GREGORY COUSINS 090 M1 Identity Crisis.

KATLEGO MALEBYE 096 M1 Branding Desire.

TUKI MATHIBEDI

Taxi Chronicles_M1_RITUAL RITUAL /

RITUAL

AoS 007

Intersection A

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48

TAXI CHRONICLES SITE: Randburg Taxi Rank, Johannesburg, SA Taxi Chronicles traces and documents M1: Debra Bhungeni Debra identifies as a space-shifter. Her personal experiences of moving between time and space, across countries, cultures and typologies, inspired her interest in architecture.

the cultural and performative characteristics of language and its impact on the production of exclusion and belonging. The project was borne out of the author’s own experience of foreignness as a Zimbabwean immigrant negotiating the South African taxi system as a local would. Observing the characteristics that render one exposed, such as accent, clothing, hand gestures and more, the project captures and demystifies the culture embedded within the public language infrastructure known as Taxi Taal a.k.a. South Africa’s 13th language - invented, used and negotiated primarily in the public

realm along racial, tribal, geographic and class lines.

Through a guide document and minimal site interventions using colour, texture and text proposed at Randburg taxi rank, the project makes sense of the Tower of Babel-like condition that plagues the South African public realm for those deemed too foreign.

The language is catalogued as non-verbal and verbal, using James William Carey’s (2009) framework on language, namely grammar (that the project translates as spatial grammar), structure and sound.

oNform 073 2020 Taxi Chronicles_M1_RITUAL / AoS 007

“Taxi Rank Secrete Agents”

T-L: Spatial grammars: Intersection A. T-R: Word structure.

B-R: Taxi Taal mobile application: The rank secret agents.

A newspaper called The Taxi Times is introduced as a 3-fold tool. It firstly operates as a camouflaging distraction, secondly, as a coded teaching tool, and finally, as an icebreaker. As a device, it operates to ensure inconspicuous access to Taxi Taal through a medium that does not reveal the foreignness of the foreigner to the locals of that taal and its corresponding public realm.

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T-L: Taxi system zones.

B-L: Aural coded landscapes.

T-R: Site implementations and area locator.

B-R: Coded lanes.

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2020

Site implementations and area locator

AoS 007 81

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Sectional view of the level changes

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AoS 007

AoS 007

AoS 007

T-L: The Taxi Chronicles: newspaper.

B-L: Vocabulary and pronunciation.

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AoS 007

Site implementation:

Texture - Creating uncomfortable driving ‘slits’ for taxi vehicles, to create room for legible reading words of the travel destination.

B

Site implementation:

Level Changes and widening of pavement - Creating different levels within the existing architecture, to create “moments” of pause and enable moments of communication/conversations.

C

Site implementation:

Colour -Colouring the existing concrete structural column platform with ‘accent’ colours throughout the rank. (Possible colour pattern to be created)

Taxi Chronicles_M1_RITUAL /

2020

A

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Internal Taxi Rank View

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References T-R: Internal Taxi Rank View.

1) Carey, James W. 2009. A Cultural Approach to Communication: Communication as a Ritual. New York: Routledge.

Body of Work

A body of work in chronological order, displaying key moments and findings.

NOTHING TO SEE HERE Stages for Latent Revolutions

SITE: Church Square, Pretoria, SA

M2: Byron Corrigan Byron was born and grew up in a small suburb, south of Johannesburg.

Having only visited the city for the first time at 18, he fell in love with the radical environment and created a careful web of alibis for his mother so that he could visit it at every possible moment.

The project proposes a series of stages within Church Square, Pretoria to facilitate protest, and the performance of proposed societal futures by the South African public.

Church Square has historically functioned as a stage for protest, performance and proposed revolutions, with the Paul Kruger statue fulfilling the role of a stage, set, backdrop, and cloak in those events. Its surrounding buildings – such as the Palace of Justice – have functioned as props and actors. The proposed stages respond by creating ambiguous cloaks of form, function and programme for current actors and audiences to perform, and strategize, as well as to hide from and

evade threats during protest.

