Pro Landscaper February 2020

Illustration by Resoborg titled “Citiscapes”

F E B RUA RY 2 0 2 0 | U R BA N E D I T I O N

LEADER

Welcome to our February Urban issue.

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his is all about the public realm, urban encounters and creating inclusive spaces for the diverse population living in the innercity!

Urban spaces, while exciting and electric, also battle with water and sanitation issues, air quality, lack of green space and increasing population density which takes its toll on these environments.

This edition looks to tackle some of these issues, highlight amazing public projects and offer a space for us to be inspired by exciting initiatives and ideas to progress our sense of the public realm.

We are also thrilled to announce that FutureScape 2020 will be taking place on the 20th of November this year at the Cape Town International Convention Centre, and we are ready to welcome all of our trade professionals at this prestigious event.

We look forward to the coming months and we are ready for all that 2020 has to offer!

Follow us on Instagram @prolandscaperafrica Swing by our Facebook Page @Pro Landscaper Africa

Cover Illustration by Resoborg

MEET THE TEAM FOR 2020 Justine Coleman Communications Manager 062 099 1403

Mikhail Michaels Media Sales Executive Pro062 Landscapes 110 4947July 2019.pdf

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Tamsyn Halm Commissioning Editor 064 113 3039

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2019/06/25

Sarah Gregg-Macdonald Designer 083PM 307 8903 1:17

Sheerah De Villiers Media Sales Executive 064 464 2203

Published by

CONTENTS

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28 Agenda How do we create public space that is inclusive and representative of those who use it?

PORTFOLIOS 36

The Sisulu Circle by kwpCREATE

FEATURES

40 Muckleneuk Commons by Graham Young and Johalize Koch

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Featured Product Terrific Terracrete

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The Journal by Annemie Vermeulen

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14 A Critical Time to Protect and Maintain our Green Open Spaces by Lizelle Wolmarans 16

Walkability by Barbara Southworth, director at GAPP Architects and Urban Design

20 How Modern City Living Is Shaping Our Perception of Green Spaces by Mark Mac Hattie 24 The City of Cape Town’s Flood Alleviation Projects are ‘Inadvertently’ Providing Its Population with 'Green Public Spaces' While Providing for Other Key Line Functions by Megan Anderson

INTERVIEWS 28 Wesley van Eeden, the Street Artist Transforming Durban’s Inner City 32

30 Minutes with Iyer

Westbury Transformation Centre by Ntsika Architects and Vertical Landscapes

INSPIRE 54 Transforming Trash: Follies in the Veld, an initiative by theMAAK 56 The Spekboom Labyrinth: Fighting Climate Change & Poverty by Peter Shrimpton

NURTURE 60

Urban Planting Palettes for Gauteng and the Western Cape

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Treescaping with Mature Trees in Urban Spaces by Trees SA

MACHINERY 64

Top Kit Forward thinking products for 2020

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AGENDA

AGENDA

How do we create a public space that is inclusive and representative of those who use it?

As well as positive cultural representation and public participation within these urban spaces?

I was particularly struck by the intimate and almost mythical public spaces. A reflection of a way of life that dates back to medieval times, these public spaces are often just widenings in a roadway, a forecourt or a moment of pause.

Witnessing the active publicness of these spaces and how they are loved by those who use them, one can understand the temptation to replicate their elements within our own contexts.

AMY THOMPSON Director at Yes& Studio

A few years ago I was lucky enough to spend some time in Tuscany, visiting many of the places that I had studied and long admired.

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However, it is the very thing that make these spaces, and other European examples like them, so successful in their original sittings that lead to their failure in ours. Out of their rooted contexts they become sterile, inappropriate and exclusionary. The forms, scale and imagery (some of which, even in its original context, speak to colonialism) often preference one telling of history over others and leave many users feeling unwelcome.

Rather than seeking external inspiration for our public spaces, we should look within. Our public

spaces should directly grow out of our own specific contexts and speak to our specific histories. We need to create places that are allowed to develop over time and are directly moulded by the people and communities who use them. We need to carve out place for our diverse cultures to express themselves and hold up a positive mirror to the people who pass through and spend time.

Beginning to question how to create places that are more inclusionary and representative is a daunting prospect, especially to someone who has always had a privileged experience moving through space. However, as a start, I have found the discussions with the other contributors to this section really inspiring. It has been so instructive learning about their experiences and opinions.

The truly inclusive spaces, that we strive to create, are created by multiple users, programmes, and perspectives and It is this spirit of co-creation and debate that provides opportunity to learn from one another and find common place within our cities.

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AGENDA

FELLI MPHAKA

Masters student of Architecture

It’s very difficult as an architect to tackle this issue because we are a profession that work within parameters set by our clients and the economy. At the end of the day, we serve a client and the client’s needs. Typically, our clients are private entities who usually don’t want their “public” spaces to be inclusive and accessible to passers-by. Because of this, most of our public spaces are flanked by fences. Even the seemingly accessible “public” spaces that look to have been designed with the idea of public accessibility in mind, become inaccessible as they are policed by security guards. This, I believe is just a symptom of our exclusive economy. When we get the opportunity to design a public space for a public entity, we design for the space to just serve basic needs because of budgetary constraints. This too, I

Public space is often entrenched in the collective imagination of a society, symbolising ideals beyond the planting and paving of its material form. Through everyday urban experiences, inhabitants recognize their “right to the city”.

This right to the city includes not only physical access to it, but also the right to be part of its transformative processes. On a societal basis, this includes access to civic engagement and the cultural production of space; on an interpersonal level, it supports collective everyday encounters; and on an individual basis it allows us to locate ourselves meaningfully within the collective narrative of our society.

have recently effectively leveraged the visibility that occupying public spaces can afford. The space not only provides a platform for public visibility, but is also itself visible to the public as a display of our narratives, with the responsibility to communicate one that is representative.

