AMAGAZINE 2015

architecture student magazine | argitektuurstudentetydskrif 2015

department of architecture departement argitektuur

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contents Letter from the Editor

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Creative Purpose

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The Architect as Oneiropolist

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1st Year Student Work

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2nd Year Student Work

9

3rd Year Student Work

12

4th Year Student Work

15

5th Year Student Work

18

UIA 2014

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Construction & Design Integration

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New Visitor Centre, UFS

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architecture student magazine 2015 | department of architecture, university of the free state

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Letter from the Editor The Compact Oxford English Dictionary defines a showcase as an occasion for presenting someone or something favourably to the public.

This has always been the primary function of the a magazine, to serve as a platform on which we can showcase the best work of the students of the UFS Department of Architecture. It was the aim of my wonderful editorial team, the A5, and I to create a magazine that would do justice to the hours of time and energy behind each student’s work.

As you page through this publication, you will encounter the outstanding work of both our own students and that of professional architects, such as an article by Anton Roodt, this year’s Sophia Gray Laureate, and TYPOLOGY Architects’ new Visitor Centre on our campus. You will also be given a student’s perspective on last year’s amazing UIA Conference.

A lot has gone into bringing you this publication and I would like to thank all those involved in the process of making it a reality. A big thanks to the sponsors, the staff, namely Henry Pretorius, Jako Olivier and Zelda Bronkhorst, to Johannes Deetlefs and the Silverrocket Creative team, the A5 editorial team and last but certainly not least, to every student who has provided us with the fantastic content of this magazine.

Madeli Beyers

I leave you now to sit back and enjoy the a-mag of 2015.

Creative Purpose

Jako Olivier

In order to examine and evaluate the contribution architects can make, and do make, toward the creation of a coherent and prosperous South Africa, the societal and environmental values of the architectural community need to be determined. Critically reviewing the values or enduring beliefs that govern our actions as architects constitutes the ethics of architecture. Although moral philosophers seldom engage with the field of architecture – reciprocally architectural theorists seldom make use of the models of ethics to investigate architectural practices – ethics, whether expressively called or implied, is part of the fibre of architecture.

Questions concerned with the attitudes or values inherent to the morally good architect have been central to our school of architecture. If a being, should Aristotle be trusted, fulfils its purpose or telos, achieve its meaning in life, it is morally good. What is the purpose of an architect? Not only to create shelter, or contain space, or employ our rational faculties in design, we all agree there is more.

At the department, we traditionally identified an intertwined double tier moral formulation. Our moral imperative may be articulated as follows: architects ought to make meaningful places, and in order to do that; architects ought to understand the human ecological landscape. This latter landscape, we believe, comprises a complex and interdependent network of social, cultural, spatial, and temporal phenomena. What does this moral imperative hold? It implies that if we do not make places of meaning we are not fulfilling our moral duty or purpose as architects, and we can only fulfil our moral duty if we are familiar with and actively engage with a specific person or group of people, their culture, and history at a specific time and space. Furthermore, we have to be intimately conscious of the context - natural and fabricated traits - its presence and history. Finally, we critically have to evaluate contemporary paradigms and attitudes towards architecture. In short, it is the moral task of the architect to give gestalt to those things by which a client identifies or orientates herself in the world.

The above seems laudable and even morally valid; however, what concerns me are the more intricate situations where architects start to engage with dynamic societal and environmental entities in contested spaces - where multiple claims to time, history, culture, and social norms exist. Are we still able to fulfil the above purpose as architects, when 2

Editorial Team: Lea Botha, Madeli Beyers, Daniel Xu, Arno Venter, Roelien van der Westhuizen

meaning is difficult to determine and that which orientates an entity may disorientate another? In such temporal spatial compositions, it is more than the ecological environment from the human perspective that demands moral concern. The threshold, the shadows, the Pokémon umbrella, the graffiti wall, and the blind guitar player, each require consideration by themselves and as a series of things connected to each other. These are spaces of conflict, dithering, strangeness, liminality, and serendipity, and of encounter, action, eccentricity, fluidity, ephemerality, and creativity. These fantastic or phantasmagorical places exist in our country - on street corners, outside malls and the deafening devils fork of campuses, and institutions, and German cars.