Rooted in Jonathan Hill’s framing of architecture as “spatially porous, while solid and stable where necessary” (Hill 2006:75), the project approaches the written word as the prospect of an architecture that can be translated through spoken word (performance).

The 1996 Constitution of South Africa is used as the script/written word for the project. In it, the individual rights of citizens are not fixed, and during the 2020 COVID lockdown, subsections 36 and 37 permitted the relaxation of several of those rights, in favour of collective rights.

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Nothing to See Here: Stages for Latent Revolutions_M2_RITUAL /

2020

A map to solicit where to sell an stages to whispe

T-L: Framework of themes and outputs.

T-R1: Couch Warfare.

T-R2: Where to sell and talk news map.

B-R: Emergency Prohibition.

Latent Stage Locality Map

Points of Interest and Stage positioning.

Scenario Detail Plan

T-L: Latent stages locality map.

B-L: Materials palette.

R: Stages Timeline.

The site of intervention lies between the written and the performed, and exists as the space the project calls the network architecture of translation.

Material Palette

Materials used in new architectural interventions, (Stages). Revealing the superficial nature of the material use and the protection of these buildings.

2020

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Stage Timeline

Various stages of the intervention. The timeline questions the stage’s phasing and re-imagined future.

Nothing to See Here: Stages for Latent Revolutions_M2_RITUAL /

Latent Stage : A stage in a point of interest or landmark where protesters can meet, perform and protest. Opening a dialogue with the state. These stages have evasion and distraction tactics designed into them protecting protesters from upcoming threats.

Latent Stage : A stage cloaked as a service programme,(parking,tourist deck,etc.).

Where performers can strategize, view site and pivot performance.

Stage of Appeals Evasion

Distraction tactic used by falling archways on site. The protesters on site escape through the debris cloud on site to underground basement and tunnel.

Sec 1:50

Sec 1:50

Stage of Appeals Section

Distraction The storming tactic of the new explained. stairs of Palace An evasion tactic to flee from incomi Arches collapsing as a distraction tact

T-L: Stage of Appeal distraction tactics plan.

B-L: Stage of Appeals Section.

Trigger Trigger Detail Detail Stairs Stairs 1 @1:5 1 @1:5

Visual demonstration of the evasion of protesters during protest.

Weight Weight Sensor Sensor Detail Detail 2 @1:5 2 @1:5

Details Details of main of main blatant blatant Stage Stage of Appeals of Appeals

Nothing to See Here: Stages for Latent Revolutions_M2_RITUAL /

2020

Details Details of main of main blatant blatant Stage Stage of Appeals of Appeals

Visualization of Evasion

Weight Sensor Detail 2 @1:5

Details of main blatant Stage of Appeals

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Trigger Detail Stairs 1 @1:5

Details of main blatant Stage of Appeals

Stage of Appeals Section 1:20

T-R1: 1:5 detail sections from the Stage of Appeals.

References 1) Hill, J. 2006. Immaterial Architecture.

Routledge: London And New York:75.

Video 003

Video 004

Sequencing section from intention, to i threats, triggering and the evasion.

Site Section Palace of Justice to Ou raadsaal

T-R2: Stage of Appeals 3D visualization.

B-R: Site section of the Ou raadsaal to the Palace of Justice over time.

Site Section Ou raadsaal to Palace of Justice over time

TO PUT ON TRIAL AN IDEA Cousins vs. Political Correctness

SITE: Church Square, Pretoria, SA

M1: Gregory Cousins Greg is a dreamer and thinker. He spends more time viewing a problem from every side and figuring out how he got into the mess than actually solving it (and yes, there is ALWAYS a mess)!

The project questions the negotiation and application of political correctness by the author in contemporary South African society.

The project is a court case that plays out at Church Square. Its focus is the collected evidence of the life of the 25-year-old white male author who also plays the role of the prosecution.

Dan Graham’s article, Theatre, Cinema, Power describes the theatre as the centre of power, and explains the shift in power dynamics that came with shifting attention from the performer to the audience, thus rendering the performer vulnerable to criticism and visibility (Graham

1999:171). This echoes the experiences of the author in the lived performance of political correctness.