Public space arguably provides the most visible display of democratic and representative space in action. They are spaces for visible performative citizenship where extraordinary events in ordinary places can have transformational effects beyond their time frame. Space becomes a signifier of democracy, solidarity, or – at worst of times – spaces of conflict where revolution most visibly plays out. It is not surprising that denying people’s right to the city became one of the most effective methods of dividing and silencing portions of the civil society. Urban movements (such as occupy movements in various cities)

In considering the design and lifespan of public spaces, they are not merely aesthetic representations of a static cultural landscape.

Rather, the design and the lifespan of a public space can be seen as a process whereby social input can leave it’s imprints, both during its conceptualization, and through everyday experiences. Commonality can only arise through intensive discourse and shared meaning that is created over time and celebrates plurality and a reframing of narratives that is reflective of our society, its past and our aspirations.

believe, is just another symptom of our exclusive economy.

Architects, like everybody else, need to work towards contributing towards making our economy more inclusive. We usually find ourselves in situations where big and important decisions have already been made by the time we are brought in on a project, we need to shift from being a reactionary profession that waits to be employed, to being more involved in the origination stages of projects. We need to stop working in exclusive isolation and rather see ourselves as a component that is part of the greater value chain in the economy. I believe that, in this way, we will be able to play a more useful role in creating architecture that actually serves the best interests of the community.

It serves society for these spaces to tell a nuanced narrative that fosters a multiplicitous collective memory. This provides the individual with a meaningful narrative in which one can position oneself and gain a sense of belonging and perspective on the role that they play in being part of civil society.

ILANA STEENKAMP

Urban Designer and Architect at Jakupa Architects and Urban Designers

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AGENDA

MPUMELELO SIBIYA

Candidate Landscape Architect at EcoStructures Australia

Public space is a reflection of a society’s values and aspirations, often expressed creatively through culture. However, South African public spaces in our urban centres often do not represent the majority of the people who use them and favour a singular Eurocentric form and architecture. Furthermore, these spaces often contain colonial relics and place names, which can be interpreted as sending the message that imperialists (who caused so much pain to so many people) are valued and sacred, and that this is the only history of the space worthy of being told.

themselves are just as important than their fellow South African, you are communicating to them that, by extension, they are free to feel at home in the country. This starts in the renaming of places, and erecting monuments to their heroes and those they hold dearest to their hearts (and might have not even have been aware of). Encouraging them to exist in a space that commemorates individuals who look like them, that they can aspire to. Once people feel comfortable in spaces, the use of those spaces becomes more diverse, sparking a range of different activities from a variety of cultures.

As the self-proclaimed ‘rainbow nation’ diversity should be something we celebrate. Creating culturally hybrid spaces will help us understand and learn from each other, and create an opportunity to heal. Creating spaces that signal to young children, that their culture, in essence,

Public participation has the opportunity to involve the users of public places to ensure that cities are shaped, and stories are told in a way that is representative and diverse and that users become active owners instead of being spectators who move through spaces dictated by a single culture.

South Africa prides itself in its diversity, which is both our greatest strength and weakness.

The apartheid regime was a master of division.

About 26 years into democracy, we are living with the legacy of racial, cultural and sequentially economic spatial divisions. So how do we create inclusive and representative public space, while standing on this historical foundation?

more challenging when with unfamiliar people.

Conversely, the way we treat different people who enter “our” public spaces is a manifestation of stereotypes. We think: “the blacks”, “whites”, “Indians”, “Zimbabweans” and homeless. We do not see ourselves in the other, hence we do not feel represented. There is a bridge that needs to be constructed between humans.

The continuum between public and private space can be very confusing: as juxtapositions of privatised public spaces, such as beaches, fenced public parks and even pavements along particular buildings. The above exclusionary actions can be addressed through policies, designs and paradigms that are welcoming of the “other”.

One’s paradigm, our conscious and subconscious beliefs influence our behaviour and perceptions.

These beliefs are not necessarily true; in fact, they can be based on completely false stereotypes. If never challenged, these beliefs are reinforced and become our reality. What kinds of false beliefs do we carry about different public spaces? Usually in an unfamiliar space we do not feel welcomed nor like we belong. It is even

In 2010, my friend Tumelo attended the Super 14 rugby final in Soweto. Tumelo gave me an account of the way [black] people opened their homes and hosted the [white] rugby fans, who braaied and drank beer as if in a familiar place.

Walking around with residents, seeing and experiencing the lifestyle. An unconscious tour and tutorial. Such meaningful interactions are the seeds that challenge our biases and false beliefs.

Likewise, the Soweto soccer darby could be hosted in a previously white-only area. This is one example of the power of meaningful interactions, not the rainbow nation shopping mall exchange.

Then, perhaps we can feel free to walk, sit and play; to BE, in an unfamiliar space with familiar people.

SANDRA ZAROUFIS

Landscape Architecture Graduate, Volunteer for Johannesburg City Parks and Zoo

AGENDA

A successful and safe park accommodates users of all ages and abilities. It is a place where community gathering, and celebrations take place; where running clubs meet, where people braai and children learn to play chess.

THOZAMA MPUTA

Candidate Landscape Architect @ Outer Space Landscape Architects

Parks are where memories are made, these memories are now captured on smart phones and shared online on various social media platforms. The photographs are often geolocated, allowing a viewer to locate the park. On google maps one can read users review and ratings of public open spaces. Social media allows designers, projects managers and stake holders to engage and monitor parks beyond the design and implementation phase of a project.

Community members appreciate well maintained safe green spaces, and if one

feels that the space is not, park users raise their concerns in a review. Public engagement and participation needs to be ongoing, engaging with the community once the project is completed is vital for the longevity of a space and to improve future developments.

Ongoing community engagement is an opportunity for skills development to take place, where jobs can be created ensuring that these public open spaces are safe and well maintained for the community. A park that is embodied by the community is a park that represents its people.

"Rather than seeking external inspiration for our public spaces, we should look within.

Our public spaces should directly grow out of our own specific contexts and speak to our specific histories." - Amy Thompson

F E AT U R E D P R O D U C T

Featured Product: Terrific Terracrete® Permeable Pavers for a Greener Mossel Bay

than normal paving, i.e. firmer and can spread the load better. Added to this, maintenance of the installations is easy, as the blocks provide a stable platform for the mowing of the grass if needed, and if the block strength is increased to 30Mpa then it works for low volume roads, as was implemented at Stasiekop Weg road with approximately 17% gradient.”

