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The invention of an African icon TSHWANE HOUSE

Pretoria’s new civic showstopper UMKHUMBANE MUSEUM

Africa's top award winner






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Rather than resorting to wholesale demolition, the studio took on the challenge to convert the multitude of concrete tubes into spaces to display art while retaining the silo’s industrial character.




Thomas Heatherwick, designer of the Zeitz MOCAA [p12]


12 ZEITZ MOCAA Heatherwick Studio’s much-anticipated conversion of the historic grain silo at Cape Town’s V&A Waterfront into Africa’s first major museum for contemporary African art has resulted in an architectural wonder of transformed historical space.

FIRST DRAFT 08 THE BRIEF Editor’s note and book review.



Tudor Apartments in Mombasa, Kenya, by Urko Sanchez Architects, borrows inspiration from the rich traditions of Swahili design. 

Ballito Junction’s extension, designed by MDS Architecture, has expanded the mall to almost eight times its original size while offering simple, uncluttered and calming aesthetics.



What’s new in the world of architecture and design.


50 KITCHENS The heart of the home is also one of the most rapidly evolving domestic spaces.



Choromanski Architects was awarded the Grand Prix at the recent inaugural Africa Architecture Awards for the uMkhumbane Museum in Cato Manor, KwaZulu-Natal.



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From physical barriers to sophisticated smart home technology, security features are woven into all types of architecture.

Natural materials are central to all the design trends for 2018, and none more so than wood.

74 EVERGREEN Mixed-use development Sandton Gate is targeting a Green Star certification for the whole precinct under the Green Building Council South Africa’s (GBCSA) new Green Star Sustainable Precincts tool.

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With the change in seasons, attention shifts to that essential part of South African life: outdoor living.





This rustic yet luxurious off-grid timber home not only reflects its surroundings, but is also respectful of and sensitive to its environment.

The new headquarters for the City of Tshwane Metropolitan Municipality by LYT Architecture introduces a new civic icon on the site of the burnt-out Munitoria building.

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ED'S NOTE The past two months have certainly been an exciting time, architecturally speaking. Not only was the longanticipated Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) officially opened, but a week after it opened, the inaugural Africa Architecture Awards 2017 (AAA) were announced at a gala event on the rooftop of the very same museum. So, crowning what has become undoubtedly the most-talked about architectural interior on the continent – the spectacular central atrium carved from the historic silos themselves – was a celebration of the very best architecture across the whole of Africa. As an event at the tip of the continent, it really summed up an important moment for African architecture: a new wave of brilliant design sweeping the continent, and the power of these buildings to change perceptions and even lives. The Zeitz MOCAA not only gives contemporary African art an iconic home, and the

sense of a destination that will shift perceptions worldwide, but also a place for modern Africa to be reflected back at itself. This is, after all, the first museum of contemporary African art on the continent. The overall winner of the AAAs, the uMkhumbane Museum in Cato Manor in Durban by Choromanski Architects, not only is iconic and beautiful, but also shows the broader urban effect architecture can have, harnessing contemporary culture and heritage to serve as a tool for social, economic and ecological regeneration. The ripple effect of these buildings is farreaching indeed. The rest of the magazine continues the spirit of celebration of the power and potential of local architecture. Looking at this issue's featured projects, it really does seem as if we are entering a very important era of African architecture, which means there’s no better time to celebrate good design. Graham EDITOR’S >

THE ICON PROJECT: ARCHITECTURE, CITIES, AND CAPITALIST GLOBALISATION In the last quarter century, a new form of iconic architecture has appeared throughout the world’s major cities. Typically designed by globe-trotting ‘starchitects’ or by a few large transnational architectural firms, these projects are almost always funded by the private sector in the service of private interests. Whereas in the past monumental architecture often had a strong public component, the urban ziggurats of today are emblems and conduits of capitalist globalisation. In The Icon Project, Leslie Sklair focuses on ways in which capitalist globalisation is produced and represented all over the world, especially in globalising cities. Sklair traces how the iconic buildings of our era-elaborate shopping malls, spectacular museums, and vast urban megaprojects – constitute the triumphal ‘Icon Project’ of contemporary global capitalism, promoting increasing

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inequality and hyper-consumerism. Two of the most significant strains of iconic architecture – unique icons recognised as works of art, designed by the likes of Gehry, Foster, Koolhaas, and Hadid, as well as successful, derivative icons that copy elements of the starchitects’ work – speak to the centrality of hyper-consumerism within contemporary capitalism. Along with explaining how the architecture industry organises the social production and marketing of iconic structures, he also shows how corporations increasingly dominate the built environment and promote the trend towards globalising, consumerist cities. The Icon Project, Sklair argues, is a weapon in the struggle to solidify capitalist hegemony as well as reinforce transnational capitalist control of where we live, what we consume, and how we think.


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haracterised by a moucharabieh structural shell, Tudor Apartments in Mombasa, Kenya, by Urko Sanchez Architects is designed to have minimal environmental impact by adapting to the land’s natural slope, and by using locally available materials and know-how. Tudor Apartments is a development that prides itself in its innovative architecture, showing its attachment to Mombasa’s history by borrowing inspiration from the rich traditions of Swahili design.  The development consists of 14 apartments, which all offer breathtaking panoramic views of the creek on its waterfront location north of Mombasa Island. The steep drop towards the creek, on the lower part of the plot, was saved with three distinct and unique patio houses, stepped one into the other. On top of filtering light, the patios allow ventilation via permeable wood lattices facing the water. The apartment block, enveloped with its protective skin, rises facing the road, overlooking the creek, and topped with a penthouse. Urko Sanchez Architects designed the moucharabieh skin following a study of different traditional patterns. It provides privacy in relation to the surroundings, and for the filtered, natural light they wanted for the houses. This skin wraps itself around the apartment block, leaving its northern façade free, with balconies facing the sea and taking full advantage of the breath-taking scenery. Moreover, the skin is entirely structural thanks to the engineering


team. A novelty to Kenya, this structural skin was possible thanks to local and international engineers working by hand, and to the steel workers on-site who managed, by dedication and care, flawless bar bending work without access to any technology. Spatially, this skin also redirects the local tendency to put bars on windows, becoming the border and the filter. Sometimes the direct limit of the internal house spaces, the shell is at other times a first filter of sunlight and heat, doubled by internal handcrafted wood-lattice shutters. In this way, light is generous and heat is broken down. In addition to white plaster finishing, the project uses mtomo finish, a coral stone cladding technique original to Lamu that helps keep thermal capacity thanks to the porosity of the coral stone. Wood work was created entirely thanks to outstanding hand carving by local artisans from Mombasa and Lamu. Furthermore, artisans produced in situ terrazzo for the flooring of the patio houses. The architects were careful to leave the mangroves and other trees intact on site. In addition, natural, passive ventilation was a guiding theme in the project design. In the apartments, cross ventilation is possible from the sea, through the shaded terraces, to the interiors, via the integrated wooden lattices and through the surrounding envelope. Moreover, vegetation is interspersed in the patios and on the terraces, offering freshness and greenery. www.urkosanchez.com



The Zeitz MOCAA Heatherwick Studio’s much-anticipated conversion of the iconic grain silo at Cape Town’s V&A Waterfront into Africa’s first major museum for contemporary African art has resulted in an architectural wonder of transformed historical space. PHOTOGRAPHY IWAN BAAN


he R500m development of the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) is the first major museum in Africa dedicated to contemporary art from Africa and its diaspora. The museum officially opened in the transformed heritage listed Grain Silo complex, repurposed through a design by the UK-based Heatherwick Studio, in the Silo District of the V&A Waterfront, Cape Town, in September this year.

The V&A Waterfront recognised the significance of its Grain Silo complex as an historic landmark and for years debated possible uses. Built in 1921, and at 57m tall, the Grain Silo had been a part of the Cape Town’s skyline for almost 90 years, and, until the turn of the millennium, has been at the heart of the operational life of the city’s waterfront dock – facilitating the collection, sorting, storing and the exportation of much of the country’s grain. The building is so

much a principal part of the city’s urban character that it has been heritage listed by the authorities. The V&A Waterfront hoped the building would house something of public civic significance, and eventually decided on an art museum. At the same time, billionaire philanthropist Jochen Zeitz was seeking a new permanent home for his foundation’s collection of contemporary art from Africa and its diaspora. The two programmes coincided and it was decided that

the grain silo would be transformed into a new museum dedicated to contemporary art from Africa. British designer Thomas Heatherwick was introduced to the Grain Silo complex in 2006, and again in 2011 through Design Indaba’s Ravi Naidoo. The V&A Waterfront subsequently approached Heatherwick Studio to develop ideas for adapting the iconic grain silo at the Waterfront into the museum. Continued next page

The original track sheds in front of the grain elevator of the historic grain silo were refurbished and reinstated, and now provide shelter at the museum’s entrance.


Not only were the silos carved away to create the central atrium at the heart of the Zeitz MOCAA, but the ground floor slab was removed to open the basement to the main volume.



Top: The atrium is lit from above by laminated glass skylights, which have been decorated by West African artist El Loko. Bottom: The roof garden on top of the silos (where the skylights form the floor) is used to exhibit sculptures. The sculpture in the foreground is by South African artist Kyle Morland.



Top to bottom: An innovative platform where the shape of the original grain silos has been maintained is reserved for the The Centre for the Moving Image, a unique architectural gesture that accommodates new media installations and video projections; Level 0 of the Zeitz MOCAA is a space dedicated to the Centre for Performative Practice. The performances in the space will be documented and archived on the museum’s digital platforms; the central atrium at the heart of the museum provides Zeitz MOCAA with the ability to commission and exhibit monumental interventions on a scale never before seen in a public museum in Africa.