Church Square is approached as a theatre stage, with political correctness as the performance/ learned behaviour discovered through negative and sometimes threatening experiences to the author’s person or character, introducing an embedded fear of its perceived boundaries.

Through delicate, vulnerable and fleeting primary materials - namely paper and light, the author explores translucency as a way to re-script through absencing,

oNform 085 2020

City RE:viewed 01 City RE:viewed 01 01 City RE:viewed

03 Questioning LightLight 03 Questioning

City RE:viewed 01 City RE:viewed 01 01 City RE:viewed

03 Questioning LightLight 03 Questioning

Questioning Centre 02 Questioning Centre 02 02 Questioning Centre

04 Questioning Self Self 04 Questioning

Questioning Centre 02 Questioning Centre 02 02 Questioning Centre

04 Questioning Self Self 04 Questioning

11 11 11 11 11 11

T-L: Proof of concept.

T-R: The production of frames.

B-R: Atlas of appropriation. sequence 1:sequence appropriated 1:sequence appropriated verticality verticalityverticality 1: appropriated

sequence 2:sequence appropriated 2:sequence appropriated containment containmentcontainment 2: appropriated

To Put on Trial an Idea: Cousins vs. Political Correctness_M1_RITUAL /

The D The The D The

The The percept per based on th based o The enabled percept The per enabled to v based on th based o enabled to v enabled The control The con through thi through Theperceive control The con we we perc thi through ma through we perceive wethrou perc finally finally t through ma through finally throu finally t

correctness. These are the events that have produced both fear and voyeuristic curiosity.

The Tools Producing Evidence Documented Image: Photographs curated to corroborate the narrative compiled by the prosecution. These Images are chosen from amongst thousand and are the only images containing black people.

In other cases, the produced absence of black people in the photos is representative of the limited connection created by adherence to the performance of political correctness.

Documented Event: The events documented in the form of script are critical performances in the prosecution’s negotiation of political correctness. These are the events that have produced both fear and voyeuristic curiosity.

DETAIL CALL OUTS FROM THE PAPER

PRESENTATION OF EVIDENCE AS SET 26 DETAIL CALL OUTS FROM THE PAPER

PRESENTATION OF EVIDENCE AS SET 25

T-L: The Naïve Self.

B-L: Further learning.

R: Presentation of evidence: The first critical experience.

26

presencing, concealing and revealing.

With the added techniques of layering, collaging, tracing and stitching, crucial events surrounding political correctness the author’s life is pieced together, as well as their corresponding geographies, to unpack the evidence of the arguments both for and against political correctness.

To Put on Trial an Idea: Cousins vs. Political Correctness_M1_RITUAL /

2020

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for the prosecution, thus connecting actions and the consequences to his person. Through the thread events have been linked. These links have pulled tight causing the paper to tear. These interactions can be seen as representative of the effect of negatively enforced political correctness.

The Tools Producing Evidence Use of Colour: The colours used in the evidence frame the narrative and form a part of the lens through which the evidence was produced.

Green representing the self, the core, that which was once innocent. Pink & Orange representing that which is different, other, out of place. Red emphasizing critical assessment based on Politically Correct Action.

Stitching: The stitching is used to tie events to the paper - the proxy for the prosecution, thus connecting actions and the consequences to his person. Through the thread events have been linked. These links have pulled tight causing the paper to tear. These interactions can be seen as representative of the effect of negatively enforced political correctness.

DETAIL CALL OUTS FROM THE PAPER

PRESENTATION OF EVIDENCE AS SET 30 DETAIL CALL OUTS FROM THE PAPER

PRESENTATION OF EVIDENCE AS SET 29

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LIGHTIN CONCEA

AUDIENCE

area observed historical context image

paper screen with current event depiction

area Lit

2020

PROSECUTION direction of rotation of view (in video) approximate centre of experiment

light Source

JUDGE

CONCEALING LIGHT

INITIAL EXPERIMENTATION

light Source

area Lit

The use of different lighting to reveal layers of information was conceive through this experiment. The position of the lighting in each instance altered what was made visible through the paper screen.