Permeable pavers for a greener Mossel Bay

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erracrete®, manufactured locally and internationally by Terraforce licensed manufacturers, is a multipurpose and costeffective eco-surface paving block system, which is exactly what attracted the Mossel Bay Municipality to this proudly South African product for their plans to formalise open stormwater channels and create vehicle strip roads with a suitable grass block.

Developed by Terraforce – a pioneer in the local earth retaining wall industry – Terracrete blocks can be laid in different patterns (with or without ground anchors) for the lining of riverbanks and other areas subject to soil erosion. They can also be used to pave grassed roads and parking areas, as well as stabilising steep embankments - such as bridge abutments or river shorelines.

Altus Eitner, Streets & Stormwater Project Planning & Management from the Mossel Bay Municipality says: “Thanks to large holes and a unique interlock the blocks are fully permeable and plantable, which adds to their ability to fully integrate with any environment they are introduced to. The roots of the plants anchor the blocks and help to strengthen them, especially against floods. The holes also allow worms and bugs to pass through the block without sterilizing (smothering) the area.

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The blocks were supplied by the Terraforce licensed manufacturer for the Southern Cape region, Mobicast, who also developed a method to add horizontal holes to the blocks during manufacture, allowing the threading of 3,1 mm galvanized fencing wire through each block, to eventually form an tight unit (tapestry) of blocks for extra stability.

movement without easily succumbing. In other words, more value for less money!”

Project Participants Engineer: Municipal Official, Altus Eitner Pr.Eng Main Contractors: Benver Civils, New Adventure Plant Hire, Move It Civils Municipal OHS Officer: Craig Moster Terraforce/Terracrete licensed manufacturer: Mobicast

When asked about the necessity of such extra measures, Holger Rust, member and owner of Terraforce, says that in his opinion it is not necessary to do this: “According to the US Trade Association, National Concrete Masonry Association (NCMA), cabled articulating concrete mats, for design purposes, offer no additional hydraulic stability or structural value to the articulating concrete block (ACB) mat or block system (NCMA TEK 11-9B, Revised 2014).

Unless, adds Rust, the wiring together of blocks is intended to prevent vandalism. It is up to each client to decided if they wish to pursue this, however it makes manufacture and laying of the blocks so much more time-consuming and labour intensive.”

Nickey Le Roux, Communications Officer, Mossel Bay Municipality, confirms that installation of 6587 m² of Terracrete eco-surfaces has taken place since early 2016, with repeated tenders into late 2019: “we strive for a green municipality.

In addition, the blocks are also cheaper than the normal 'interlocking' paving, i.e. we can go further with the available funds. They also allow

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THE JOURNAL

The Journal:

Annemie Vermeulen Exploring the potential of latent space in the inner city of Pretoria: Toward architectural remedies for regenerating and weaving urban fabric Annemie Vermeulen, Master of Architecture student at the University of Pretoria 2019 and winner of the 33rd Annual Corobrik Regional Architecture Award

Fleeting moments and scurried movements are captured by tall cliffs of concrete and brick, formed on the edges of oversized blocks in Pretoria's inner city. Wide streets push a myriad of informal activities to the fringes of the streets, forging a tight and contested pedestrian realm.

Narrow sidewalks and limited off-street spaces for public use further enforce a harsh environment on the city user. (Dewar, 1998. p.369) Re-imagining architecture: From separated built-objects to threads of spaces interlinked by open areas, encouraging interaction between different inhabitants This case study, comprising the Land Bank block in Pretoria, conceptualises a new relationship between the inner city user, buildings, and latent space by overlaying urban, architectural, heritage, contextual, programmatic and technological design strategies. Palimpsestic strategies are given architectural effect through additions and alterations to existing buildings as well as new infill through connections, insertions, extensions, and appropriations.

An architecture of dispersed internal spaces are interwoven with open, external communal

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space emerges; a place where the realm of the citizen is extended past the existing buildings, inbetween the new architecture and up onto new raised public accessible platforms. Complexity and diversity occur by encouraging brief encounters, greetings and interactions through the diverse programme that mixes multiple stakeholders and activities in the same spaces.

The three-legged programme of this study stems from the immediate needs of the case study area, such as young parents struggling to support their children, homeless people under the overhangs of abandoned buildings and children playing in the streets. The residents and homeless should be enabled through the programme to provide for themselves and their families.

The lower leg component is run by a notfor-profit organisation through a Building Livelihoods Centre. This consists of a community soup kitchen, day care and supervised play area, female homeless shelter, and an empowering programme for the homeless to volunteer for work in the vertical fields. The middle and overarching programme is a new social space driven by food, including a culinary school, bar

and restaurant that inform the citizens about nourishment. The upper leg consists of research laboratories forwarding research on agricultural yields and improving sustainable energy systems.

Morphology and latent space Urban morphology is a term used in urban design referring to “the study of change in the physical form and shape of settlements over time, [focusing] on patterns and processes of growth and change”. (Carmona et al., 2010. p.77).

Morphology has many spatial informants, including topography and the pedestrian or vehicle that determine the layout, shape and size of blocks.

Pretoria’s morphology and urban design informants have resulted in large city blocks, alienating the pedestrian and fragmenting blocks that isolate buildings from one another. These ill-defined and often inaccessible, underutilised in-between latent spaces provide hidden spatial potential.

An aspect related to latent space is creating porous block edges to present expansion possibilities for the pedestrian realm. Permeability refers to the extent that “an environment allows people a choice of routes through and within it […], it is a measure

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THE JOURNAL and socio-economic equality” (City of Tshwane, 2013, p. 197), which, in turn, will lead to a holistic, resilient city. This study proposes a calculated densification strategy, compacting the inner city in an unusual manner by providing the city with new threads of multifunctional spaces and amenities, whilst offering open in-between public spaces.