Heatherwick re-envisioned the historic grain silo as 9 500m2 of custom designed space, spread over nine floors. The development includes 6 000m2 of exhibition space in 100 galleries, a rooftop sculpture garden, state-of-the art storage and conservation areas, a bookshop, a restaurant and bar, and various reading rooms. The most spectacular part of the building, however, is the cathedrallike atrium space at the centre of the museum, which has been literally carved from the silos’ dense cellular structure of forty-two tubes that pack the building. Heatherwick’s statement on the design says that, “Rather than resorting to wholesale demolition, the studio took on the challenge to convert the multitude of concrete tubes into spaces to display art while retaining the silo’s industrial character.” “Unlike many conversions of historic buildings which have grand spaces ready to be repurposed, this building has none,” he explains. “The project became about imagining an interior carved from within an infrastructural object.” The idea for the atrium struck him while considering how to open up a central space at the centre of the building. “We realised, cutting through circular tubes did something beautiful,” Heatherwick explained at the museum's opening ceremony. The intersecting geometries of the tubes create a pattern that, when lit by a glass roof from above, create a powerful identity for the building and a functional circulation space. The shape of the atrium itself, as Heatherwick explained at the opening event, is based on the shape of a single grain of maize. “One of the team, Mark Noble, the project manager, had some of the original corn that had been stored in this building,” said Heatherwick. Continued next page


Zeitz MOCAA designed by Heatherwick Studio


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“Trillions of grains of corn had been through it. He gave us some of these grains of corn, and we thought, what if we make this one grain of corn famous? We digitally scanned it, and so we got the exact form, and we enlarged that to be almost ten stories high, and we cut that out of the heart of the building.” The shape was carved from the concrete tubes using diamond ropes along lines plotted by GPS. The silo walls had to be reinforced with a new layer of concrete to ensure their strength and stability, and so the essential form of the silo was at once preserved and transformed. “So when you go inside and find this heart,” said Heatherwick, “that heart is one of the trillions of grains of corn that was the generator to make this extraordinary weird building made from tubes, but now there is a


heart, and now there is a space.” From the outside, the façade of the silo is largely unchanged, with the exception, as Heatherwick says, “Of the addition of pillowed glazing panels, inserted into the existing geometry of the upper floors, which will bulge outward as if gently inflated.” The overarching vision for the building was to redevelop and restore it in such a way that brings national and international interest in a manner that breathes new and sustainable commercial and cultural life to the building. The new Zeitz MOCAA undoubtedly is the glue that binds the surrounding dockside development together, and through its spectacular architecture, is a fitting home not only for The Zeitz Collection, but also a jewel in the crown of Cape Town’s architectural landscape.

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PROFESSIONAL TEAM CLIENT: V&A Waterfront Holdings (Pty) Ltd DELIVERY ARCHITECTS: Rick Brown Associates, Van der Merwe Miszewski ARCHITECTS: Jacobs Parker PROJECT MANAGER: Mace STRUCTURAL ENGINEER: Arup / Sutherland M&E / SUSTAINABILITY ENGINEER: Arup / Solution Station DEVELOPER: V&A Waterfront Holdings (Pty) Ltd CONTRACTOR: WBHO INDEPENDENT COMMISSIONING CONSULTANT: Matrix Consulting HERITAGE CONSULTANT: Nicolas Bautan DESIGNED BY: Heatherwick Studio Design Director Thomas Heatherwick GROUP LEADER: Mat Cash PROJECT LEADER:Stepan Martinovsky TEAM: Simona Auteri, Ruggero Bruno Chialastri, Yao Jen Chuang, Francis Field, Sarah Gill, Xuanzhi Huang, Changyeob Lee, Julian Liang, Débora Mateo, Stefan Ritter, Luke Snow, Ondrej Tichý, Meera Yadave MAKING TEAM: Lucie Beauvert, Einar Blixhavn, Erich Breuer, Alex Flood, Hayley Henry, Hannah Parker, Luke Plumbley, Matthew Pratt

Enabling visionary architecture through collaborative engineering design The Zeitz Museum of Contemporary Art Africa, designed by Heatherwick Studio, opened in Cape Town on 22 September. Arup’s engineering expertise has helped transform a historic grain silo into the first major museum in Africa dedicated to contemporary art.

We shape a better world

We provided full scope façade, mechanical, and wet services engineering for the museum and its accompanying hotel, and full multidisciplinary engineering services up to scheme design. This included unlocking the architect’s bold intention to carve a massive atrium into the existing silo bins and finding a way to insert pillowed glazing panels into the existing geometry of the grain elevators’ upper floors. www.arup.com



Ballito Junction celebrates its location PHOTOGRAPHY SUPPLIED


he new three-level Ballito Junction opened in March 2017. It has extended an existing 12 000m 2 shopping centre, growing it by almost eight times its original size while offering simple, uncluttered and calming aesthetics. Ballito Junction is now a regional shopping centre which offers 80 000m2 GLA. It was designed by MDS Architecture for a consortium of Menlyn Maine Investment Holdings

Office 1, First Floor, Irene Village Mall, Cnr of Nellmapius Drive & Van Ryneveld Avenue, Irene Tel: +27 (0)12 662 3088 +27 (0)12 663 0503 Email: info@qmech.co.za

and Flanagan & Gerard Property Development & Investment. Sean Pearce, partner at MDS Architecture who led the project, says that the three-level centre posed a number of design challenges, particularly given that it needed to tie in to an existing shopping centre. “From Ballito Drive, you only see one level but the building is 35m high at the back (the equivalent of around six storeys in height). The

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design pays homage to the ocean and we have also been careful to design in such a way that guests experience a number of interconnecting spaces to layer their experience,” he explains. In addition to the planned extension, the owners extended the mall further during the construction phase in response to retailer demand. It now features six anchor retailers and a diverse mix of over 200 shops, restaurants,

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and services. The anchor tenants are Checkers, Woolworths, Edgars, Pick n Pay (existing), Game and Dis-Chem (existing). Its location off the major N2 highway gives Ballito Junction ease of access from its immediate vicinity as well as to its north and south, and even inland. It has dedicated access around the traffic circles of Leonora Drive, off both Ballito Drive and Simbithi Drive, as well as from Ballito Drive itself.

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Bringing two structures together

Pearce says that bringing the two buildings together posed quite a design challenge. “This was solved by giving the existing centre a facelift and viewing it as a themed area that attaches itself to the new building,” he says. Ballito Junction’s existing and well-loved piazza area with its Mediterranean flair was retained and a second piazza was added to the new building. Five levels of parking lead straight into the three malls and the centre features a truck tunnel right at the bottom of the building so that no deliveries take place in a public interface but instead through a series of lifts and staircases concealed from the general public. The old and new are brought together through the top level mall, creating a physical pedestrian link. Parking levels between the two buildings are connected at the upper and middle level malls, which assists with the accessibility and efficiency of the design.

Previous page: Entrances at Ballito Junction feature off-shutter concrete walls panelled to look like weathered timber, which guide visitors towards them. This page, top: Glass-roofed car drop-off areas provide cover from the elements. Bottom: The lower level houses the food court, conceived as an Urban Eatery with exposed steel and concrete structures and an undersea theme.

Continued next page

We are proud to be involved with The Ballito Junction Regional Mall Project



Seaside aesthetic

One of Ballito’s most appealing features is its outdoor lifestyle on account of its great climate and beachfront. Inspired by the ocean and seaside living, the design of the mall gives a nod to the area and lifestyle. Entrances at Ballito Junction are prominent and modern, featuring massive off-shutter concrete walls that are panelled to look like weathered timber and lead visitors to one of the three entrances. Illuminated walkways are lined with screens of bougainvilleas. Glassroofed car drop-off areas provide cover from the elements while wave roofs appear to float above the white building. Ocean blue glass has been used on the stairwells. Various aesthetic elements combine to evoke memories of a seaside holiday, including a colour palette which includes beach

sand and ocean colours. Sunny, windswept days are also conjured through references to water, timber boardwalks and decking. Each of the building’s three levels represents an aspect of the ocean. The upper mall level is an all-white theme depicting the rolling white waves of the ocean. Glass balustrades are used throughout the mall to create clean lines and this level offers entertainment, youth retail and niche fashion stores. The middle level is the prime fashion level and is inspired by water. Blue feature lighting ripples across the ceilings while the floors are covered in timber-lookalike and windswept sand porcelain tiles. Urban Eatery

The lower level’s theme is the ‘bottom of the sea’ and it is here that the Urban Eatery is located.

The food court area is a highlight of Ballito Junction. It is a contemporary market space where patrons can enjoy fresh produce and take-aways, all found in one open-plan space. The aesthetic resembles an industrial building that has been retrofitted where the exposed steel and concrete structures are used as decorative elements. There are no shopfronts in this area, only the kitchens are enclosed and the Urban Eatery features 6.5m high ceilings and a massive feature window which looks out to the north over the undeveloped green parklands of Simbithi Eco-Estate. “Urban Eatery features subdued lighting and is a step in a new direction from the garish, bright and loud food court areas of the past,” says Pearce. Owing to the massive window, the Urban

Eatery is dark when it is dark outside, which creates an intimate atmosphere. Specialist lighting sees the mood change during the day, creating both sunrise and moonlight effects during appropriate times of the day. There are various abstract references to water and sand throughout Ballito Junction. Timber boardwalks, bubble mobiles, jellyfish mobiles and undulating waves in the ceilings all come together for a relaxing and contemporary shopping experience. Skylights over the two main feature courts and clerestorey windows provide abundant natural light which washes down to all the levels below. Large off-shutter concrete walls have been cast to look like timber clad walls, which help to delineate the main entrances. Internally, these

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STOPPING FIRES BEFORE THEY START! The middle level is inspired by water. Blue feature lighting ripples across the ceilings while the floors are covered in timberlookalike and windswept sand porcelain tiles.

concrete walls are exposed with the shopfronts in these areas popping out like bay windows. Scenic windows are also included in the double level major tenant stores to maximise views out over the immediate valley and the sea. Screening services from residential viewpoints

Pearce reiterates that while the building doesn’t seem imposing from Ballito Drive, from the residential side of Ballito Junction, it is a six-storey structure. “The building has two very distinct sides to it. Whereas the one side features prominent entrances, we worked to ensure that the back blends and recedes into the backdrop as much as possible. This side of the building is painted dark with a combination of aluminium panels covering the services and vertical planting to ensure that in a few short years, the building

will blend softly into its immediate context.” Ballito Junction also offers a state-of-the-art Nu Metro cinema complex, including a Scene Xtreme cinema with a wall-towall, floor to ceiling screen and the latest in cinema audio technology. There are two Scene VIP cinemas, complete with a lounge/dining area where one can order hot/cold drinks and freshly prepared meals served in the lounge or to one’s seat plus five regular 2D and 3D cinemas. 22 Jump Street is a huge trampoline park which offers family entertainment including climbing-walls, dodgeball and a viewing area. “MDS Architecture is known for their ability to maintain the tricky balance between design and commercial demands and they have managed to do so brilliantly on this project,” says Pat Flanagan of Flanagan & Gerard Property Development & Investment.