It seems that architects often find themselves at a loss for action when confronted with such complex wonders, reducing their purpose to stylistic superficialities and cultural fallacies. Does a representational understanding of man, culture, space, and time suffice in making meaningful places in such spaces? Or, should we look to other ethical modalities, what ought we to do? Maybe we ought to create magic and not meaning, not through the phenomenological investigation of man, culture, space and time, but by deeply caring for the strangeness of man, culture, space and time, all as beings in themselves. Maybe there is a third tier to be added to the above moral definition that serves us so well in most situations. Maybe we should add that architects ought also to care for all the wonderful beings around them, beings that need to believe in something other than governments, anthropocentric superiority, and empirical facts. How do we engage with, and care for, magic, strangeness, and things? Who knows? Be creative.

All we have to loose is a few marks, a bit of boredom, a day of depression, the colour grey, and shyness. What we may gain is the rest of the rainbow; some excitement; things, spaces, and sidewalks that have a beat; a bit of jazz; some South African sexiness.

argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

Now in its second year, the PPC Imaginarium is the country's most substantial support platform for emerging design talent, with R500 000 worth of prize money to be won.

Designers are invited to celebrate the beauty and versatility of concrete and to submit innovative entries in six creative disciplines.

ENTRY REGISTRATIONS CLOSE ON

31 AUGUST 2015

See ppcimaginarium.co.za for entry guidelines or to register for the 2015/2016 round of the competition

The Architect as Oneiropolist* Anton Roodt | 2015 Sophia Gray Memorial Lecture Laureate By the very act of drawing, dreams and visions are translated into a tantalizing picture that offers the promise of something actually being possible or becoming real.

The way we draw is part of this manipulation of the viewer’s perception.

We control what others see. Sometimes we show everything, and sometimes our drawings only hint at spatial delights that are glimpsed behind our web of lies. The presentation technique is part of our understanding of the constellation of conditions surrounding the project and the way in which we communicate this.

Projects remain unexecuted for a variety of reasons:

• You have failed to “read” your client, and now he/she hates your work. Universities do not care much for vivid pink buildings.

•

The client has failed to provide a “budget”. As he absorbs the cost implications of the project in the summary of the QS’s estimate, you (the architect) realizes the importance of “that” word. Now that the probable cost of the buildings is known, the client no longer enjoys the project that much.

• The project was never intended to be built, but is rather a vehicle for something else:

Demonstrating ability

Investigating possibilities

Exploring a programme

• The client abandons the project because of a loss of interest (other priorities have surfaced) or interest (money in the bank).

• The architect calls the client “clueless”, “intellectually stunted”, and ”aesthetically challenged”. The latter epithet hurts especially if he considers it a slight aimed at his looks.

• The architect insists on getting the project to a state of perfection, rather than getting it ready by Monday.

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There is suddenly a world-wide recession and investing in buildings becomes unpopular. Bankers are suddenly cooler than architects, who then take to organizing cake-baking competitions amongst themselves.

• Taking part in competitions is the quickest and most effective way to extend one’s portfolio of unbuilt work and straining one’s already strained cash-flow. However, one has to do it.

• Unbuilt projects have a design purity that is unsullied by the client, financial institutions, the local authority and engineers.

That is why we treasure these projects.

The projects illustrated here have not necessarily been declined by the clients for any of the reasons noted above.

* Someone who interprets dreams for money.

Competition Entry: Pan African Parliament Hand drawn in ink

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argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

Proposed Faculty for Engineering at UFS Sketch-up model

Proposed Alumni Building at UFS 3D computer rendering

Proposal for a Student Centre “bridge” over President Brand Street at CUT Sketch-up model

Proposal for a Founder’s Garden at The First Raadzaal Watercolour and graphite

Thesis Project 1978

Hand drawn ink with letratone shading

architecture student magazine 2015 | department of architecture, university of the free state

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Gravescheme Veronica Klinker

I wanted to do my grave scheme as a monument for all unsung heroes in the honour of specifically 3 men who sacrificed their lives to swim through the radioactive water of the 1986 Chernobyl disaster to prevent an even bigger explosion that would have rendered half of Europe useless. But they were never honoured.

The plan of the design resembles a whole being broken up into fragments resembling radioactive particles deteriorating it. The concrete represents the materials of the power plant making it seem almost toxic and dangerous. Water played an important part in the design, being the very thing that ended their lives.