The position of this lighting shifted between internal and external, direct and diffused.

AUDIENCE

area observed historical context image

paper screen with current event depiction

direction of rotation of view approximate centre of experiment

PROSECUTION

PROOF OF CONCEPT position of observer

The use of light revealing and concealing layers of information was tested through a performance based on these images.

Used as a series to create ‘scenes’, the addition of the context created by revealing layers of images shifted the conversation.

REVEALING LIGHT PANEL 2 it to be re-contextualized PANEL based 2 This allowed on the revealed CONCEALED REVEALED contrasting context.

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B-L: Proof of concept.

T-R1: Light experiments.

T-R2: The final form.

B-R: Proof of concept.

1) Graham, D., 1999. Theatre, Cinema, Power. In: Cambridge: MIT Press, pp.

171.

THE FI

LIGHTIN REVELAT

36

References T-L: The first critical experience.

JUDGE

To Put on Trial an Idea: Cousins vs. Political Correctness_M1_RITUAL /

position of observer

IDENTITY CRISIS SITE: Mother’s body

M1: Katlego Malebye Katlego discovered the importance of space as a cultivator and nurturer of skill when she did sports in high school. As a result, she took interest in the performance capacity of spaces.

The pencil test was used during apartheid to determine one’s racial identity and territorial designation.

Twenty-six years after democracy, the remnants of that test remain evident in South African model-c schools through the policing of African hair, rendering the sense of identity and belonging of black children in historically whitedesignated spaces under continual attack.

The project, Identity Crisis, explores the notion of coming home to oneself, where one exists as both home and site. The work unpacks how unstable and ever-changing home and site become as a result

of the crisis that comes with the loss of natural hair rituals. The author attempts to re-make these sites of belonging in herself and in her mother again.

The work presents the afro hair ritual in the form of a sacred text.

It culminates in a series of renders of unlocated ritual moments. The renders, which explore volume, texture, weight and colour, introduce less so the material realities of site, but rather, its transporting and transcendent characteristics: the experience of volume, light, dark, depth, isolation and submersion.

These moments are spatially experienced between the thighs of

oNform 091 2020 Identity Crisis_M1_RITUAL / T-L: Baptism.

T-R: The Garden of Deception.

B-R: Alternate Reality.

Spatializing ideas using illusory tactics of the two faced alternate reality model 32 Scale: 1:100

33

Unseen Alternate Rea

Corruptions relationship place

T-L: Spatializing tactics of illusory tactics.

B-L: Unseen alternate realities.

T-R: Initiation ritual.

B-R: Tools Guide.

the author’s mother while on her knees, underneath her mother’s hands and/or arms, and the many more embodied positions in the rituals surrounding afro hair.

Corruption of church perciev within the stat

The organizat corruption wit the church

Two faced reli presence inter between corru and the grey a

Sheltured isola religious exper of corrupton

6. 6.

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Identity Crisis_M1_RITUAL /

1. 1.

Baptism Baptism

Initiation: Transitional Initiation: Transitional

7. 7.

3. 3.

8. 8.

4. 4.

63 63

Journey without my mother 1

Instruction and Instruction Instruction Guide Guide and Guide Tools andTools Tools Scale: Scale: 1:100 Scale:1:100 1:100

64 64

my 11 JourneyJourney Journey withoutwithout without my mother mymother mother 1

The Initiation ritual is seperated into two seperate rituals. It is the Big Chop which is used with a razor and Transitioning which is used with scissors. The objects are transposed into the mirror because you can get accidently cut. The mirror also plays a part because the reflection is used from start to finish.

The colur grey is to show the grey area that you are in as you are transitioning from one identity to the next

Razor

Scissors

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Mirror

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T-L: Initiation.

B-L: The appointment.

T-R: Sanctification.

The ritual appointment showB-R: Coming Home: cases the feeling of golayout. ing to the salon without

making an apoitment.