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PROFESSIONAL TEAM OWNERS & DEVELOPMENT MANAGERS: Flanagan & Gerard Property Development & Investment, Menlyn Maine Investment Holdings ARCHITECTS: MDS Architecture,



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Off-grid log home Located in the pristine Boschhoek Mountain Estate in Modimolle, House du Preez, an impressive three-bedroom, bushveld family holiday home, was built using timber frame and log profile cladding, not only to tread lightly on its surroundings, but to pay tribute to the earthy landscape it calls home. PHOTOGRAPHY SUPPLIED


esigned by Eugene Barnard Architects with engineering input from Hull Consulting Engineers, and constructed by Eco Log Homes, House du Preez is an elegant, yet robust answer to a client brief that called for a rustic, yet luxurious off-grid home that would not only reflect its surroundings, but be respectful of and sensitive to its environment. Exposed timber roof trusses, which lend volume to the space, were the order of the day, with smoothed plastered interior walls and modern flooring contrasting tastefully with the exterior log profile and combined rustic elements. The home faces eastwards, optimising on orientation and maximising expansive views. Continued next page



Wall structure

House du Preez’s walls were built of timber frame according to SANS (South African National Standards) 10082, using 38mm x 114mm S5 strength graded structural timber treated with CCA. All wall structures were sheathed with 8mm-thick oriented strand board for structural bracing integrity. High quality supports, anchors and tie-downs were used and all fasteners, bolts, rods, screws and nails were electroplated to SABS standards. A 102mm-thick cavity batt insulation was snugly fitted into the generous wall cavities made possible by timber frame, which will ensure that the house will stay cooler in summer and warmer in winter, resulting in lower energy consumption – and associated costs – for the occupants over the lifetime of the structure. The timber frame was cladded with 50mm-thick tongue-and-groove log profile cladding, which had been treated to Hazard Class 3 per regulations. All of the structural timber used, except the posts which were retreated from H4 to the required H5 due to sourcing challenges, was treated to H3. The house’s corner finishes were completed using PAR 110mm x 25mm CCA-treated H3 timber and window and door reveals were manufactured from the same material. Exterior

Decking around the pool was extensive and formed an important part of the client brief. Both the surrounds and the house are ideal for leisure time spent in the rustic outdoors, but with the luxury of a swimming pool easily accessible by well-crafted decking underfoot. Railings were made using stainless steel crimps on tensioners fixed to the end posts, a system that gives the client the best possible view through the railings.



efficient LED lights and household appliances are all AAA-rated. Roofing

A charcoal grey corrugated iron roof was specifically selected to complement the house and blend in with the environment, and the specially rounded corrugated iron towers, housing the staircase and outdoor showers, were primed and painted with a colour specifically matched with the Chromadek roof. High-density polystyrene tongue-and-groove 50mm boards were used for the ceiling above the rafters. Flooring

Energy efficiency

Maculata of the Eucalyptus family was used for the flooring, skirting and even kickboards in the kitchen. Maculata has become invasive in South Africa and an eradication programme is under way, which made the choice of floors a particularly thoughtful one and yet another nod to the environmental consideration of the home.

50mm high-density polystyrene was inserted between the floor joists, contributing an R-Value of 2.083m2K/W to the floor, already exceeding the minimum requirements of a complete suspended floor in Climate Zone 2. The 18mm shutter ply and 22mm solid timber floors contribute further to the R-Value of the completed floor structure. Exterior walls were tightly packed with 102mm cavity batt insulation with an R-Value of 2.68m2K/W, also exceeding the minimum requirement for Climate Zone 2. Bronze aluminium windows and doors were installed throughout the house. All glazing was coated with low-e film per the architect’s specifications and energy efficiency calculations done according to national glazing standard specifications.

On point, off grid

House du Preez was built off the grid with water supply from a borehole powered by a solar panel. Electricity is generated via photovoltaic panels, which charges a battery bank with power converted to 220V by a 3KvA inverter. An energy efficient pressure pump was installed with a slow start-up and shut-down control system. Water is heated using gas, which also powers the stove and oven. All the lighting is energy


timber frame & log structures for the discerning taste

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Civic icon The new headquarters for the City of Tshwane Metropolitan Municipality, located in the heart of Pretoria, was one of the first Government buildings to target a 5-Star Green Star SA certification within a public-private partnership (PPP). PHOTOGRAPHY TRISTAN MCLAREN



Continued next page



Previous page: The new Council Chamber at Tshwane house stands apart from the rest of the city’s new headquarters, and has its own architectural language which not only gives it architectural impact, but also marks it out as the space where important civic decisions are made. This page, clockwise from top left: The ground floor is raised above two basement levels, and is accessible via a public piazza; the interior of the council chamber; a full height curtain wall allows the public to engage with the activities inside the building; the building is low at street level to engage with the pedestrian scale of the city; the office environment for administrative workers is designed to provide a pleasant, healthy and productive workplace. Head-Arc-Ad-2017-Print.pdf



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Proudly part of the Tsela Tshweu consortium for Tshwane House



• Space planning • Interior architecture design, detailing and specifications • Full fit-out of council chambers, main executive offices, caucus areas and meeting rooms





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he new headquarters for the City of Tshwane Metropolitan Municipality – which occupies the site of the old Munitoria building – was designed by LYT Architecture to provide a comfortable, healthy and productive working environment for its occupants, with an overall environmental strategy encompassing transport, indoor environmental quality, energy, water and waste. In March 1997, a wing of the old Munitoria building was destroyed by fire, and this block was never rebuilt. The intention with the new building was to consolidate office space for the city’s staff into a building that would provide adequate space for the city’s administrative processes and enhance the city’s service delivery capacity, in an environmentally conscious and socially cohesive structure. Because of the large site, a low building was designed that speaks to the pedestrian scale of the city, with a colonnade providing protection and promoting civic interaction with the building. The elevated ground floor, situated above two basement levels, engages the street on the

southern side via a broad staircase and publicly-accessible piazza. The intention is to encourage the perception of transparency between the city and the public – a perception that is reinforced by the use of a full height curtain wall that gives the public views through to the building’s activities. A park has been incorporated on the eastern side of the site, which can be opened for public functions. This area provides space for a possible future extension to Tshwane House, which will be linked back to the first phase by an interstitial corridor. The fundamental components of the building are a new Council Chamber, efficient office space, and an environment that provides a pleasant and healthy workplace for staff members. Arrival is via a secure atrium, where the spatial effect is optimised through an economical and efficient use of volume. From the foyer, a separate lift for the public leads to the gallery that overlooks the Chamber – in this way there is no physical cross over between public and office functions, but a visual connection is maintained. Continued next page



From the central foyer space, there are two bridge links to the east and west wings. This was a design response to the requirement for the building to be subdivided so that, in the event of another fire, damage could be contained and the overall functioning of the building would not be compromised. The east and west wings are similar in plan, based on a figure of eight, with two smaller atria providing a maximum use of floor plate area with a minimum use of facades – that is, an efficient floor area to envelope ratio in terms of circulation, structure and light penetration. The centrally located chamber is a separate structure altogether, with its own iconographic, formal architecture that makes it recognisable as an iconic object and the place where city decisions are made. The building’s efficient floor plate and civic gestures, speaks to its function as a building servicing the people of Tshwane. The building offered a 5-Star Green Star SA certification.

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PROFESSIONAL TEAM PRIVATE PARTY: Tsela Tshweu Private Company (RF) (Pty) Ltd D&C CONTRACTOR: Tsela Tshweu Construction Joint Venture PROJECT MANAGER: Platospec ARCHITECTS: LYT Architecture; Motsepe Architects PQS: Brian Heineberg & Associates STRUCTURAL, CIVIL AND FAÇADE ENGINEERS: Pure Consulting ELECTRICAL AND MECHANICAL ENGINEERS: Spoormaker & Partners WET SERVICES: MG Building Services RATIONAL FIRE: Building Code Consultants TRAFFIC: ITS Traffic Engineers INTERIOR DESIGN AND SPACE PLANNING: LYT Interiors; HEAD Interiors SUSTAINABILITY CONSULTANT: PJC Consulting ACCESS CONTROL: Smart Line Integration ICT: Data Connectivity Solutions (Pty) Ltd LANDSCAPE ARCHITECTS: The Landscape Studio

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Top to bottom: The open piazza and glass curtain wall creates a sense of transparency between the workings of the city and the public; the full-height glass wall gives the public views through to the building’s activities.

Overall winner of 2017 SAPOA Awards

@Sasol- Used with permission



Healing architecture Choromanski Architects was awarded the Grand Prix at the recent inaugural Africa Architecture Awards for the uMkhumbane Museum in Cato Manor, KwaZulu-Natal. The award is for the project that best describes the ultimate objective of the Africa Architecture Awards, which is to inspire the future of African architecture. PHOTOGRAPHY PRAKASH BHIKHA

The perforated aluminium screen features a network of geometric patterns inspired by Zulu beadwork, abstracted to form a culturally coded language that refers to the interplay of order and nature. The screen contrasts with the red clay bricks forming the museum’s outer shell chosen for their local provenance, familiarity to local builders and their symbolic value as humble, robust and permanent.