Conclusion The goal of this study is to act as prototype for future densification of Pretoria's inner city, where missed opportunities should be harnessed. The case study area can act as a catalytic project when applying strategies to other city blocks in Pretoria. Further research is required regarding ownership, regulation and land planning in the city. The common architectural practice and legislation should be questioned and possibly altered to suit the adapting and varying needs of the complex scenarios that originate in Pretoria’s vibrant environment. This flexible approach could ensure growth and resilience of the socioecological-urban system, allowing it to thrive through change.

"Sincere gratitude to the staff of the Architecture department at the University of Pretoria, particularly Professor Arthur Barker - his belief in the project propelled the outcome."

of the opportunity for movement” (Carmona et al., 2010. p.81). Through the addition of events and activities such as markets, restaurants, and braai areas within the hidden interior of the city blocks, the everyday inhabitant can access newly formed pause spaces and pockets of relief.

Emergence of interconnected thinking The architectural narrative of this study flows from the 1960s change in perspective, initiated

by Jacobs’ The Death and Life of Great American Cities (1961) and Carson’s Silent Spring (1962).

These women’s radical views opposed the dominant industrial worldview of the time period.

Their individual views stem from questioning the perceived boundary between the natural world and humans. Capra’s The Web of Life (1996) combines multiple views of the shift towards holistic thinking, focusing on interconnectedness, a key aspect of this study.

Resilience The redevelopment and activation of latent internal block spaces attempt to harness the theory of resilience as a metaphor (Wilkinson et al., 2010. p.30), that, in the context of an urban environment, has the ability to self-organise and

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remain in equilibrium. To some degree, Pretoria is already a resilient city – many changes and disturbances have been inflicted upon her, yet she still functions and provides, if limited, to her citizens.

A resilient network is able to handle disruptive behaviours (Folke, 2006. p.254) of changing socio-economic climates within a social-ecological system, such as a city (Du Plessis, 2008. p.5). The capacity of the city to adapt and allow for change over time is enhanced by rekindling interconnected relationships, starting at micro-scale on each city block. This will lead to broader relationships developing and existing ties reconnecting.

Urban density and compaction A mutual issue that all cities share is densification and how to provide for necessary urban density increase without disrupting the image of the city or reducing the already limited public open space (Plan medewerkers et al., 1993. p.247).

The Tshwane 2055 vision states that there will be a substantial increase in African city populations by 2050, which is one of the underlying motives for their densification and compaction strategy of 2005 (City of Tshwane, 2013. p.40, 197). A “denser and more liveable” city is envisioned that utilises an “efficient spatial form” that will deal with aspects pertaining to “spatial fragmentation

References

Capra, F. 1997. The web of life: A new synthesis of mind and matter. London: Harper Collins.

Carmona M., Heath, T., Oc T., & Tiesdell S. 2010. Public places - urban spaces: The dimensions of urban design. 2nd ed. London: Elsevier, Architectural Press.

Carson, R. 1962. Silent Spring. London: Hamish Hamilton.

City of Tshwane. 2013. Tshwane 2055 vision: Remaking South Africa’s Capital City. Pretoria: Visionary Vangard Designs.

Dewar, D. 1998. Settlements, change and planning in South Africa since 1994. In Judin, H. & Vladislavić (Eds.). Blank: Architecture, apartheid and after (368-375).

Rotterdam: NAi. Du Plessis, C. 2008. Understanding Cities as Socialecological Systems. World Sustainable Building Conference, Melbourne, Australia, 21-25 September.

Folke, C. 2006. Resilience: The emergence of a perspective for social–ecological systems analyses.

Global Environmental Change. 16, 253-267.

Jacobs, J. 1961. The death and life of great American cities.

New York: Random House.

Plan medewerkers, Plankonsult, & EVS. 1993. Pretoria Structure plan. Pretoria: City planning, City of Pretoria.

Vermeulen, A. 2019. Exploring the potential of latent space in the inner city of Pretoria: Toward architectural remedies for regenerating and weaving urban fabric. (Master’s dissertation). University of Pretoria.

Wilkinson, C., Porter, L., Colding, J. 2010. Metropolitan Planning and Resilience thinking: A practitioner’s perspective. Critical Planning 17, 24-44.

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F E AT U R E

A CRITICAL TIME TO PROTECT AND MAINTAIN OUR GREEN OPEN SPACES

Interest?' – “In the past several years, more and more state and local governments have adopted privatization as a way to balance their budgets, while maintaining at least tolerable levels of services.”

A case study for a successful public and private partnership is the Mushroom Farm Park in Sandton, Johannesburg. The Truffles in the Park restaurant has contributed a large sum of money to contribute to the improvement and upkeep of Mushroom Farm Park. The improvements included an irrigation system, a camera system throughout the park, jogging trails, a new fence, sidewalks surrounding the park and a new ablution facility, among others.

The restaurant offers a voluntary conservation levy of two percent, which is levied on every guest bill and matched by the restaurant to raise funds for further upgrades. In addition, more than 30 jobs have been created for residents from Alexandra.

Lizelle Wolmarans, Landscape Architect, Seas of Green

Open spaces in jeopardy According to the Business Report, reporting on the economic situation in 2020, the South African economy is projected to remain below population growth for the sixth consecutive year.

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t would take several libraries to thoroughly go through all the reasons why green open space is important. However, some of the most frequently cited reasons include: Ecological and environmental importance Green spaces improve the urban climate, reduce the effects of urban heat islands and provide habitats for humans and creatures. It also provides important services and resources in urban areas that benefits both people and the environment.

Social importance Green space helps to improve the health and (psychological and physical) wellbeing of people.

Aesthetic importance The aesthetic beauty of open spaces improves the characteristics and uniqueness of urban environments and influences the city’s image in a positive way.

Economic importance Green space increases the value of nearby properties and helps to boost tourism.

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We all see around us how the parks, recreation and public opens spaces are getting more and more neglected, mostly due to a lack of funds, skills, and, in general, a decline in service provision of our government and local authorities.

Neglected public and open spaces are notorious for their potential as breeding grounds for crime, pollution and negative place image.

If these vital pieces of infrastructure are not protected from further decline or from being lost forever, we must re-evaluate the importance of these open spaces and maybe come up with new and innovative ways for ensuring a sustainable future.