Artist retreat – Portchie

Willine Keyter

Portchie is known for painting the world in the way he sees it - colourful and simple. The simple white with its colourful glass columns reflects this aspect of Portchie’s work. When standing inside this house the light that enters the building is altered by the glass columns, which gives you a sense of being inside his colourful world from which you can look out onto the real world and see it in the same way he does.

He has a very open personality and lifestyle which is why the studio is such a large open space. It functions as his workplace, centre for entertaining and gallery where people are free to move through as they wish.

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argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

De Oude Kraal Ketumile Mojanaga

This project entails a family business development on a farm. Existing guest rooms had to be quantified and a conference facility added to cater for festivals on the farm.

The approach towards the project was to introduce a new aspect to the site to symbolize new beginnings. The openness of the roofs emphasize the concept of new beginnings, as the clients are introducing themselves to a new aspect on the farm. The layout of the facility was designed in such a way that visitors can easily read the spaces from the exterior and easily orientate themselves around the site.

The organisation of the guest rooms was inspired by the natural alignment of the rocks found on the site and so that the rooms can have an equal distribution of northern light. The private guest rooms are separated from the public facilities and still close enough to the service areas for security reasons and so guests can have access to the kitchens, bar and lounge areas.

architecture student magazine 2015 | department of architecture, university of the free state

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The Hut

Carmen van Staden and Reuben Roode Hut building is surely the most sacred tradition of our department. Some are nostalgic about the process and others would prefer to forget the sweaty mud-covered days‌ The site we were given for the hut project was situated in a cosmic landscape; therefore the hut should be a beacon in the monotonous landscape. We had to familiarize ourselves with the ancient art of African hut building.

We left our materials as raw and as natural as possible, emphasizing height with the reeds and wave-like entrance and unpolished mud floors and benches.

We created a shadow gap around the entire structure to suggest that the structure is floating above the ground to articulate the structure and to prevent rain water flowing into the hut. Weaving techniques and different materials gave us the opportunity to create intricate patterns in the shadows. Articulating and celebrating every connection between the reeds to the walls and floor contributed to the overall aesthetic of our hut.

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argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

Caesarstone –small seeds of ideas grow into forests of architecture Liezel Reitmann Roof and vertical gardens along with eco grass will represent nature in the design. The vertical gardens are made up from Caesarstone pots in which nature grows, essentially representing the whole concept of symbiosis between man and nature.

The three themes represented in the pavilion are RE_Charge, RE_Lax and RE_Plenish. As a modern time fuel station the main focus is to RE_Charge your car. Informal seating niches and benches are provided all along the entire site to ensure customers are given the opportunity to fully RE_Lax. architecture student magazine 2015 | department of architecture, university of the free state

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Community Centre Bloemfontein, Batho

Johanelle van der Westhuizen

Mapikela House is one of the oldest in the Batho area and has a great influence on the architecture in Batho. This is emphasized in my design with a strong axis through the site, leading towards the Mapikela House. As an introduction to the Mapikela House, one is forced through the art gallery where you experience the social, political and cultural history of Batho, depicted through the art.

My goal was to design a community-friendly environment to support and uplift the community. They will be educated in art, make their own art and even sell it through the art gallery, coffee shop and the kiosk located on the axis, leading towards the gallery.

Small Residential Space Making For this design I decide to use the back of the site for the more private living unit, which consisted of two bedrooms, two bathrooms, a living space, a kitchen and an outdoor living space. The main bedroom was designed as a box that integrated into the building.

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Jacques Steyn

The mixed living and office unit is situated on the first floor with its own outdoor staircase for access. It lives out towards the street, making it appropriate for business. It consists of a bedroom and bathroom at the back, an open plan living and kitchen space and office space designed out of steel construction at the front of the site.

argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

Urban Installation

Daniel Xu

The project brief required an urban intervention on the university’s campus that would enrich the aesthetic and functional qualities of the campus. The design proposal called for a connection between the east and west campuses that allowed for safe, efficient circulation while at the same time creating a platform of social interaction for the students and staff of the University of the Free State. The design proposal allows for the addition of much needed parking spaces which would allow for the revitalising of the ideally positioned current parking spaces for further developments at the university.

architecture student magazine 2015 | department of architecture, university of the free state

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Des Baker: Street vendor Installation Sam Pellissier, Paul Whitehead, Lizaan Alberts, Stehan Olivier Written by Sam Pellissier

Sycophant, noun: flatterer, toady. A person who acts obsequiously towards someone important in order to gain advantage. (Oxford Dictionary: fifth edition. p862. 1969) Mechanical structures which clamp/latch onto a building mass, provide both a challenging procedure and new architectural value to sycophantism. Using the old existing without building on it but rather using it to exist/create is very much the same characteristics of a street vendor i.e. using the environment to survive.