Clockwise from left: The perforated aluminium screen shapes the entrance of the vertical museum and a 36m vertical courtyard gallery; the symbolic crypt built for Queen Thomozile Jezangani Ka Ndwandwe Zulu, mother of Goodwill Zwelithini, who was reburied here; inside the crypt, the queen’s life story is now honoured in traditional Zulu ceremony and contemporary architectural expression.


he uMkhumbane Museum is the first new City Museum in Durban in approximately 100 years. The eThekwini Municipality identified Cato Manor as an ideal location to develop the museum to preserve the rich cultural and political history of the area, and to stimulate innovation. The uMkhumbane Museum provides the opportunity for contemporary culture and powerful heritage to converge, serving as a tool for social, economic and ecological regeneration. As part of a broader urban strategy, the site seeks to activate and network various cultural nodes within the community of Cato Manor through community involvement, local artists and leaders. Situated 7km from Durban’s CBD, Cato Manor experiences various complex challenges facing former townships – many of which are continuations of the systemic injustice of South Africa’s past. As one of the world’s largest forced removal sites, uMkhumbane is remembered for being the most vibrant and

diverse community in Durban during a time characterised by separation. The stories of uMkhumbane in the 1940s were an example of diversity and community during apartheid. The broader urban strategy for the site aims to use principles of regeneration, contemporary technology and public space innovatively to access, network and enhance the culture, serving as a tool for community members to leverage in the co-creation of today’s uMkhumbane Culture. The site of the museum is at the confluence of two major arterial roads crossed by the uMkhumbane River and included in the Durban Metropolitan Open Space System. It is in close proximity to residential areas, businesses and the University of KwaZulu-Natal which donated a portion of the land to the project. It is also significant as it was chosen by Zulu King Goodwill Zwelithini for the reinternment of his mother, Queen Thomozile Jezangani Ka Ndwandwe Zulu. The Queen lived in Mayville as a domestic worker

in her later life and was recently found in a grave that had two sets of remains. She became a muse to the museum, and her contrasting life story is now honoured in traditional Zulu ceremony and contemporary architectural expression. The masterplan that has been undertaken for the future phases of the site's development uses the idea of communal space to connect diverse people through open access to public services by decentralising cultural nodes. These include a cultural park and public square, galleries for a permanent collection on forced removals focusing on the struggle by women and children and temporary collections. There will also be a dedicated space for community exhibitions, gathering areas for oral, performance, installation exhibits, social gathering areas for functions such as book launches, festivals (film, writers, poetry, dance, music), concession areas including traders market stalls, theatre as multipurpose space, children’ innovative facilities, and tour routes through the

community and surroundings areas. The Vertical Museum and Queen’s Memorial draw on Zulu emblems in contemporary architectural expressions, creating powerful spaces that elevate culture. These buildings have been constructed from three primary materials familiar to the community and primarily sourced locally and constructed from skills within the community. These include concrete, brick and metal. Red clay facebrick was chosen as the primary cladding material because it is indigenous to the alluvial plains of Durban. It is also low-maintenance, labour intensive, buildable by local builders and symbolic of humble, robust permanence on this landmark city project. The local community were trained in bricklaying and received certificates for this practical skills training. Using brick cladding for the museum building, however, created certain engineering challenges. It was unable to hold its own weight for the heights required in galleries. Continued next page




The building features a structural concrete skeleton, dressed with brick and shrouded in metal. The aluminium screen allows natural light and ventilation to core on the west.

The team decided to construct a set of diaphragm walls, which increased the volume of the spaces and reduced the amount of concrete required. They also increased the stiffness to the high gallery walls which improved acoustics, thermal mass, waterproofing and the overall structural properties of the entire building’s outer shell. Seven steel columns support the perforated aluminium screen, shaping an entrance and a 36m vertical courtyard gallery, juxtaposed to a corrugated aluminium facade.

The perforated screen not only provides protection from the north sun, but also lets in natural light and ventilation to the core on the west. The core on the east is protected by naturally ventilated brickwork which reduces the building’s heat gain. The network of triangles that form the pattern on the façade as based on Zulu beadwork patters is fragmented to form organic combinations that refer to the interplay of order and nature. This network of geometry creates a cultural coded language that articulates identity in the form of architecture.


The uMkhumbane Museum and the site more generally is designed to provide infrastructure to enable the health of the surrounding community and environment, and has the social capacity to co-create regenerative and enabling systems. uMkhumbane Cultural Place will define a significant sense of place which celebrates resilience of life, growth, and the transition of a community within the city of Durban. Cato Manor could provide much needed stories of regeneration and redress in South Africa in 2017.


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NATURAL STONE CARPETS STEADILY GROWING IN POPULARITY The external areas of a bar, restaurant or hotel need to be carefully designed and constructed to ensure that the space provides a visually appealing, safe and easy to maintain environment despite exposure to the elements and the operational challenges of a commercial business. This is especially true of the floor for pool surrounds, balconies and terraces, where a failing finish will not only spoil the aesthetics and ruin the vibe, but could slow down foot traffic, make it difficult to keep clean and even pose a health and safety hazard to staff and customers. Specialist resin solutions that create an attractive, natural stone carpet effect have become a very popular choice for these types of areas. This popularity stems from the fact that this type of material is durable enough to withstand exposure to the elements, impacts, scuffs, scrapes and abrasions, combined with its ability to provide a textured finish that enhances traction underfoot, minimising the chance of slips around swimming pools or when it rains. The design potential of this type of floor was displayed recently in Thailand at the Siwilai City Club, a social club on the fifth floor of Bangkok’s luxury Central Embassy shopping mall. The mall’s effortlessly cool flagship boutique extends into a bar, lounge and succession of restaurants. A central part of this urban oasis is a stunning sun terrace designed to emulate Thailand’s green and idyllic islands with hammocks, cabanas, leafy

palms and shaded canopies – perfect for customers to sit back and enjoy spectacular 180-degree views of the city. To tie in with the beach theme, the decorative stone carpet system Rustik UV was installed in a sandy yellow colour. This coating consists of light coloured natural stones encapsulated in a clear aliphatic, UV stable polyurethane resin, which was ideal for creating a natural looking floor that reflected the look of the sandy shores at a seaside bar. The robust credentials of this system meant that the 676m2 floor area would not deteriorate when exposed to prolonged periods of intense sunlight or to the heavy foot traffic that the club will experience. The high degree of slip resistance of this textured solution also reduces the likelihood of customers slipping or tripping on the terrace in wet conditions. The anti-slip properties of this type of resin flooring


were exemplified at a swimming pool in Durban, which was part of a large, semi-exposed outdoor lounge and entertainment area. A seamless Naturewalk system, made from natural stone aggregates bonded in a solvent free polyurethane resin binder, was applied in a sleek cosmopolitan light grey colour around the pool. The product is often chosen as a longer lasting and more durable alternative to loose stone or gravel surfaces or as a seamless alternative to block paving – as its joint-free finish eliminates the cracks where weeds can grow and dirt gets trapped. In this instance, the building owner requested a specially formulated colour blend that included 75% graphite aggregates and 25% natural aggregates in order to create a cool and contemporary poolside vibe. As well as being applied to the edges of the pool, the material was used

throughout the indoor bar and lounge area as well as on the exposed stairs leading to the terrace. The installation took just two days to complete a total area of 155m 2, ensuring that disruption was kept to a minimum and that the newlook terrace was ready under a very quick turnaround. Getting the floor area right in external areas means meeting the right combination of aesthetic and practical criteria. The durable, seamless and impervious nature of resin solutions means that commercial developers can rest assured that the floor area will provide the necessary slip resistance, easy cleaning and durability benefits, while the ability to tailor the colour, aggregates and pattern means that designers can easily create bespoke, on-brand and visually stunning external floor areas. www.flowcrete.com




Ian Hopkins founded Pool Spa & Filtration with a vision of providing global-standard technology and superior quality supplies to the local fountain, pool and pond design industry. Ian’s hands-on approach to management and values-driven leadership style are the reasons why, 37 years later, the Pool Spa Group has established itself as the leader in fountain technology, maintenance and supplies, not only in South Africa but into Africa and beyond. This year has been exciting as the dynamic duo of Brian Algar and Rossella Grimaldi took the wheel, entrusted with steering the Group safely through its next growth phase. Rossella Grimaldi says, “Our fresh look, improved efficiencies and a higher level of customer service embraces change without sacrificing the founding values.” Brian

Algar agrees, then adds, “Our clients will feel the difference in our approach, not only in our re-energised service levels, but where it counts – the bottom line.” Working hand in hand with landscape architects, the high-tech displays of water, lights and music at Monte Casino, Silverstar Casino, Menlyn Mall and The Mall of Africa, to name a few, showcase the technological design and installation skills of the Pool Spa & Filtration Contracts team. The maintenance division keeps South Africa’s pools and ponds in sparkling condition. “We do what we do to sustain the smiles,” says Grimaldi. Pool Spa & Filtration Supplies, the retail arm and the store, based in Randburg, is stocked with leading brands and top-quality products, at randfriendly prices.


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FUTURE CONSCIOUS RHINO WOOD South Africans (and the rest of the world) are no longer comfortable with using threatened hardwood timbers sourced from the tropical rain forests of South America, Asia and Africa in an unsustainable practice that threatens the continued existence of the planet. That is why local, sustainable timber alternatives, like Rhino Wood, that offer environmental, social and economical solutions to the long-term future of wood have become highly sought after. Rhino Wood is created using an innovative South African patented process that gives softwoods

similar, and at times enhanced, characteristics of the most durable hardwoods. It is a concept so groundbreaking, that Rhino Wood was amongst the first three companies in South Africa to receive the World Wildlife Fund (WWF) Climate Solvers Award in 2014 – an award that recognises small businesses that are developing and commercialising innovations that reduce carbon emissions and boost energy. The Rhino Wood process starts with sourcing local South African pine from sustainably managed forests. Then the wood is thermally modified


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RUBBER PAVING BRICKS SAFE FOR HORSES Witpoort Stables in Midrand, one of South Africa’s leading equestrian establishments, has replaced the surfaces of its horse walker and wash bay with Envirobuild rubber paving bricks. According to Jaco Snyman, Envirobuild, the most important considerations were safety and durability when it came to this project. Rubber paving is the best surface for a horse walker as it offers a level, consistent surface with ample shock absorption which reduces pressure and stress on horses’ joints and tendons. The high grip walking surface is perfect for both dry and wet conditions and encourages animals to walk confidently. In the unlikely event of a fall, injuries are minimised. He explained that horse walkers can have different bases – sand, PVC chips, conventional paving or even concrete. “This is a quite hard-working surface as you have six horses fitted with steel horse shoes occupying the same 70m stretch for up to an hour at a time. Witpoort has more than 24 horses, so this needs to be repeated up to six times per day for training.” Up until now, there have been few, if any, local manufacturers of rubber floor solutions suitable for equestrian applications, with many establishments having to import extremely expensive rubber pavers or mats or settle for less suitable alternatives. Envirobuild is KwaZulu-Natal’s first manufacturer of eco-friendly rubber flooring for commercial, industrial and residential use and


one of very few to produce quality rubber flooring in South Africa. The raw material for Envirobuild pavers is processed from used truck tyres in Hammarsdale and the end product made at the Prospecton factory of Van Dyck Flooring, which is a sister company of Envirobuild and part of the PFE International Group of companies. According to Snyman, for this installation, a total of about nine tonnes of truck tyres were recycled and diverted from going into landfill – this equates to about 140 radial truck tyres. Envirobuild products are low maintenance and can be easily swept or hosed down. They are also easy to install. Because rubber bricks are much lighter than brick or concrete paving and some products come in sheets, they can be laid more quickly and are flexible, making them suitable for uneven and sloping surfaces. www.envirobuild.co.za