The place where the clients and the stylists exist is extended upwards to exaggerate how far along everyone else is the ritual of the Afro Hair and that starting out shows how long and how far the journey will take as a beginner

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to reprsent time. When experiencing the Mirror

done) it takes time, not only is it time consuming but it is journey of refinement. It is where the physical manifestation of your identity unfolds for the very first time The colour was not as important in this image but to illustrate light and shadow Person: Client

within the Sanctification ritual

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Time

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to reveal the good and the bad that comes

tools needed in order to engage in each of the ritauls

ritual of Sanctification (getting your hair

This diagram shows the relationship betwenen the objects and the

Coming Home 3

The mirror is repeated and is transposed

BRANDING DESIRE SITE: Lonmin Mine, Marikana, Rustenburg, SA

M1: Tuki Mathibedi Tuki discovered his love of architecture after building a cardboard hand model of a house plan for a high school project. His interest in cities began at 8 years old, while travelling to school from Soweto to Yeoville with public transport, and walking to the JHB CBD to find the action.

The project proposes the inauguration of South Africa’s incoming future president, and brands that future into truthful existence.

For the purpose of the study, it proposes a victory by EFF leader Julius Malema and the design of his inauguration on the site of the Marikana massacre.

The study is underpinned by the author’s interrogation of his own branded memory as event-based and a microcosm of the country’s larger Rainbowist branded reality.

This rainbowism operates in the same manner as his childhood photos which reflected extravagance and joy to mask the realities of

his upbringing wherein his freedom fighter parents were under constant threat. The project investigates how the particulars of one’s surrounding environment participates in selling branded narratives as truth.

A flood is proposed as the inauguration platform, this being an event that devastates the land and leaves destruction behind. The inauguration ends only when the flood water dries, as a statement on the length of time it takes for trauma and grief to subside, all while its aftermath remains.

True to South African resistance movements, the work proposes

oNform 097 2020 Branding Desire_M1_RITUAL / T-L: Ground floor plan of Madibeng: The Transition Flood - 11h00_Arrival.

T-R1: Freedom is not free.

T-R2: The Spectacle of a Living Image.

B-R: The Garden of Desire.

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REVEALING THE HIDDEN

BRANDING TACTIC SCRAPBOOKING

Performance b

instruction: 19

is in a State o Performance that

Diepkloof, Soweto

TIMELINE A BRANDED REALITY Scrapbooking as a tool to cover up events of that time.

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Performance by instruction: 1985 - Soweto

SOUTH AFRICA

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is in a State of Emergency.

MY LIFE

MY GRANDMOTHERS BRANDING 1960 - 1970'S

L: Transcript of a branded reality.

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T-R1: Archival orchestrated joy.

T-R2: Overlapping timelines of branded democratic realities.

B-R: Archival investigations and decodings.

'DOM PASS' - P F MATHIBEDI HISTORICAL ARCHIVES

local radio broadcasts of the event, including on Madibeng Broadcast Radio, which is Marikana’s local station.

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From Credo Mutwa saying the opening prayer, to the antagonistic socio-political commentators and musicians Die Antwoord as programmed performers, the event makes critical commentary on the rainbowism-oriented events of the post-apartheid state in an effort to agitate the country’s proposed future projections.

Branding elements:

Branding Desire_M1_RITUAL /

2020

fulfills desire: At my grandparent house,

OCALITY/ CONTEXT

11:15 -

demarcation

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Branding Desire_M1_RITUAL /

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13:50 13:5013:50 - - thethepresidents -presidents 13:50 the presidents speech speech - the speech presidents speech

15:10 -

the aftermath

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T-L: Locality and context map.

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B-L: 11h15_Demarcation.

T-R: 13h50_The president’s speech.

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B-R: 15h10_The aftermath.

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oNform 103 COLLECTIVE EXHALE / 2020

COLLECTIVE EXHALE incl. prizegiving Collective Exhale is the Unit’s annual endof-year celebration. Aside from its jovial tone, we also host our very own internal prizegiving, called the CEAs (Collective Exhale Awards), where we honour and reward characteristics that are foundational to the Unit’s value system, including authenticity and vulnerability, risk-taking and innovation, communal supportiveness, and critical engagement.