The real challenge of this project was to make the concept a reality. A straightforward four-arm-clamp was the most uncomplicated solution to hang a few bags of oranges, lifted from the ground on a street corner.

The system works with two main elements: Gravity and Resistance. Gravitational pull creates leverage in each arm, anchoring the pressure points on the wall. This specific ratio between gravity and resistance enables the claw to stand free from the ground.

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argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

Nina Nel Sited within the vibrant street of 2ND Avenue, The Propaganda Museum provides the opportunity for users to let their voices be heard. Currently in South Africa many of our basic human rights are being threatened by the government, namely: freedom of speech. The museum encourages society to question what is heard and seen through the media and voice opinions about current situations in our country.

around the many pedestrians that render the street. Green terraces and a ramp for disabled persons lead to the unconventional entrance at basement level; the rest of the building consists of the archive, an atrium, private reading spaces, a coffee shop, and gallery space.

Construing the City

The archive space reserves historic magazines, newspapers, films and art pieces that were used as propaganda, a gallery space for the exhibition of recent works that comment on our country’s political situation as well as an art school that comprises of lecture rooms, a computer lab, offices for staff and the main space: a studio for the artists to voice themselves.

The studio extends over the road to view the lively street as well as for pedestrians to view the artists while working. The design is formed

Werner van Zyl Several groups of eight students were allocated different sites adjacent different streets in the Bloemfontein CBD (in our group’s case, West Burger Street). To guide the design process of the developments that were to take place on each site, each group chose an underlying design theme. We chose ‘Through the eye of the rebel’. This idea became the

driving concept for the inner city rejuvenation that followed. Our site was an urban crater in the heart of the city, dilapidated and splattered with graffiti. The design challenge was to create a cultural knot on the given site, consequently aiming to unite the diversities of the Bloemfontein demographic and celebrating all facets of humanity through art.

Brief: design a gallery/art school in this neglected part of the city.

Proposal: an interactive studio specialising in protest art, providing a space for creative expression to the ‘misfit generation’.

architecture student magazine 2015 | department of architecture, university of the free state

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Not an Institution: an Institute of Social Emergence

Marilie Pretorius

“This project allows students to work in an existing system and to introduce a new program that will challenge the status quo. An existing stadium acts as a barrier whereas it could act as a mediator to engage more directly with civic life.

The aim is to design an institution that provides social upliftment through an integrated program of public and private spaces whilst staying true to its nature as a soccer stadium� (Design Brief, 2015).

The project is located on the northern side of the stadium in Moshoeshoe street, Kagisanong, BFN, addressing the quiet street. The main focus was to provide a crèche for the children in the Moshoeshoe area. The building consists of caretaker quarters, classrooms and multi-purpose rooms as well as safe outside play areas and private access to the soccer field for extramural activities. The safety of the children was a large driving factor in my design.

The public could make use of the clinic and restaurants made available and there are taxi waiting areas in the public part of the building. The scale of the large stadium was broken down to human scale through this project, helping the by passers relate to the activities inside.

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argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

This project is set in Bloemfontein, 50 to 60 years into the future, and was preceded by an urban planning exercise where high level planning changes to infrastructure and zoning were allowed. The brief called for a multi-storey structure that integrated into the larger cityscape.

The design is set on a route connecting one of the mayor urban green spaces with associated residential units and a local train station.

The concept for the design grew from the manner in which spaces are used today, and are envisioned doing more so in the future, for example where a bedroom can become an office when you open your laptop, so a wall could fold into and become a roof. In conjunction with this the design aimed to capture the kinetic energy of the city in what became an experimentation with form.

Urban Project

Andre Meyer

The design was ordered vertically according to function from most public to private to encourage interaction with the cityscape by placing commercial activities on the ground floor transitioning to office functions and residential units at the top. The mass was cut open to invite the city into the building and to create a visual connection with the interior spaces.