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CHEWTON GLEN GETS COOKING The Kitchen at Chewton Glen in the United Kingdom is a purpose-built cookery school that offers a selection of classes overseen by popular TV chef and alumni James Martin. As part of an award winning five-star luxury hotel, it was important that the design of the kitchen and material selected reflected the grandeur of the country house. Designed by Terence O’Rourke in collaboration with The Big Kitchen Company, the newly built kitchen space specifies Neolith by TheSize. With the worktops coming into regular contact with sharp knives, it was imperative the surfacing was scratch resistant. Furthermore, with each island containing a hob and an open shelving area to permit the disposal of hot pans, the necessity for the surfacing to be able to withstand high temperatures was crucial to its selection. Neolith slabs in Basalt Grey Silk were applied to the

worktops, upstand, splashback, shelving areas and cabinetry. The availability of 12mm Neolith slabs in large formats, including 3 200 x 1 600mm, proved to be a decisive factor in the specification of the surface for the commercial kitchen. Sam Hughes, senior designer at The Big Kitchen Company comments, “With two students per island, the large slabs offered sufficient width to fit all the required appliances whilst leaving an appropriate sized work space. “The larger slabs also provided the aesthetic advantage of minimising the number of visible joints, thus contributing to a more seamless and streamlined kitchen design.” In addition, the project requirement for bespoke cuts of the 12mm slabs to integrate the sinks and hobs, as well as for the shelving areas, was a demand and service TheSize were able to offer and fulfil.


The team working on the project, which included the managing director at Chewton Glen, selected grey as a colour due to its universal application. Prominent in the commercial kitchen sector and fashionable in contemporary residential kitchens, grey is popular for the ease at which it combines with bright tones or neutral schemes. Sam continues, “As a designer, while decor options and the specification of a

sustainable product is a significant factor in the surfacing selected, it is also imperative the material can meet the demands of a project. In the instance of The Kitchen, Neolith’s ability to withstand high temperatures, its resistance to stains, cuts and marks, and the bespoke sizing options offered by TheSize made it ideal for this commercial setting.” www.neolith.com


Countertop: CALACATTA Silk, Residential project Ibiza (Spain). Designed by Natalia Zubizarreta Interiorismo, Photography: Erlantz Biderbost.

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KITCHENS THROUGH THE AGES From a hidden space seen only by household staff in years gone by, the kitchen has become a central feature within the home. One organisation with a profound understanding of the kitchen space and its history is the Kitchen Specialists Association (KSA). KSA has been serving the South African kitchen industry and consumer for almost three decades. “Today’s kitchens are the hub of the home and tend towards furniture installations rather than practical cabinetry,” explained Stephanie Forbes, national manager, KSA. “Over the decades, trends and styles have shaped the kitchen’s development and we can still see many of those influences today.” Kitchen styles from 1930s to today: 1930s For the first time, the kitchen was more than just a place to prepare food but rather a functioning and accessible part of the house. This period also saw the introduction of breakfast bars as well as splashes of colour. 1940s World War II halted the trend of kitchen design. This forced hiatus, however, created a design vacuum which gave impetus to the burst of creativity that followed.

1950s Kitchen developments happened rapidly during the 50s with the arrival of the fully-fitted kitchen recognisable in today’s homes. Despite their meagre proportions, kitchens became a place of expression with brighter colours such as ‘bubble-gum’ shades of pink and blue as well as the iconic combinations of red, white and black.

1960s Moving away from the pinks, blues and reds of the 50s, this era drew its colour inspiration from nature with a focus on earthy browns, greens and yellows combined with natural materials such as timber, brick and stone. 1970s Synonymous with the 70s are bold patterns which flowed into the heavy wooden panelling, dinettes and cabinetry of the kitchen. Large windows spurred the opening of the kitchen onto the garden creating a new entertainment area. 

1980s ‘Bigger is better’ dominated the mind-set during the 80s and this was transferred onto kitchens where the increase of middle-class disposable income made for more kitchen space. The classic ‘country’ kitchen became popular, inspired by shaker doors and florals. 1990s A sense of calm arrived with the 90s as homeowners opted for lighter colours with timbers such as beach and maple becoming popular. The influence of Scandinavian design could be felt with the advent of monochrome kitchens where white or light cabinets were offset by black granite replacing the laminate tops. 2000 to present The new millennium brought with it clean lines, ergonomic design, increased light, natural materials and colours, engineered stone with timber or solid surface countertops. The modern kitchen is now a place to live, work and entertain. To view some exquisite modern kitchen designs and interact directly with the KSA and its members, head to one of the Decorex shows near you. Decorex Durban: 21–25 March 2018, Durban Exhibition Centre Decorex Cape Town: 27 April–1 May 2018, CTICC Decorex Joburg: 8–12 August 2018, Gallagher Convention Centre www.ksa.co.za





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F Dekton South Africa



ICONIC OVENS MADE FROM PREVIOUSLY USED MATERIAL Did you know that AGA cookers, unlike other types of cookers, is almost completely recyclable? Since the very first model was made over 90 years ago, 70% of each AGA has been made from used material. Car gearboxes, guttering, old machinery, cast iron cookers, door fittings, drain covers, lamp-posts and much more can all be found in the world’s most famous cooker. As green credentials go, that’s pretty impressive! Recognised as the world’s best cooking appliance, the


AGA oven commands a level of adulation more often associated with the glitz of Hollywood fame and generates similar devotion. It’s deemed the number one luxury appliance brand and is revered as one of the top three design icons of the century. It’s the kitchen centrepiece of celebrities, professional chefs, royalty and discerning homeowners across the globe. AGA represents a lifestyle, one that owners embrace and share fervently with others. www.agaliving.co.za



NEW WATER-BASED EPOXY GROUT TAL has introduced to the market TAL Water-Based Epoxy Grout, an innovative, water-based epoxy grout that offers excellent chemical, acid and stain resistant properties. “This is the first water-based system in the local market and has been formulated specifically for ease of application and clean-up,” says Gela Ohl, marketing manager, TAL. Being water-based makes TAL Water-Based Epoxy Grout easier to clean up as no heavy chemical use is required. This formulation also offers excellent workability and is much easier to work with than traditional resin-based epoxies. The product is available in light grey and white. TAL Water-Based Epoxy Grout is ideal for installation areas such as abattoirs,

breweries, dairies, hospitals, food and beverage production and preparation areas, swimming pools, bacteria and mould-growth areas. It is also well suited to areas that require high levels of chemical resistance, acid resistance and which are subjected to high-pressure hosing and steam cleaning. This product is supplied in a

two-component kit, namely a resin and a hardener, both in paste form. Although mixing of complete full packs is preferred, part-mixing can be done providing the exact 1:1 mix ratio is followed. After mixing, TAL Water-Based Epoxy Grout is useable for approximately one hour at 20oC.



Cleaning should be done immediately after grouting before the epoxy dries, using a sponge lightly dampened with clean water. Tools can be cleaned with clean cold water but if the material has dried, or for more stubborn residue on both the tile face or tools, TAL Epoxy Cleaning Fluid or Gel can be used. The TAL Warranty Programme offers a 10-year warranty on any tiling installation, provided a Materials and Methods specification is issued by TAL for the project, that ensures that TAL products are used in strict accordance with the specification and the installation is undertaken by a TAL registered tiler and monitored by TAL. www.tal.co.za




WHEN THE CAT’S AWAY, THE MICE WON’T PLAY When considering home integration for a residence, the most vital aspect always comes down to security. You want to know that your family, your valuables and your prized whisky collection are safe and sound 24/7/365. There is a system available that ensures top-of-therange security. It’s called Control 4 – a super intelligent security software system, exclusively available from BNC Technology. Designed for complete control, convenience and touchpoint access at all times, the Control 4 system brings you ultimate peace of mind, at your fingertips. “It is an advanced system

with multiple interfaces and artificial intelligence,” says BNC Technology managing director and co-founder, Nick Caripis. “No matter where you are in the world, you will be able access live footage of your home camera systems, at all hours, and the greatest thing about it is that you can control all access points from an easy-to-use app on your smartphone or tablet.” One of the best safety features with Control 4 is called ‘Mockupancy.’ When you leave your house, your home will run through recorded data that mimics a type of occupancy within the household. This means, lights will routinely switch on and

off, the television will play in the background and any other technological activities that the data has recorded over time, will run automatically on repeat. Mockupancy acts as a camouflage of activity,

to deter potential outside threats. So you’ll be home, even when you’re not. Control 4 is exclusive to BNC Technology Home Integrated Solutions. ww.bnctechnology.co.za

STRONG, AFFORDABLE SECURITY Xpanda Security has supplied strong but affordable security barriers to the public and industrial sectors for over 43 years. The company’s brand strength and awareness is high, due to the focused nature of the business and the long-term exposure the brand has had within the South African market. Security is Xpanda’s focus and they never compromise strength for price, thus they only use the best quality materials to ensure that all their products have minimal maintenance on moving parts and to further ensure that all their products meet SABS ISO 9001:2008 quality standards. Xpanda offers the widest and most fully comprehensive range of products. The product range is vast and covers DIY items as well as custom made security barriers. These include burglar guards, security doors, driveway gates, trellis doors, roller shutters, roller grilles, sectional overhead doors, vertical lift doors and sub-station doors. All these products enjoy success in a variety of applications in the commercial, industrial and domestic markets. www.xpanda.com





INDUSTRY INSIGHT: TIMBER DECKING DONE RIGHT While timber decking is most often associated with leisure and entertainment, and considered a complement to a larger structure, the importance of correct deck building is not always fully appreciated. Peter Bissett of the renowned KwaZuluNatal timber construction company, Cottage Concepts and a timber deck member of the Institute for Timber Construction South Africa (ITC-SA), shares insight into

failures if an engineer has not been engaged to certify the design and construction. Engineers must carry indemnity insurance which will cover most of these types of incidents.

legislation governing design and construction.

the structural use of timber and SANS 10082 ‘Timber Frame Buildings’. An engineer would make use of SANS 10163 on a timber decking project. SANS 10082 is the code of practice for timber structures and your decking contractor should have a copy of this document as well as SANS 10043 (Solid Wood Decking) on hand. The National Building Regulations must also be strictly adhered to when constructing a deck – or any other structure for that matter – and will refer the designer, builder and engineer to the relevant code or regulation for correct execution of the project. Decks which are more than 1.5m off the ground should be designed by an engineer with experience in timber construction. The ITC-SA can help source an engineer with the relevant experience.