Public–private partnerships There are many examples across the world where the public and private sectors are working together as partnerships. Where there is not enough money to care, maintain, develop and improve open spaces, the private sectors could get involved in funding. According to the Harvard Business Review – from an 1991 article titled 'Does Privatization Serve the Public

There is however a major debate about the widespread privatisation of governmental services and critics say that private sector managers will almost always seek profit-making strategies and have less regard for affordability to the public thereby excluding a portion of the public from such services.

Partnerships with non-profit organisations An alternative ownership strategy that has precedence is where an NGO (non-profit organisation) is given permission by the city’s authority on public parks to establish and demarcate an area of public park for its own private use. This case study has been recorded by Kenny Nigere in 2017 in a research study paper titled 'Privatisation of Public Places in South Africa: A Local NGO (COPESSA) in a Sowetan Park'.

In this research paper, Kenny concluded that privatisation could occur from the perspective of an NGO. The positive effect of an NGO is that they appealed to its role as a public, communityorientated organisation, offering important services to the local community.

Community involvement Residents and communities have long been interested in managing their local green spaces.

As local authority budgets become increasingly restricted, communities are under pressure to take an active role in green space management in partnerships with the public. Communities are the best custodians of their environments

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F E AT U R E

as it benefits them directly. Local authorities and government policies should include more possibilities for this kind of partnership.

Returns on investment Where there are investment opportunities for any future developments, we as designers and activists for open spaces should emphasise the importance of green open spaces as placemaking factors and resources of revenue.

It is a fact that green spaces increase the value of adjacent properties. While there are high input costs for allocating and conserving open spaces, there is even higher value added to the adjacent properties and can have huge returns on investment.

One such example is the popular High Line in New York City where obsolete infrastructure was regenerated and converted into a high income, job-creating tourist attraction. A placemaking incentive has made this project a success story – through careful design, nature was accommodated in a densely built environment. This case study proves that introducing parkland in a high density, urban environment can attract many people and thereby also convert a previously unsafe environment through “feet” and “eyes on the street”. Empty parks are dangerous, while busy parks are not. Through placemaking, people stay longer, more often and spend more money.

Creating places that people want to be suggests that place is more important than the product.

Open space preservation has a more positive impact on a community’s economy than most conventional forms of suburban-style development. With well thought-out land protection, the development will become a more attractive place for business.

What can be more important than the health of the city? Open spaces provide a multiple of life-sustaining services that otherwise would have to be provided technologically at great expense. By investing in green open spaces that have multiple functions, there can be reduction in costs for grey infrastructure.

Usable open spaces for recreation have been linked to better quality of life, health in people and crime prevention.

Weighing the true costs and benefits of development and protection of open space is the key to sustainable growth of economy, environment and communities. The cost of not protecting them may be much, much higher.

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F E AT U R E

WALKABILITY Barbara Southworth – Director at Gapp Architects and Urban Planners

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Walkability is a feature of cities that work. We like to visit and spend time in walkable places – they are good for business and also more equitable and inclusive. Walkable places offer the young, elderly, poor and disabled more freedom of choice and experience. They are where the places and services that residents, workers or visitors need on a regular basis are located within an easy, safe and enjoyable walk. They feature streets with high levels of pedestrian activity, lots to see and do, as well as multiple movement options for pedestrians, cyclists, transit riders, deliveries and automobiles.

One of the greatest challenges in South African cities is that they have been designed to accommodate the movement of cars and not people. Most design standards and regulations that influence how land is subdivided and how streets are designed tend to favour low-density development, separated land uses and free flow of vehicles over the movement and safety of pedestrians. Besides the unsustainable costburdens placed on households, the state and the environment sprawling low-density places are not walkable. The places people need to be are far apart, requiring some form of private or

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public vehicular transport to access work, school, food or health care. This sprawling makes the provision of public transportation and other public infrastructure unaffordable and inefficient, and leaves the vulnerable (poor, old, young and disabled) trapped in poverty, isolation and boredom. Here, many people walk inhumane distances because they have no choice, but this is not walkability. It’s the pre-condition for a range of social ills, such as crime and drug abuse.

For this reason, walkability is at the core of the spatial targeting incentive programmes of the National Treasury’s Cities unit. These financially reward cities that focus investment in urban centres that are well served by public transport and accessible to a large percentage of the city population. The unit is working to support the implementation of the good intentions set out in the Spatial Planning and Land Use Management Act which requires development decisions to enhance spatial justice, sustainability, efficiency and resilience.

Walkability is best measured at the neighbourhood scale and great cities have many different walkable neighborhoods. The walkability of a neighbourhood is a function of the street grid (or layout), street design and the use and organisation of buildings within a neighbourhood layout. In walkable places, these elements provide connectivity, accessibility, safety and comfort, where the places and buildings are also attractive and engaging.

A fine-grained street grid that allows pedestrians to change direction often and select a range of direct routes from A to B, is more walkable than a convoluted street grid that limits route options and forces people to walk roundabout routes.

A fine-grained street network is one where the space between street intersections is not more than 100 metres.

Within the street grid, walkable places feature mixed land uses, compact high-density built form, and safe, inviting pedestrian environments. Places that have more A’s and B’s – in other words, places to stay, live or work, and places to shop, learn or socialise – are also more walkable. Planners describe these as “high density mixed-use” places.

Whether a city is or is not experienced as walkable also depends on the design of the public realm.

This includes the shape, scale, use and materials of the streets and squares that make up the public realm, as well as the buildings that edge them.

Spaces with more life are more walkable. When

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public spaces are scaled to the human body and human senses, e.g. providing shelter to mitigate the climate or have seating and visual interest for people to feel more comfortable in, then people are more likely to choose to spend time in them.

This increased level of activity has demonstrated social and economic benefits. Walkability is good for business, especially locally-owned small shops and food outlets. Research in Cape Town shows that businesses do better in streets with trees.

A well-designed public space is only walkable if the development it provides access to is interesting, varied and engaging. Where development is dominated by small scale shops with variety and visual interest, walkability increases. Shopping centre designers know this, which is why they line the routes to the anchor tenants with small shops and charge higher rentals.