The skywalk connects the building with the train station platform on first floor level while providing a safe option to cross the street complemented by commercial activities to make its use more effortless and integrated with pedestrian needs. Exterior spaces were designed to be inclusive of a range of economic activities from both the formal and informal sectors without compromising movability through the site. Seamless connections to a range of transport systems including walkways, cars, busses, taxis, trains and bicycles ensure a well-connected and thus well-functioning activated urban space.

architecture student magazine 2015 | department of architecture, university of the free state

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The social housing project addressed the need for a stepping stone into urban life. The aim of the project was not to provide permanent living arrangements, but rather for the urban nomad, who will reside here until he/she is acquainted with the urban environment, urban habits and the change in life pace.

The social housing project is located on the border of Bloemfontein’s CBD, within the Free State Psychiatric Complex. With an extensive program of 752 units within 63 buildings, the project asked for a systematic approach driven by a progression from public to private space.

The site was organised from the public street interface, to semi-public communal spaces between the buildings, then into semi-private courtyards, to reach private living units.

Communal units form the protective edge towards the street, with different combinations of bachelors, single or double units linked to it in order to create the semi-private courtyards only accessible to the residents.

The structural design approach allowed the different unit types to be stacked vertically, in several ways, allowing a variety within the facades for identification and orientation of the user. Shared courtyard spaces, safe social areas between buildings, unit interiors with clear public and private distinction, building layout possibilities, and strict access control, were crucial to achieve liveable circumstances within the cost constraints and size requirements of the project typology.

House Fichardt, a double storey red clay brick dwelling, has a prominent historical character in the context of Bloemfontein. Built in 1893, the house gained attention when later inhabited by Mayor Charlie Fichardt in 1898.

House Fichardt hosted the likes of prominent historical figures such as Alfred Milner and Paul Kruger and was occupied by the British after the Anglo-Boer War. By 1965 the house was established as a municipal clinic. In 1994 the house was declared a provincial heritage site and was made available to the Free State Institute of Architects as an office space.

single storey

double storey

three storey

four storey

Low Cost Housing Suzanne Vosser

single bedroom

bachelor unit

Laura-Anne Fox

Conservation Scheme North Elevation

The conservation scheme, which consisted of the addition of an auditorium, break-away rooms, exhibition space and dining area, sought to express the architectural character expressed in the likes of House Fichardt that so iconized Bloemfontein’s architecture of the era. The brickcharacteristics of the house are successfully organised through the relief work on the facades.

The new addition was aimed at a definite sensitivity through the careful arrangement of scale and proportion so as to celebrate the original structure. Although the materials incorporated were similar to the original House Fichardt, the new addition was designed intentionally to not copy or mimic the architectural style, a fundamental principle of architectural conservation. The addition proposes rather to work in conjunction with the original house to create courtyards and recreational spaces that oppose the stylistic character of House Fichardt, drawing attention rather, to the specific details of the house that make it so unique in the contemporary urban fabric of Bloemfontein.

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double bedroom

argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

Building in Context Building in context

The Complete System system The complete

Johann du Preez

Sustainability: Headquarter building for Working for Water The sustainable backbone of this project strives to be more than just a green wash over an unsustainable building. Ideally the headquarters building will create a sustainable community, by involving the community in cleaning up the environment and developing the skills to become small business owners. The building takes the man under the bridge and puts him behind the table of a workshop where he can become more than a thug.

Roofs Roofs

Walls and Glazing Walls and Glazing

The building makes use of its natural resources: natural sunlight, water from bloem spruit, rainwater, heat retaining materials and invasive plant matter.

Black wattle, an invasive plant, will be removed from the river and given to small businesses to be woven into lattice work. This lattice work will be used in the headquarter building as natural light filters. These filters will only last for a couple of years and needs to be replaced on a regular basis; this will contribute to a natural, rhythmical flow of supply and demand, making the process in itself sustainable. Just like a snake it will shed its skin only to regenerate a new one from itself.

Floors Floors andand RampsRamps

Skeletal Frame Skeletal Frame

Passive Passive LightLight Filters Filters

Temperature Control Control Systems Temperature Systems

Spruit Cleansing System System Spruit Cleansing

architecture student magazine 2015 | department of architecture, university of the free state

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Sustainable Systems

A sluice and filter system will be introduced into the spruit. The filter will function much like reeds act as a natural filter in a river. It will require regular cleaning, creating job opportunities. The sluice will create a build-up of water mass and release it at regular Intervals, washing the spruit clean, much like floods clean rivers in Natural landscapes.