CEA Award Acknowedgement Categories and Winners: Act of Service: - Lynette Boshoff_M2 Student Rep. - Shiloh Rakumakwe_M1 Student Rep. - Byron Corrigan_Photographer - Katlego Malebye_Photographer - Miliswa Ndziba_Archivist Critical Engagement: - Thandeka Mnguni - Shiloh Rakumakwe Process: - Lynette Boshoff Game-changing Work: - Miliswa Ndziba - Dimpho Selepe - Tshwanelo Kubayi

oNform 105 COLLECTIVE EXHALE / 2020 All Collective Exhale photos

by Natasha Dawjee Laurent of Paper Cut Photography.

THE ACT OF SERVICE 2021 T-02: The Myth of Violence Unit Leader: Tuliza Sindi Unit Tutor: Muhammad Dawjee Unit Assistant: Lynette Boshoff

“…For you, the ocean is for surf boards, boats and tans And all the cool stuff you do under there in your bathing suits and goggles But we, we have come to be baptised here We have come to stir the other world here We have come to cleanse ourselves here We have come to connect our living to the dead here Our respect for water is what you have termed fear The audacity to trade and murder us over water Then mock us for being scared of it…”

- Koleka Putuma, Excerpt from Water.

Unit 19 approaches state service infrastructures – such as religion, the military, and the law – as frameworks of societal myths, and through it, investigates what mythological role(s) their architectural translations fill. The word ‘myth’ comes from the Greek mythos, meaning (in part) ‘rumour’, that US philosopher Matthew Dentith (2010:4) describes as a social grooming activity that works together with existing social beliefs to produce alternative versions powerful enough to override those existing beliefs (Dentith 2010:4).

The Unit approaches architecture as a rhetoric device that induces compliance to the often-unintelligible societal systems of beliefs that constitute social production.

Through storytelling, image-making and performance, the Unit investigates architecture’s semiotic and semantic constructions, toward proposing and (re) constructing myths that incite new spatial fantasies and futures.

In 2021, students will investigate the intersection between architecture and violence through the lens of military service. Militaries are inextricably linked with the formation of states and predate the creation of modern states. They fulfil opposing functions in different regions of the world. While Europe’s military forces are outward-facing and function to expand their territorial access, Africa’s inward-facing military forces were coopted into colonial armed forces to

oNform 107 For this year’s Major Design Project (MDP), students will propose a ‘Defence Base’ as a heterotopia. In definition, a defence base is a shelter for military equipment and personnel that facilitates training, innovation, and operations.

In modern practice however, it often masquerades as supply centres for peacekeeping and humanitarian missions.

French philosopher Michel Foucault (1967:3) describes ‘heterotopias’ as outside of all places, even if located within a real site, and calls them “counter-sites” (Foucault 1967:3) whose corresponding real sites are “simultaneously represented, contested, and inverted” (Foucault 1967:3). As site exploration for 2021, students will go in search of shores of past, present and/ or future military significance in Cape Town – South Africa’s colonial gateway.

They will investigate the county’s spatial language of violence – and its sociopolitical and economic dependencies on it – that includes its inland spatial systems of control expressed as apartheid townships. Designed as labour camps, townships’ spatial articulations include militarized control elements, and infrastructural buffers as its bounds. The country’s majority of citizens remain in those townships today, which sustains their historically restricted use of state resources in favour of hoarding and extraction by the ruling classes and the colonies; making their continued presence perversely bound to our shores. Housing spectres, superstitions, and myths, the Cape shores function as graveyards, yacht routes, nature reserves, and important routes for free shipping. They are portals steeped in economic pillage and betrayal, for classist respite and ancestral mourning. As mythologists, dreamers and performers, students will investigate the myths upon which their shore sites are spatially articulated, to reimagine those foundations and their

corresponding spatial futures.

THE ACT OF SERVICE 2021 / 2020

preserve African states in their image, and to control their own people through a system that French philosopher Gilles Deleuze (1992:4) calls a “society of control” (Deleuze 1992:4).

UPCOMING IN 2021 Studio, Exhibitions, Curations, Publications Saison Africa 2020 (extended to 2021) architecture exhibition.