Most importantly, walkable places are perceived and experienced as safe, especially after hours.

To increase the sense of safety, the public realm should be edged by building fronts rather than blank walls, abandoned spaces and garage doors.

Building fronts should be as transparent as practical, optimising the level of human activity that can be seen beyond the edge of the street or public space. See-through physical elements such as non-reflective windows, walls, doors, fences and landscape influence the transparency of the street.

The symbiosis of space and buildings, pedestrians and small business, is what draws people to places like Barcelona, Paris, London, Athens and New York City and Cape Town - and hopefully coming soon to a city near you.

Note: This article is distilled from recent work on the upcoming “Good Design Guide” due to be released by the National Treasury’s Neighborhood Development Programme. It has been informed by decades of urban design practice in the public and private sector as well as local and global best practice. In the meanwhile, interested readers can find more on the benefits of walkability, design guides on how to achieve walkable places and toolkits for assessing the walkability of existing places. Take a look at international publications including the NACTO Global Street Design Guide, the Active Design Toolkit and Jan Gehl’s Cities for People. Local Guides that tackle walkability include the National Treasury’s Urban Hub Toolkit, The Integration Zone Toolkit, Sa Cities Network Transit Oriented Density Framework and the City of Cape Town’s Urban Design Policy.

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Inner City Living Walkable Cities and Green Urban Spaces

FOLHA, a popular indoor plant nursery is constantly a buzz with city dwellers looking to add another plant to their collection

F E AT U R E Our Local in Cape Town on a typical Sunday afternoon.

having clipped hedges or annual flower baskets.

The vertical has become a canvas as important as the ground plane, street art decorates barren walls, public art sculptures occupy squares, and alleyways are fair game for vertical gardens.

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he trickle of people back to inner-city living, which started in the last decade, has become a steady stream and shows no signs of abatement.

This is in complete contrast with the exodus of residents to the suburbs in the ‘70s. At that time, the suburbs became ‘home’ whilst the city became ‘work’.

Is this because the city planners of yesteryear created metropoles built around vehicles instead of people?

Either way, people are taking back the city, one high rise building at a time. Previously derelict buildings now house retail, commercial and residential functions all in one. Each square metre of a city can no longer have a singular function - in the age of adaptation, versatility is key to survival.

The idea of what constitutes a public space, or even a landscape, is being challenged. Gone are the days of wanting to put trees everywhere and

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On the other side of the coin, individuals have decided to adopt ‘70s décor trends; indoor plants have exploded back onto the scene. Small plant-curio stores where one can purchase beautiful specimens have sprouted up and almost everyone with an Instagram account has at least one plant in their home.

an article on how toxic indoor plants are, will we have a massacre of philodendron and pothos vines? Hopefully not.

As indoor plants become accepted ‘residents’, owning a car is becoming more of a liability. The movement towards compact living will have a knock-on effect on landscaping and public spaces.

A colourful wall art piece decorates the otherwise grey landscape it is emerged in.

Establishments such as coffee houses, antique stores and nurseries have bound together to become single retail entities. The Cape Town store, “Our Local” is a case in point. Here you can enjoy a delicious breakfast, surrounded by antiques and plants - and most of them are for sale.

The culture of indoor plants has resulted in some varieties being in such high demand that growers are struggling to keep up with the supply.

I am personally grateful for this trend; we can now talk in public about plants without being looked at as if we are weirdos because the love for "plant babies" (pets) is real.

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As the intrinsic value of outdoor spaces increases, public gardens are more highly valued, trees that already occupy space in the city are cherished and balconies and other tiny spaces become opportunities for greening. Acquiring more space in our overflowing cities becomes a challenge.

occupied by foot traffic, trees and street furniture? St George’s Mall, historically a road, has already demonstrated this successfully, but in 1992 the idea was quite novel in Cape Town.

Residents in the city need to be able to move around freely without having to negotiate space with unnecessary vehicular traffic.

A conceptual project, Cartwright's Corner by Square One Landscape Architects, aims to address this by utilising rooftop gardens to allow the residents of a building to explore a green space on the building, instead of at the ground level.

Curitiba in Bolivia is a city that changed its entire movement route to cater for pedestrians and a public transport system. One of the poorest cities in South America became one of the most desirable cities in which to live. Imagine what would happen if we engineered a city that catered for people first. The amount of space we could open up for greening the city and the density of residents we could achieve in Cape Town would rival most first-world cities.

With new innovations in the growing industry it is easier to grow large trees and various shrubs on different levels of buildings essentially greening up the footprint of the building.

Architects and developers have become more ecologically aware and buildings are constructed sustainably with built-in solutions for retaining and storing water.

With people returning to the city centre to live and work, we hope to see our city streets re-engineered for greater bi-pedal activity. Walk down Loop street and it’s easy to see the amount of parking in buildings, usually taking up multiple levels. These could be turned into housing or other solutions. Imagine if we closed off streets and turned them into walkable avenues,

The idea of inner-city living with a city that is walkable and has ample green urban spaces is closer to reality than most of us think. With new and innovative design, we can transform our current cityscapes into the utopias we desire and circumnavigate the problems that past city planning has bestowed upon us.

Pro Landscaper Africa | February 2020

A roofgarden designed and installed by Contours Design Studio

So, get out your pens and paper, draw up your ideas and talk to as many people as you can.

Create an awareness that we need to change our public transport systems, our urban green spaces and cities to people-centred metropoles.

Merriman Square’s new building in the centre of Cape Town with constructed water storage in one of its outer walls, which waters the landscaping

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A typical city dwelling will feature multiple plants in a compact space

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THE CITY OF CAPE TOWN’S FLOOD ALLEVIATION PROJECTS ARE ‘INADVERTENTLY’ PROVIDING ITS POPULATION WITH ‘GREEN PUBLIC SPACES’ WHILE PROVIDING FOR OTHER KEY LINE FUNCTIONS

By Megan Anderson, landscape architect at MALA

The upgraded pedestrian bridge above a water pipe, between Fish Hoek and Clovelly, across the Silvermine River and new flood wetlands

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which have been degraded to a certain extent by the requirement for roads, housing and other facilities, still provide extraordinary green spaces for its population and visitors.

flood plains and hardening surfaces which creates additional runoff. These magnificent rivers traverse wilderness, rural (in the case of the Lourens River) and urban areas along their courses.