Why should you have plans drawn up for your decking structure? The local council usually has the final say and can ask to see any plans as well as an engineer’s certificate, even if the deck is almost on the ground. Anyone interested in having a deck built must be aware that if they do so without plans, when the time comes to sell their property, they may well end up having to submit plans. Most councils now require that plans are upto-date prior to the release of rates clearance certificates. Another important factor to keep in mind is that most deck collapses (and there are many every year in South Africa) usually occur when the deck is loaded, such as at a New Year’s party or when heavy rains wash out one of the supports. Many timber decks that have not been designed properly can even be lifted off their posts during storms or strong winds. The homeowner will be liable for any damage, injuries or deaths resulting from such

Legislation governing timber deck construction Timber structures must be designed and built in accordance with the South African National Standards (SANS) 10163, which governs decision a homeowner or project manager can make in the case of having a timber deck built is to hire a reputable deck builder. Decks are worthwhile additions to any structure, but they are expensive; one mistake on the contractor’s part can ruin the deck and be very costly to repair. For complete peace of mind, hire a decking contractor who holds membership with the Institute for Timber Construction South Africa. Not only will the contractor be well versed in the construction regulations, the client will have a professional body to refer to should the workmanship or materials used not be up to standard.

which a 100mm diameter ball would fit. • Any part of the deck that is higher than 1m off the ground requires a balustrade. • Timber structures should have space of at least 450 mm below the decking for air to flow around the timber. Where this is not possible, try to keep the timber above soil.

Hiring a timber decking contractor: points to consider

Decking dos and don’ts • Do not accept a deck that bounces when walked over. Your tea should remain in its cup and not spill out into the saucer or the deck. • Balustrade posts should be

A timber deck is an attractive addition to any structure (on a beach or a boardwalk, for example) and makes for a durable, functional statement piece. However, timber decking, like all constructions, should be approached as an investment. The homeowner or project manager would do well to investigate the subject, ask for advice, engage the services of an accredited professional from design to final inspection, and ensure proper and regular maintenance is conducted;

There are a number of individuals in the market who are not qualified or experienced in the field of timber decking. The best

bolted to the sub-structure and not nailed, as they will eventually come lose. • The balustrade should not have any gaps through

the yields on a well-built, welltaken-care-of timber deck are priceless and offer invaluable returns well into the future. www.itc-sa.org



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Low Hazard: Inside above ground Moderate Hazard: Outside above ground High Hazard: Outside in ground High Hazard: Outside in contact with heavy wet soil or in fresh water High Hazard: Prolonged immersion in sea water H2








AN AUTHENTIC APPROACH TO INTERIOR DESIGN Pierre Cronje, a leader in the South African solid timber design and manufacturing industry, has been setting the benchmark in quality craftsmanship and wellproportioned aesthetic design for over 30 years by assisting discerning clients and decorators realise their interior design vision. Each space deserves that unique design that reflects a client’s sophisticated taste and by offering the opportunity of full custom work – no matter the scale. Pierre Cronje is able to provide unique solid wood investment furniture, full architectural fittings and elegant hardwood flooring solutions. These items, unlike mass-produced furniture solutions, will be aesthetically pleasing for many years.

This results in clients ultimately saving money by spending a little more initially. They get exceptional, authentic solid timber products that will last for decades. Architects and interior decorators collaborating with Pierre Cronje select the brand for the following reasons: • Pierre Cronje offers unlimited creative potential realised in a finished product • The company embraces unusual or unique design requests and offers a practical and durable final solution • Expert knowledge and steadfast after-sales service by Pierre and his team of professionals

Despite today’s culture of disposability and conspicuous consumption of all things that are hitech and fashionable, the concept of ‘provenance’ and true artisanship is slowly beginning to return. Pierre Cronje has always remained true to the belief that cherished handmade possessions gather memories and meaning during its lifespan. Pierre Cronje craftsmen bring quality to every project. They realise how important it can be for clients to get the perfect bespoke fittings, flooring and furniture. That is why they make every effort to obtain correct measurements and satisfy their needs, from

decided by the stature and wane of the tree, which is why many of the pieces made by Pierre Cronje display the untrimmed outer contour of the tree simply to celebrate its raw origin. Interpreting specifications, selecting the best planks for each project, monitoring the moisture content, consulting on the final visual appearance of the wood and determining the best way to implement are all paramount in addressing a client’s needs. Regardless of their

start to completion. The company works with responsibly sourced, un-edged boards and lean towards extreme cuts. Often the interpretation of a design is

customer’s requirements, the team will never leave a job uncompleted. They will perform adjustments and alterations to ensure all products fit neatly into their spaces. No matter


what the issue might be, they will find the perfect solution to any challenge. Delivery/lead times will vary based on workload and the intricacy of designs. Pierre Cronje handles its own installations and deliveries and will make sure items reach their destinations in premium condition. If the recipient notices any issues, they can get in touch with the team straight away to arrange a solution. Exceptional after-sales support and client satisfaction is of utmost importance to Pierre Cronje, which is why they will never sign off on a project or item until everything is 100%. www.pierrecronje.co.za





BUYING AND USING PRESERVATIVE TREATED TIMBER In South Africa treated timber is required by law to comply with national and compulsory specifications and must bear marking containing the following information: • POLES (Metal marker) • SAWN TIMBER (Ink stamp) HOW TO PLANT A POLE The detail in these diagrams assists proper drainage of moisture that may be absorbed by a wooden pole. A structural engineer must be consulted for detailed structural requirements. Poles intended for planting in the ground must be purchased at required lengths. Never plant a cross-cut end of a treated pole or post into the ground as this will expose the untreated heartwood to fungal and termite attack resulting in premature failure.

VIVA VENEERS FOR VIBRANT WOOD LOOK PATTERNS CHOOSE THE CORRECT HAZARD (H) CLASS • H6 – High Hazard: Prolonged immersion in sea water (marine piling, jetty cross-bracing, landing steps, retaining walls, etc.) • H5 – High Hazard: Outside in ground, subject to periodic wetting and leaching (fencing and structural posts, landscaping, stakes, pergolas, etc.) • H4 – High Hazard: Outside in ground, subject to periodic wetting and leaching (fencing and structural posts, landscaping, stakes, pergolas, etc.) • H3 – Moderate Hazard: Outside above ground, subject to periodic wetting and leaching (cladding, decking, stairs, balustrades, log homes, etc.) • H2 – Low Hazard: Inside above ground, protected from wetting and leaching (roof trusses, framing, panelling, laminated beams, flooring, etc.) www.sawpa.co.za


Tabu veneers’ decorative dyed and reconstituted ranges add Italian flair and craftsmanship to local walls and furnishings. A fashionable (and affordable) alternative to solid wood pieces, Tabu veneers are pre-dyed in a range of contemporary shades for uniquely exciting design possibilities. The structures, patterns and shades of their extensive range of dyed natural and multilaminar woods (MW) combine the classical beauty of traditional timber with saturated colour and expert craftsmanship. Tabu’s latest collection comprises four ranges of pre-finished contemporary designs – Graffiti, Pregiati, Fiammati and Rigati – in convenient 1260 x 3060mm sheets. These stunning collections offer the latest geometric and organic designs expertly laser-cut, assembled and fleece-backed with FSC-certified non-woven tissue. Made from natural wood species including oak, eucalyptus, figured sycamore, bird’s eye maple and birch, these ready-made sheets have been skilfully transformed

DID YOU KNOW? The use of veneers considerably reduces the total volume of solid wood, with 1m2 of solid wood producing 50m2 veneer. from raw material with natural flaws and differences into consistently similar patterns to ensure uniformity throughout. Veneer is ideal for wall panelling and interiors with an organic theme, offering an authentic alternative to wallpapers that can also be applied to furniture and fixtures such as boardroom tables. The sheets are applied to boards or panels in either book-match, slipmatch or random directions, ensuring consistent pattern repeats in stripes, crowns or flame patterns with either longitudinal or horizontal orientations. More exotic or rare species such as birds eye maple, frise and burl’s can be used for statement pieces and added exclusivity. www.tabu.it

Safer. Simpler. Sustainable. Switch

The Gen2 Switch is a battery and mains operated elevator that works even when the power is out. • Plugs right into a 220V outlet • Fitted with a regenerative drive that powers the battery • 81% more efficient than conventional elevators • Can make up to 100 runs while the power is out

www.otis.com | Toll free line: 0800 112 339


CREATIVE COLLISIONS AT NANDO’S At this year’s Loeries, Nando’s was awarded silver in the category: Communication Design: Interior Design & Temporary Structures for their remarkable collaborative approach to the design of their restaurant interiors.


or the interior design of their restaurants, Nando’s embarked on a project they called, ‘Firing up the growth of South African design and creativity through the Nando’s values’. The idea behind this interior design strategy was to express the brand’s values by creating unique, bespoke features for Nando’s restaurants. As such, the Nando’s interior designers became curators, sourcing and briefing crafters, designers, contemporary southern African artists and artisans to put a fresh, progressive spin on Nandos’ characteristic interiors. The idea behind this collaborative approach was to get the best from partnerships with designers and contribute to the growth and development of the South African design community. By commissioning work from crafters, they helped preserve age-old traditions and support communities. The brand’s values became the lens for the creative vision of the restaurant interiors. Nando’s doesn’t take itself too seriously, which comes across in the youthful spirit and informality of the restaurants, but this light-heartedness is balanced by elements of honesty, integrity and substance. Central to the concept was the idea of ‘creative collisions’, which occur when inventiveness inspires

new uses for materials and objects. By embracing quirkiness and imperfection, Nando’s expressed its rebellious nature through ground-breaking creativity by championing the unexpected. Nonetheless, Nando’s insisted that special care was taken with the responsible sourcing and use of materials. Although no material was considered taboo, a prerequisite for its inclusion in the interior design was that it was used with integrity. For example, plastic could be made real and natural by repurposing it into hand crafted design elements. The designers sourced and specified materials responsibly. All timber needed to function for at least its age. They avoided dwindling resources such as hardwoods and copper unless it was reclaimed. Energy reduction in the lighting and appliances was a priority. Overall, it was essential that Nando’s customers and staff would feel right at home in these restaurants. The restaurants were designed to feel like sanctuaries – the idea was that because people felt they belonged, they would show respect. They were generous with space, not cramming tables in, and expressing warmth and a warm welcome in the design details.