The Africa 2020 Saison is a platform for sharing questions about the state of contemporary societies which, beyond Africa, are in resonance with France and the rest of the world. Saison is an allegory of the cultural, spiritual, commercial, technological and political networks that have linked the nations of the African continent throughout history.

Unit leader Tuliza Sindi has been chosen as co-curator alongside Patti Anahory, Anna Abengowe and Mawena Yehoussi, to head up the architecture portion of the programme. Alongside that, some of Unit 19’s students have been selected to participate in the exhibition.

Year-long content collaboration with iLiso Ekapa Magazine.

Unit 19 will have a year-long contributory collaboration with Cape Town digital arts journalism magazine iLiso Ekapa. iLiso was founded as an attempt to archive the present contemporary moment that is post-apartheid South Africa.

It is an appreciation of art + culture as central to the generation of social life and ethical ways of being together.

UPCOMING IN 2021 / 2020

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Thank you to all of our impressive alumni who so graciously engaged our students on their interests, processes, methods and outputs: • Roanne Moodley • Elao Martin • Israel Ogundare • Natache Iilonga • Kgaugelo Lekalakala

Thank you to the Graduate School of Architecture (GSA) for your financial and institutional support.

Thank you to the GSA Operations Team, both who have left and who have remained, for being so warm, accessible, flexible and patient.

Thank you to Dr. Mark Raymond for greeting your new role with a warm and generous spirit, and for guiding us through the thick of it as a school.

Thank you to Yolanda van der Vywer and Mariaan de Klerk for their generous efforts in getting our students better acquainted with Pretoria, Church Square and its mark on South African history.

Thank you to Roving Bantu Kitchen for hosting our muchneeded Collective Exhale and prizegiving.

Thank you Mxolisi Makhubo for setting an amazing mood with your DJ’ing at the Collective Exhale.

Thank you to Dr. Finzi Saidi for not only courageously and ever so graciously leading the ship through a pandemic, but for your continued mentorship, modelling, explaining, patience and reassurtion that we do indeed belong.

Thank you to our courageous and pioneering class of 2020, who so boldly underwent the scary process of showing up as themselves in their work. Thank you to: • Debra Bhungeni • Lynette Boshoff • Byron Corrigan • Gregory Cousins • Tshwanelo Kubayi • Katlego Malebye • Brighton Matambo • Tuki Mathibedi • Ivan Meyer • Thandeka Mnguni • Miliswa Ndziba • Shiloh Masego Rakumakwe • Dimpho Selepe

Thank you to all of our profoundly wise and talented contributors in the form of examiners, advisors and critics.

In no particular order, thank you to: • Anesu Chigariro • Patti Anahory • Jabu Makhubo • Kgaugelo Lekalakala • Mary Johnson • Mxolisi Makhubo • Stephen Steyn • Natache Iilonga • Leopold Lambert • Dr. Mark Raymond • Israel Ogundare • Nabeel Essa • Ilze Wolff

Thank you Natasha Dawjee Laurent of Paper Cut Photography for gifting us with such candid photographs of the Collective Exhale.

Some final and personal thank yous from Tuliza go to: • Patti Anahory, for generously giving your time through crits at the formulation stage of the first blurb when my anxieties were at an all time high; • Stephen Steyn, for your significant wisdom and guidance in giving the Unit life; • Anna Abengowe, for the rich resources and initial feedback you so generously shared on the structuring of the Unit; • Kgaugelo Lekalakala and Denise Fouche, for your incredible support through the Final Portfolio Review (FPR); • Anesu Chigariro, for almost singlehandedly igniting a renewed boldness and self-trust in my methods of teaching and practice; and • Muhammad Dawjee, for trusting me and for so graciously jumping in head first with me. You’ve been the soft landing I’ve needed.

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We’d like first to extend our warmest thank you to GSA founder and former Head of School Prof. Lesley Lokko for building a school with the capacity to see, honour, validate and test the Unit 19 inquiry, and then believing in the Unit enough to vouch for it. Thank you for that profound act of space-making.

ACKNOWLEDGEMENTS / 2020

Acknowledgements