Urban development is occurring at an alarming rate with the space for housing always in demand. The same scenic qualities and resources attracting the people to the area, are being put under threat. The City's natural assets, in particular it’s mountains and rivers,

There are very few cities in the world which can boast the fact that they have an entire river course, from source to sea, that falls within it’s boundaries – Cape Town has numerous such rivers. Two thereof, the Silvermine River in Clovelly and the Lourens River in Somerset West, have been the subject of City contracts with the goal to alleviate flooding. Ironically, it is generally the same areas being flooded that are causing the flooding through developing on the river’s

Silvermine River In Clovelly, a handful of houses are found on the northern banks of the lower reaches of the Silvermine River. Historically, before settlement in Clovelly and Fish Hoek, the Silvermine River meandered across the entire plain between Trappieskop in the north and Elsiespeak in the south, spilling into False Bay where it wished. The need for a railway line to Simonstown necessitated channelling the river. This was done by building

he City of Cape Town is recognised nationally and internationally as an area of exceptional scenic quality including a range of wilderness, rural and urban landscapes.

The City also falls within the smallest of the six floral kingdoms of the world – the Cape Floral Kingdom, which covers only 0.04% of the total land surface of the earth.

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an east to west orientated dune, resulting in the river flow directed to an area over which a short railway bridge could be constructed. The lower reaches of Silvermine River became a deep earth channel. When there was good rain, this narrow earth channel burst its banks and flooded a handful of houses.

Boardwalk through the Silvermine flood alleviation wetlands, useable when not in flood

The City opted for a soft engineering solution instead of the historically practised hard concrete channel, which then gave rise to the Lower Silvermine River Flood Alleviation Scheme. The scheme allowed for the ‘low flow’ to continue through the erven but provided a ‘choke’ upstream limiting the amount of water flowing through the properties so as not to flood them.

Excess water prevented from flowing through the ‘choke’, then spilled over the southern banks of the river into a series of wide wetlands, moving more slowly towards Main Road and the railway bridge before entering False Bay. Fortunately, there was enough space for these wide wetlands, as a wide corridor of land had been set aside for a future road that would link Kommetjie Road to Boyes Drive. This proposed road was scratched, enabling the area to be used for the flood alleviation scheme.

A soft gravel pathway around the Silvermine Flood alleviation wetlands

The new flood area was revegetated with indigenous vegetation which had to cope with strong, salt laden winds, seasonal inundation and dune sands. With stabilisation techniques and wind retarding measures, the new and wide floodplain was quickly vegetated and with the help of local residents, the extensive vegetation was maintained and thrives.

While not the prime function of the flood alleviation, low key open space facilities were provided as part of the project. These included a path that went around the facility with seating, bird viewing platforms, boardwalks and bridges, one being on the pipe crossings facilitating pedestrians to cross from Clovelly to Fish Hoek and back. What was once an alien invaded plain became a multifunctional green open space that enhanced not only the riverine habitat but also the local population.

The Lourens River Across the Cape Flats to Somerset West, nestled in the Helderberg Basin, the Lourens River flows from the Hottentot Holland Mountains to the sea, through farmlands and urban development.

Flooding of the adjacent urban areas happens for much the same reasons – development

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Boardwalk under water when river is flooded

Typical cross section through proposed Lourens River channel

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The widened Lourens River channel with bank stabilisation using gabion baskets and Prionium serratum attached to the basket

Weeping Willows (Salix babylonica), acacia species and the Camphor trees (Cinnamomum camphora), and other species such as stone pines (Pinus pinea). The natural riverine vegetation is represented by the species that are shade tolerant with patches of endemic indigenous trees and shrubs.

While many exotic and invasive species were removed as part of the widening of the river, some non-invasive species were retained for their cultural value. The requirement was to revegetate with endemic species from the river with a dedicated nursery being established for propagation. A range of plant types suitable for river edge, wet bank and dry bank situations were propagated and replanted on completion of the civil works. Open space facilities included a natural ground walkway, sometimes covered with wood chip from cleared aliens, and the occasional seating area.

While a ‘source to sea’ walking path would have been highly desirable, many of the properties boundaries go to the mid-river with boundary and security fences obstructing the trail. So, sections of the river are excluded with the trail needing to be diverted along roads until the trail continues along the river.

Maintenance after the 24-month contractual maintenance period is minimal and mainly limited to preventing blockages by trees and flooding. As a result, the revegetation has been refined to ensure that pathways are kept relatively open by planting low growing plants adjacent to these with trees being pruned so that a clear crown is provided. This provides better surveillance from the trail.

encroaching onto the floodplain and surface hardening of surrounding areas leading to increased runoff.

A two phased project known as the Lourens River Flood Alleviation Project commenced in the late 1990’s. The first phase, a predominantly soft engineering phase, is approaching it’s final stages after over 20 years. Phase 2 will be a diversion canal that will allow a certain amount of water through the natural channel, but carry potential flood waters along a different path, linking it back to the river further downstream where more flood space is available. The soft engineering works (Phase 1), between the farmlands and the sea, has seen the river corridor space being maximised. While maintaining the low flow channel area, lower adjacent terraces have

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been created. These become inundated after substantial rainfall.

The space is not always there for terracing so flooding has been alleviated by soil berms and walls. In addition, stormwater facilities carrying runoff from roads and other hardened surfaces to the river, have been improved. Detention ponds have also been constructed away from the river, detaining rainfall water from hardened runoff areas, delaying its release into the river till the latter's levels have dropped.

Cape Town's amazing rivers serve many purposes, including provision of wonderful green open spaces for it’s population and visitors. Their potential for this purpose has hardly been realised with many hindrances such as ownership, management responsibility and safety and security to overcome.

A future riverine forest on the new banks of the Lourens River

The vegetation of the river corridor reflects both the historical rural development as well as remnants of indigenous riverine vegetation.

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and Joburg, these mural programmes often only cover material costs.