INTERIOR DESIGNERS D12 Interiors, Design Partners, Alive Architecture, Egg Design, Foundation Design, HK Studios, Nikki McCarthy Design, Reddeco, Studio Leelynch, Studio ZA, TDC & CO, Tin Lab



This Drive-through Nando’s Casa is situated in the Platinum Square Centre in Rustenburg. As the chosen interior designers, D12 Interiors interfaced with the architect to make adjustments to the plan in order to offer the Nando’s patrons a secluded and private Casa experience.  They accomplished this by incorporating a circular dining area into the footprint of the building, creating a distinct feature that makes this Nando’s Casa unique. D12 Interiors drew inspiration from the area’s abundant platinum mines. The interpretation of this inspiration can be seen in the internal steel structure, which forms a tunnel leading deep into the back of the restaurant. The colour palette was inspired by the natural colours of platinum in its raw form.  www.d12interiors.co.za

Nando’s Rustenburg



LIXIL TO WHOLLY ACQUIRE GROHE DAWN WATERTECH IN SOUTH AFRICA LIXIL Group Corporation, a global leader in the housing and building industry, has announced that its major subsidiary, LIXIL Corporation, will acquire all outstanding shares of Grohe Dawn Watertech Holdings Proprietary Limited (GDWT) from Distribution and Warehousing Network Limited (DAWN). GDWT is a Johannesburg-based sanitary ware joint venture of which LIXIL is the current controlling shareholder with 51%. LIXIL will obtain the remaining 49% of ordinary shares in GDWT from DAWN, and GDWT will repay DAWN’s shareholder loan, for an aggregate amount of R324.5m. The closing of the transaction is subject to customary closing conditions and approvals. “LIXIL is expanding the global footprint of its water technology business with this transaction,” said Kinya Seto, LIXIL CEO and president. “Full ownership of GDWT will strategically position us

for growth in South Africa and the emerging markets of SubSaharan Africa. This transaction also allows us greater flexibility in managing the brand portfolio and business strategy in this region. We have already seen steady progress in strengthening GDWT’s governance and operational efficiency, with strong support from HQ teams on financial management, supply chain and manufacturing, quality, marketing and other activities. Taking full control of the business will allow us to accelerate these activities and, ultimately, generate sustainable long-term performance and growth in this important region.” Following completion of the transaction, DAWN will remain a master distributor for GDWT. The GDWT corporate entity will be rebranded as LIXIL Africa, in line with the business’s vision to be the region’s leading water technology company by 2021. “This is an exciting step forward for GDWT,” said Henk Suelmann, CEO of GDWT. “We are set to evolve to become a key part of the global LIXIL footprint via an integration process that will feature investment as well as strong support from Japan and other parts of the network. This will allow us to deliver high quality service and world class products to our customers. We want to see everyone in Africa experience one of our brands, and we believe that as part of LIXIL, this now becomes a real possibility.” GDWT is currently the sole distributor of products for LIXIL’s GROHE brand in the Sub-Saharan region, and owner and manufacturer of South Africa’s home-grown sanitary fittings brands, including Cobra Water Technologies, Libra Bathrooms, Plexicor, Apex Valves, Vaal Ceramics, and ISCA. In the financial year ended March 2017, GDWT recorded revenue of R1.27bn. www.lixil.com

ENSURING THAT EVERYTHING MATCHES A coherent planning document forms the basis of both the tender and the order process. Regardless of whether they are working on a kindergarten, a hotel or a hospital, architects and planners can now specify the products required for their projects with the Geberit online specification tool. From now on, an online specification tool will facilitate the quick and correct choice of products for sanitary facilities. The web-based tool is specially tailored to the needs of architects and sanitary engineers. The tool guides users through the entire bathroom planning process in project business – starting with the choice of project and

country-specific product selection right through to the order form featuring a consistent product selection. “The pros benefit in two different ways from the planning document created in the Geberit tool. Firstly, they can define an exact plan and product selection. Secondly, they can present the planned solution to their customers together with numerous details,” says Martin


Baumüller, head of the Geberit Group Division Marketing & Brands. “This method speeds up planning, particularly in project business using the Geberit products available in the respective country. Costly surprises as a result of wrongly planned products are thus avoided, explains Baumüller.” All the relevant data – including product data,

product images and technical drawings as well as CAD and 3D data records – is then contained in a planning document. The Geberit online specification tool contains data records for the country-specific products from the fields of sanitary technology, and bathroom ceramics and bathroom furniture. Depending on product availability in the respective country, a document featuring matching Geberit products with pictures and all key product data is created in the tool. The tool is initially available for over 40 of the Geberit International Sales markets and can be reached at http://spec.geberit.com. www.geberit.co.za


RED FACE BRICK INSPIRES DESIGN IN NEW CENTURY CITY DEVELOPMENT Reflecting across Cape Town’s Grand Canal are some 220 000 of Corobrik’s De Hoop face bricks which have been creatively incorporated into Century City’s latest residential development, Manhattan Quarter, located right on the canal banks. This inspired modern creation, which forms part of the fast-appreciating new urban precinct a few minutes from the centre of the Mother City, is the latest addition to Rabie Property Group’s impressive profile. Prompted by the high demand for residential units in the area, Manhattan Quarter was contracted to Big Ben Construction with Munnik Visser Architects behind the building’s design. “The incredible versatility and aesthetic appeal of face brick is displayed exceptionally well in Manhattan Quarter,” said Christie van Niekerk, manager of Corobrik Western Cape. “This is a prime example of where the product matches the area’s inspired design and style, creating a really inviting place for people to live, work and play.” Van Niekerk said that, in addition to its visual appeal, Corobrik’s clay face bricks have associated cost-saving benefits because of the lack of future maintenance. Noise


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reduction qualities, fire-resistance and inherent thermal regulation are also some of the advantages that make Corobrik’s face brick a primary choice for such developments. Project Manager from Rabie Property Group, Greg Jenkins, said the De Hoop face bricks were used throughout the development because of their unique construction qualities. “The face brick design allowed for natural ventilation in the semibasement area while also offering an incredible durability that will ensure building longevity,” said Jenkins. “The eye-catching red works extremely well, complementing the existing structures such as the Manhattan Towers and Manhattan Wharfside. It captures the vibrant, sophisticated energy of this region and contrasts well with the existing landscape in colour and texture.” The 13 500m2 building consists of five levels and a semi-basement, with 63 one, two and three-bedroom apartments plus two four-bedroom penthouse apartments. There is a hard landscape quad and walkways, constructed with 25 000 of Corobrik’s De Hoop pavers, which work well alongside the face brick option. www.corobrik.co.za

BCX’S ICONIC NEW HOME Considerate planning, uncompromising quality and state of the art technology deliver outstanding results. Alania Building Systems was awarded the contract for the design and installation of the façade cladding and sun-screen elements at the new BCX head office, located in Centurion. Alania had been involved in design reviews with SVA Architects, designers of the new head office, since the second quarter of 2016. During this period, various aluminium façade components were evaluated together with the design life suitable to the project, whilst still keeping the architect’s design prominent. Pure Consulting engineered and

delivered using angular, polygonal designs, which accentuate BCX’s modern sophisticated brand. Material used in the project included 4mm Aluminium Composite Material with silver and white coated finishes and 2mm Novelis FF2 aluminium sheets imported from Germany providing quality finishes and extended durability. Alania’s A450 Aerofoil Sunscreen best achieved the shading that the office blocks required in both vertical and horizontal applications. This was arrayed in various colours enhancing the aesthetic feel and look. Alania’s ability to handle intense volumes in narrow timeframes from

assisted Alania in ensuring that the design was in accordance with the project’s specifications and design loads provided. 3D modelling was strategic in identifying and achieving aesthetically pleasing results aligned with the architect’s design intent. The striking aesthetics were

design and manufacture to installation was again demonstrated by the ontime completion of the BCX Project. For façade cladding, feature screens, column cladding, canopies, sun control, corporate ID displays and ceilings – specify Alania Building Systems www.alania.co.za

SKYRISE 2 – THE NEW OTIS SOLUTION FOR MEDIUM HIGH-RISE BUILDINGS After the international success of Skyrise 1, which was mostly dedicated for use in tall office buildings and commercials with speed ranging from 2.5m/s to 7.0 m/s, Otis has launched a new generation of Skyrise elevators to address the medium standard market’s specifications such as residential, hotels and low commercials. Skyrise 2 is a machine room technology using the same components as the MRL Gen2 technology and with speed ranging from 2.5 to 4.0m per second. As Skyrise 1 car load capacity ranges from 900 to 2 250kg, and was already offering a wide panel of applications for heavy duty usage and intensive traffic, Skyrise 2 displays car load possibilities from 900 to 1 600kg, while also addressing requirements for clinics and hospitals. “Clearly, Skyrise 2 is a cost-cutting solution to developers and designers who are engaged with medium rise projects while keeping a high level of technology and aesthetics,” says Amyn Benyekkou-head of sales and marketing Otis Africa. Skyrise 2 is compatible with CompassPlus, the Otis patented destination system that can organise travels by grouping passengers and stops to serve a group of zones and floors, resulting in a faster and better organised traffic flow and service. Otis was founded in 1853 and is the world’s largest manufacturer of people moving products including elevators, escalators and moving walkways. Otis maintains 2 million elevators and escalators in more than 200 countries and is engaged in ethics, safety, green environment and people employment diversity. Otis is a unit of United Technologies Corporation (UTC), a leader in global building systems and Aerospace industry. www.otis.com