Anja Lareman

To Witness a Word

Psychiatric Unit for the Deaf, De la Bat campus, Worcester This research sets out to investigate architecture as a vessel for social interjection. It questions whether architecture is able to transcend boundaries enforced by the regiment of function by employing expression and visual dialogue. Healing for the Deaf community can be created through architecture with the process of communication.

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PSYCHIATRIC UNIT FOR THE DEAF SITE PLAN

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A Psychiatric Inpatient Unit for the Deaf as a mental health care facility is proposed for the De la Bat campus in Worcester, and provides refuge for a marginalised Deaf community. The National Institute for the Deaf (NID) provides services to Deaf people and persons with hearing loss. At present, no specific treatment facility exists for Deaf persons who suffer from mental disorders. The design aims to provide care for inpatients and intensive treatment for outpatients who may require care, through community involvement in therapeutic activities. The facility will also accommodate administrative activities, treatment rooms, therapy rooms and community involvement. The campus identifies with Deaf culture and is an environment its users can relate and reintegrate into. Public engagement questions traditional institutional typologies and instead proposes one in which boundaries of social constructs are transcended and inclusion into society becomes possible – where expression is allowed within the regiment of function by conveying a positive image of mental health.

Only when the Deaf are given a voice can the process of healing be understood. If to speak is to be seen, then a visual dialogue represents a voice for those unable to do so themselves. The ability to create meaning in as many ways as synonymous with being Deaf and is narrated by 3.1possible //ConceptisDevelopment This chapter expands on the rational resolve of the design. the proposed project.

3.1.1 //touchstone: to witness a word When we communicate, there is firstly INTENT, and secondly UNDERSTANDING of the receptacle.

This linkage becomes the dialogue on which communication is based. This process, however, does not always entail the written word or the spoken truth – sometimes, it is witnessed.

To witness a word, implies an ACTION – intent, and KNOWING – the understanding.

When this linked process is perceived wrong, the dialogue can not transpire.

The touchstone consists of three gears with anchors attached, and one gear with a lever. When the viewer turns the lever, the gears move – the first moving the second and so on. acting as a system. When the gears move, a transition occur and a result is witnessed (the anchors move up and down): this becomes the narrative.

touchstone: a mechanical system of gears and anchors

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Touchstone

The touchstone is an example of a metaphor in which playing with initial ideas and thoughts is expressed physically. This touchstone serves as the starting point of

an idea of connections between man and machine, stereotomic mass and tectonic lightness, movement and moment. With an oscillation movement of the jimmy where the latter continues to oscillate as long

as it does not experience energy loss, a thought of a sustainable voyage emerges to culminate later into cement and mortar.

Marius du Plessis

A Journey from the Centre of the Earth

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Touchstone

Actions of touchstone:

There are two buckets full of water. Water is pumped from bucket 1 to bucket 2. When bucket 1 is lighter than the jimmy, the jimmy drops down and bucket 1 rises, but not as high as bucket 2. As the jimmy falls down, the pump stops automatically and the water runs back from bucket 2 to bucket 1 as a result of gravitational force.

As the jimmy rises, bucket 1 drops again to the original position, the pump switches on automatically and the process is repeated.

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Tectonic lightness

Air Bucket 2

Stereotomic mass Earth

Jimmy

Bucket 1

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A National Geothermal Research and Educational Centre, Village Main, Jhb

This thesis aims to answer the following question: “How can development be seen as true progress if something is damaged in the process?”

By definition conservation implies preserving something for the future

Geothermal energy can contribute by protecting our environment from drastic changes in order to save the depleting resources for our future generations. Geothermal energy is thermal energy generated and stored in the earth. Given the nature of a geothermal research and educational centre, it inevitably becomes a comment on alternative sustainable energy sources. Sustainability is a journey and a process that cannot be achieved within a short period of time. It is a way of life, a way of being and a way of constantly becoming – a path of continual improvement.

With this treatise the opportunity is seized to explore the potential of the geothermal energy to be extracted from an abandoned Witwatersrand mine and to discover a path that leads to the fulfilment of a unique situation – to be respectful of the building site, harmonious with the natural environment, and responsive and sensitive to the program in such a way that the design turns out to be a powerful agent for change.

architecture student magazine 2015 | department of architecture, university of the free state

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UIA 2014

Laura-Anne Fox

Madeli Beyers The UIA Conference in Durban was certainly the most exciting and memorable of all the events on the Department’s 2014 calendar.

Not only was every student given the amazing opportunity to attend this fantastic event, but the department’s prestigious Sophia Gray Memorial Lecture was honoured with an exhibition on this international stage.

In this article, a few of our students will share with you their experience of the conference, giving you a glimpse of both the academic and social events of the conference from a futurearchitect’s point of view.

As architecture students, we have to be realistic about the pragmatics that define the architectural industry, whether it be abiding to stringent building regulations or compromising certain design-ideals to conform to a strict costbudget. The minds of young designers can often be clouded by these unavoidable realities and perhaps distort the initial inspirations that may have sparked their love for architecture in the first place.

At the 2014 UIA Congress hosted in Durban, students and professionals alike were reminded that although these aspects of architecture are fundamental to practice, the power of design is far greater than we always remember. Inspiring highlights included the likes of Cameron Sinclair, who emphasized an “Architecture for Humanity”; Susannah Drake, who exemplified the role of architecture in achieving environmentally sustainable urban practices by showcasing the possibility of ‘sponge parks’ in Manhattan, New York; and also Francis Kere, who truly demonstrated the role of the architect, as an individual, in building up third-world communities with an approach that is sustainable, sensitive and culturally appropriate. Rahul Mehrotra of RMA Architects continued this link between architecture and humanity by indicating the way in which cultural philosophy is intrinsically ingrained in achieving architecture that speaks genuinely of its context. Mehrotra demonstrated culturally-sensitive projects on both a small, residential scale and then also how this sensitive approach can be transferred to larger projects, such as the KMC Corporate Office in Hyderabad, which essentially seeks to break down some of the strict classist systems that socially govern India.

Although the theme of the congress was “Otherwhere”, it is this notion of the role of architecture in uplifting society that all professional and prospective architects were reminded of. Maybe architecture cannot save the world, but it will always have a role to play in creating better spaces and places in which people interact with the world.

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argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

Jana Cloete Architecture “Otherwhere” was the theme of the 2014 UIA Student congress in Durban, aimed at exploring “architecture otherwhere, in other regions, other contexts, other social structures, through other practices; gaining a better understanding of others in order to better understand one’s self”.

The First Keynote speaker Cameron Sinclair, founder of Architecture for Humanity, set the tone for the rest of the conference to be focused of the spaces that architecture defines and the impact it has on its users, rather than the architecture as an icon or design sculptural suggestion. The following afternoon Rahul Mehrotra spoke of the way architecture is able to navigate social constructs without creating a social colonization. Wang Shu, one of the few Pritzker Prize laureates that attended the conference, explored the way that Western architecture allows for the “abstract” architectural ideas dominate real architectural experiences.

architecture student magazine 2015 | department of architecture, university of the free state

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argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

Katie Klemp The Archiball On Tuesday, the 5th of August, John Milne Street played host to the main social event of the 2015 UIA congress, the Archiball street party. The Archiball is said to be a longstanding Durban tradition where, legend has it, architects and students meet annually to ‘burn up the dance floor.’

The 2015 Archiball, however, was different. It was open to a much wider variety of people; students and architects from all over South Africa, as well as a number of international attendees. The line-up for the night was a range of Durban based acts including Majozi, Dums, Veranda Panda, Ozma, Bhashka and Manelis. It was an enjoyable night of cultural diversity, a diversity that was definitely reflected by these musicians.

UIA 2014

Nina Nel The UIA was a hub for national, local and prospective architects. As a 3rd year student, to be in the midst of such a great number of people who share my passion was quite an exciting and encouraging experience. Francis Kere and Cameron Sinclair were among the many speakers that truly inspired me because their approach to architecture regards culture and social uplifting, showing true concern for people and how we inhabit spaces.

What I enjoyed most was the culture of the conference, the spaces provided for architects and prospective architects to communicate in.

To casually go up to Gawie Fagan or Mira Fassler Kamstra, both architects studied in History, to share a conversation with them was an opportunity that could only occur within the space of UIA.

architecture student magazine 2015 | department of architecture, university of the free state

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UIA 2014 For Professional advice on Estate Planning Investments Life Cover Medical Plans PPS Retirement Planning Short Term Insurance Wills

Contact Alec Levin (Cell) 083 251 0061 (w) 051-444 4906/444 4938 e-mail:info@aleclevin.co.za

L A Alec Levin

Insurance and Investment Brokers CC FSP Number: 29255

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argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

Jason von der Fecht

Coleen Roos

Construction and Design Integration

Kobus Spangenberg

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Ketumile Mojanaga

The following are some of this year’s 2nd and 3rd year models, the purpose of which was to start integrating construction principles of steel structures and connections into the design projects they were busy with at the time.