MINDSPACE EXCLUSIVELY SPECIFIED KBAC FLOORING Leading Johannesburgbased interior designers, Mindspace Interior Concepts, closely collaborated with KBAC Flooring and specified only the company’s products for the flooring of the new head offices of Assupol Life in Pretoria. The Assupol headquarters are in Building 6 of the new multi-building Summit Place premium-grade office park in Menlyn, on the intersection of Garsfontein Road and the N1 highway. The 11-year-old Mindspace Interior Concepts, owned by Lorelei Wilson, is widely experienced in commercial and residential design, and well versed with Assupol requirements through a longstanding association with the financial services provider. The major component of the Mindspace specification for the new offices was KBAC’s Interface Composure carpet tiles used in combination with various other Interface ranges to provide colour highlights. In total, the ultra-sustainable Interface modular flooring covers about 5 000m2 of the new Assupol office floors. In her vision of the bespoke Assupol working space, Mindspace designer, Kim Luyt-Rosenberg, regarded the flooring as an extremely important element in the overall interior design. Kim explained, “Mindspace collaborated with Assupol for the past seven years to ensure that our design would be true to the company’s brand, which is over a century old and an integral part of South Africa’s insurance history. We wanted to ensure that the design of the new offices would represent the

different communities served by Assupol, and reflect the natural elements and culture of our country: past, present and future. Flooring, which occupies such a large surface area of the offices, was a key element to show these evolving elements.” Interface Composure flooring is ideal for the creation of tranquil contemporary interiors and has been widely installed by KBAC in many new commercial properties throughout South Africa. The Composure range mimics the subtle variations found in rock and stone formations to create adaptable, non-directional surfaces that are perfect for large areas of flooring, such as those in the Assupol premises.


Interface Composure is available in 21 neutral colours that allow for the blending of darker shades of carpet tiles with lighter tones to naturally enhance office spaces. “Mindspace applied colour in the flooring to differentiate between the Assupol departments and, as the floors are open plan, the distinctive colours selected add individual ‘personalities’ to their allocated working spaces,” Kim stated. KBAC Flooring was also asked to supply Wineo Purline stone vinyl tiles for the Assupol office’s executive area. Purline vinyl tiles, imported from Germany, are produced from organic polyurethane. The realistic-looking and extremely durable vinyl tiles are made

from renewable raw materials and natural fillers and have exceptional acoustical qualities. “Wimeo Purline stone vinyl tiles were chosen for the Assupol executive area because the product’s seamless natural stone look created space that looked opulent – but still natural. The flooring’s acoustical value was also important in an area utilised by top management decision-makers,” Kim explained. She said KBAC’s Vanguard Woodlands LVTs were specified for the fifth floor as a highlight strip to create a walkway around the Assupol Call Centre. “The LVTs not only framed the area beautifully but can also cope with the heavy foot traffic in this area,” she added. Woodlands – Vanguard’s heavy-duty range – features hand scraped embossing and planks 1.5m in length. The tiles have 0.5mm thick wear layers and fibreglass reinforcement to maintain dimensional stability. Lorelei said the flooring’s quality and acoustical qualities were important factors, but Mindspace also wanted to ensure that it would still be relevant and sustainable a decade later. “In this, and other important aspects, the role of the flooring supplier should never be underestimated in interior design. The supplier’s representatives should know their company’s products intimately to add confidence to any design. KBAC business development manager, Dave Keefer, and his team’s input was invaluable in helping us select the correct flooring,” Lorelei added. www.kbacflooring.co.za

Thorsten Klapproth, chairman of the Executive Board

HANSGROHE BOLSTERS GROWTH To further develop the successful strategy of the Hansgrohe Group and the expansion it already pursues, the company is strengthening its management team and increasing its focus on key areas. Therefore, the Supervisory Board of Hansgrohe SE is systematically developing existing structures within the Executive Board. At its meeting on 21 September, the Supervisory Board unanimously passed a number of important personnel measures, which will fortify sales and sales-related functions – the cornerstones of the company’s growth strategy within the Executive Board. Therefore, as of 1 January 2018 the Hansgrohe SE Executive Board will include two members responsible for sales as of 1 October 2017. “This future-oriented board structure of the Hansgrohe Group thus consistently follows the strategy pursued by the company,” states Thorsten Klapproth, chairman of the Executive Board. All European sales, including Germany, will now be bundled into one area of management headed by Christophe Gourlan, who up until now has been vice president sales Europe. Born in France and a graduate in international commerce, he has spent 20 years working successfully for the Hansgrohe Group. Another sales expert, Hans-Jürgen Kalmbach, will be responsible for international sales within the board. Kalmbach, a business graduate, has also had a successful two decade career at Hansgrohe, his most recent position being vice president sales Asia Pacific. “The wishes and needs of our international customers sometimes differ significantly from the requirements and demands of our European customers,” says

the chairman of the Supervisory Board, Klaus F Jaenecke, explaining the division of the two new areas of management. Moreover, the Supervisory Board has appointed Reinhard Mayer, as the new CFO. Mayer, a business and engineering graduate, specialises in finance and controlling and boasts more than 20 years of experience in these areas. Above all, Mayer also has the expertise needed to successfully manage the finances and control of an international group such as the Hansgrohe Group. For the last 15 years, Mayer has held various management positions in the publicly listed Swedish Getinge Group, most recently as CFO at the company’s headquarters in Gothenburg. Frank Schnatz, whose contract has been extended by the Supervisory Board, will continue as a member of the board responsible for product development, production and quality management. Frank Semling remains as labour director responsible for Supply Chain Management and Services. Klapproth retains his position as chairman of the Board. “The entire Supervisory Board looks forward to continuing our constructive work with the Executive Board and to collaborating in a spirit of trust and mutual respect,” says Jaenecke. “As part of Hansgrohe’s growth strategy, focussing on our customers, innovative products or geographic regions plays a decisive role. Now, more than ever before, our customers will be the focus of our efforts. Together, with our highly dedicated staff, we will continue the success of the Hansgrohe Group well into the future,” Klapproth confidently states. www.hansgrohe-int.com

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Sandton Gate pilots new Sustainable Precincts tool


trategically located on William Nicol Drive within minutes of Sandton, Hyde Park, Rosebank and Bryanston, Sandton Gate is an ambitious mixed-use development that will seamlessly integrate commercial, residential and retail space with a number of lifestyle amenities in a connected, green, pedestrianfriendly precinct. With a shared vision of demonstrating sector leadership in sustainability, developers Abland and Tiber are targeting a Green Star certification for the whole precinct under the Green Building Council South Africa’s (GBCSA) new Green Star Sustainable Precincts tool, and each commercial building in the precinct will be required to attain a minimum 4-Star Green Star rating for the building itself. “It is crucial that cities grow in a sustainable manner,” says Marloes Reinink, founder and director of Solid Green, the green building consultant on Sandton Gate. “Cities today face numerous challenges, but at the same time they are nodes of opportunity to move green design beyond the building scale into the public realm.” In addition to its proximity to the

Sandton CBD, the project falls within the City of Johannesburg’s public transport network and is directly adjacent to the Braamfontein Spruit, one of Johannesburg’s longest natural greenbelts – a situation that offers enormous advantages in terms of sustainable urban development. Currently, the precinct is intended to accommodate 80 000m2 of commercial space, 400 residential units, and a variety of lifestyle and leisure amenities. The first phase will break ground towards the end of 2017, and will include all necessary infrastructure, 12 800m2 of P-grade office space, 140 residential units, a gym and recreational spaces – a mix of uses intended to give life to the precinct from the outset. In order for Sandton Gate to meet the necessary Green Star requirements, a number of factors needed to be considered during the design, construction, and operational phases of the project. Laetitia Cook, Abland’s Green Star accredited professional, says, “It starts with sustainable design principles being applied at a neighbourhood scale. It’s all about creating healthy places to live, work, shop and relax in. The


aim is to enrich one’s experience of an area by considering such aspects as diversity, connectivity (modes of transport as well as smart technology), security, art, pedestrianisation, permeability, and well-managed public open spaces with opportunities for outdoor activities and entertainment. This has to be done whilst reducing the ecological footprint of the development to make it environmentally sustainable.” The eagerly awaited Green Star Sustainable Precincts Tool is based on the understanding that buildings do not exist in isolation, but are connected to their surrounding contexts by space, form, their construction processes and the operational impacts over their lifespans. They therefore have the potential to contribute positively to the public realm and the quality of urban dwellers’ experiences. Manfred Braune, GBCSA executive director: Certifications, explains, “The vision and focus of the Green Star Sustainable Precincts tool is to create more sustainable neighbourhoods, precincts and communities by focusing on five critical components of urban planning, design and construction,

namely governance, liveability, economic prosperity, environment and innovation. The tool provides a framework for neighbourhood scale projects to align themselves to, and obtain third party validation of their sustainable development credentials, according to international best practice that is locally relevant.” It is a significant show of leadership that this precinct is prepared to have its green credentials benchmarked and verified by a third party independent authority according to international best practice for green buildings,” comments Braune. “A development such as this is set to change the way inner city development is done in South Africa; and Sandton Gate will be able to benefit from lower operating costs and higher returns on investment, whilst attracting and retaining leading tenants.” Reinink agrees, adding, “As one of the first projects in South Africa committing to this certification, Sandton Gate is making a positive contribution towards a more sustainable urban environment, and Solid Green is proud to be associated with a project of this calibre.” www.solidgreen.co.za

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Profile for New Media B2B

Leading Architecture & Design October/November 2017  

The October/November issue of Leading Architecture & Design is a bumper issue with five featured stand-out architectural projects. They incl...

Leading Architecture & Design October/November 2017  

The October/November issue of Leading Architecture & Design is a bumper issue with five featured stand-out architectural projects. They incl...

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