Emmanuel Da Ressurreico

Veronic Klinker

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Thabo Tsui Stephan Lategan

Kobus Spangenberg

New Visitor Center for the University of the Free State Main Campus, Bloemfontein TYPOLOGY Architects Written by Christine Meyer Background: The need to have control over who enters the campus prompted an analysis and evaluation of the existing infrastructure at the five access points to the main campus. The identification of cost-effective solutions which will ensure acceptable levels of service (LOS) at each access point, called for a visitor centre to be accessible without entering university grounds.

This centre had to serve the UFS visitor with information regarding activities on campus as well as regulate visitors parking and allowed time durations on the main campus. It was also imperative that the location of such a facility would be clearly visible and easily accessible.

Due to the position of the existing Taxi Terminus with ample parking space coupled with the proximity of the nearby DF Malherbe entrance gate, it was clear that the Visitor Centre should be located in this area.

Motivation for design and positioning: The most important design aspects was visibility and accessibility.

This meant that, not only finding the right site but also the particular positioning of the structure among existing walkways, the DF Malherbe entrance gate and the existing Taxi Terminus were all to be considered.

The Taxi Terminus, completed in 2007 which earned Typology Architects a SAIA Award of Excellence, was a major factor during the design process. The pedestrian walkway was extended from the Taxi Terminus and created a starting point for the design. By positioning the Visitor Centre at the opposite end, the connection between the two buildings becomes a visitor’s precinct.

The structure acts as a threshold for visitors, comprising of two box elements that interlock to create a node that extends through a walkway past the Taxi Terminus and beyond to the rest of the campus. Echoing the design ethos of the Taxi Terminus, the largest box element is mostly from glass and aluminium to encourage visibility with the smaller masonry box element designed for more private office spaces and other services.

The glass box is covered with a large corrugated steel roof canopy that enhances the entrance and creates covered outdoor social areas as well as deep overhangs for sun control. The design achieves further visibility with a strong vertical tower, lit up at night, not easily overlooked.

Interlocking tectonic and stereotomic elements in both the Taxi Terminus and the Visitor Centre, creates a specific architectural language that enhances the feeling of this precinct.

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argitektuurstudentetydskrif 2015 | departement argitektuur, universiteit van die vrystaat

architecture student magazine 2015 | department of architecture, university of the free state

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AUGUST ARCHITECTURE ACTIVITIES in BLOEMFONTEIN

the department of architecture, university of the free state

CELEBRATES 60 YEARS

In January 1955 the Department of Architecture and Quantity Surveying opened with 28 students. The first head of the department was Prof G Quine Lay, who trained at the University of London and obtained his doctorate at the University of the Witwatersrand. At first he was assisted by local architects in a temporary capacity. MC Eksteen was later appointed as senior lecturer. Building Science, the first such course to prepare South Arican students for administrative posts in the building industry, was started in 1962. From 1970 to 1984, Prof Leon Roodt was head of Architecture. University of the Free State 2006: From Grey to Gold.

The first 100 years of the University of the Free State.

ANNUAL MINI-conference

Saisc International Speaker: Mecanoo, The Netherlands Thursday 27 August 2015, 09:00-16:00

Enquiries (Sophia Gray & Mini Conference): Yolanda Pretorius | 051 401 2332 | PretoriusY@ufs.ac.za

the Department of Architecture, UNIVERSITY OF THE FREE STATE, presents the

27th Sophia Gray Memorial Lecture & Exhibition: big dreams in a small city Places of memory | Spaces of Imagination Anton Roodt, Roodt Architects | Thursday 27 August 2015, 18:30 for 19:00

9th south african journal of art history conference: SITUATED EXPERIENCE Friday 28 August 2015, 09:00-16:00 | Saturday 29 August 2015, 09:00-13:00 Enquiries (SAJAH Conference): Wanda Verster | 051 401 2500 | VersterW@ufs.ac.za

www.ufs.ac.za/architecture