Lastly, I wanted to give back to other younger creatives and give them a platform to create work on a larger scale, as well as creating a video that documented and interviewed each artist that painted. This would in turn act as a portfolio for the artist to use to pitch for further public art projects. This model was inspired by the mural I was a part of in Virginia, USA. When we created all three murals for the Southapedia Mural Festival in 2019, we hosted a film screening and panel discussion, as well as a mural tour across the city – partnered with Ethekwini municipality – on the the Double Decker tourist bus. It was great turnout, and hopefully we will be able to do the programme again this year, subject to funding.

Q: Who are the sponsors for this programme?

An Interview

with the street artist transforming Durban’s inner city

Wesley van Eeden, AKA “Resoborg” is the designer, illustrator, artist and muralist taking Durban by storm. We interviewed Wesley to hear all about his Southapedia Mural Programme and his journey through the industry.

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Pro Landscaper Africa | February 2020

What made you start the Southapedia Mural Programme in Durban?

A: Southapedia was inspired by three parts.

Firstly, over the last 10 years I have had the experience of working on international mural projects and have seen the impact of how murals can change a community and a city.

Specifically, I was inspired by “Staufferstadt Arts”, who are a small collective of creatives living in a small town in rural Virginia, USA, which brings out various artists to the town to paint murals inspired by the area. Secondly, I felt that there was a lack in significant mural programmes in Durban, as well South Africa, that are independent from any commercial enterprise that commissions artists with a healthy fee to paint something that is culturally relevant. Although there are some other mural programs and festivals in Cape Town

A: In South Africa, it can be difficult to get funding from specifc funders, so we approached various companies located in the area where the murals where going to be painted. We specifically chose the new Point Waterfront area in Durban that is located towards the harbour. The space is in the process of regeneration, but there is a 'dead zone' inbetween the CBD and where this development is happening, so we thought this would be the perfect place to create these artworks as they're within walking distance of each other.

The sponsors in 2019 were Innovate Durban, Open Plan Studios, JAM clothing, Studio 3, IYER, National Art Council and Alan Burke.

Q: What impact do you think it has had on the local community?

A: I think firstly, a sense of surprise as there are no murals in the area, and public art in Durban – specifically murals – are not as common as you would find in other cities, such as Johannesburg.

All three murals carry cultural, historical and aspirational content, which I believe create

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F E AT U R E I N T E RV I E W

a positive perspective fore those that see the murals. Murals can play a role in bringing communities together and helping spaces become more inviting and interactive with the public. In many ways, I believe the murals create a connection between the public and the environment around them, making their thoughts and feelings reflective in the work that they see on the buildings.

Q: How do you think street art betters a community and urban space?

A: If curated properly, street art can help bring local people together and give them a sense of pride of their community, especially if the mural has relevance to where it is painted. Murals in itself can transform a space completely. Taking a dull wall and giving it personality with public art can give the space a new life. It can help give the urban space the feeling of a more welcoming and inviting area that wants to be safe and inclusive of the inhabitants around it. In this day in age, it is not uncommon to see people taking photos in front of giant murals, and it helps bring people closer to the urban space.

Q: What is some great street art that you have come across locally or internationally?

A: Some of the most inspirational street art that I have experienced first-hand was in New York while I was on a painting commission at Queens College (where Jerry Seinfield graduated). There were quite a few beautifully created murals by Colossal Media, who have reinvented old school advertising painted signage from the 60’s. A lot of these murals look like photographs, and are so huge and detailed that you have to look more than a couple times to work out if it's handpainted or not. I also got to experience a famous muralist called Rubin 415’s work first-hand in Bushwick, that covered 100 metres in length of his inspiring abstract geometric work. Seeing work done at that scale, and with so much attention to detail, it’s hard not to be inspired.

Often, I would look at the colours of other buildings and the environment around where the mural is created so that the mural can be balanced off and complement the area around it. In many ways, I strive to create something that not only stands out, but also fits into a much bigger working 3D canvas.

Q: Is there anything you have completed that you are most proud of?

A: It has taken an extremely long time to get recognised, and to do this, not as a hobby, but as a living. It has been many years of sacrifice and hard work to get noticed and taken seriously. For this reason, my most proud work that I have painted was for a mural at Queens College in New York. By chance, a New York professor bought a painting from me when he was on holiday in Cape Town, and I had an exhibition at the now defunct “Word of Art” gallery in Woodstock. A few years later, he contacted me to commission me to do a mural that reflected South African culture which is in college’s permanent collection and on view in their library. This was commissioned in conjunction with the University’s “Year of South Africa” programme. I am really honored that I was able to contribute to something as significant as this.

Q: Where do your ideas for street art come from?

A: In most cases, my street art is commission from various clients that are paying me to do it, so often the paintings are inspired by a specific brief from them, as well considering the environment where the mural is located. As an artist, I want to create work that is uplifting and hopeful so that is always a starting point in the work that I create.

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Q: Tell us a little about the intricacies of cost, time, and all of the other factors that go into a commissioned piece?

A: The costs for a mural depend largely on how big and how detailed the mural will be.

This is to cover the cost of materials. I don’t usually charge for my time, but rather for the value I bring as an artist to a space. However, this depends on the size of the client and how specific they are in terms of what they are wanting. Our studio offers a variety of commercial creative services such as digital illustration, and I prefer working with briefs, but some artists don’t like to work with constraints at all. I do personally like to work together with a client to solve a problem or use my creativity to complement an environment on where it is created. Up until now, I have done murals ranging between R15,000 to R150,000.

Something like the “Hope of The Community” mural which I created for the municipality of eThekwini had a budget of R50,000.

Q: What is your aesthetic? Is it important to have a very definitive aesthetic so your work is recognised as yours?

A: I don’t do graffiti. I see firstly myself as a designer, illustrator, artist and then a muralist.

I am inspired by street art which has some elements of graffiti influence, but I most certainly don’t do tagging. My aesthetic, however, is largely inspired by African street signage, like the barbershop that has their own hand-painted sign or spaza store that is worn out and textured over the years. This is

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specifically one of the reasons why most of my work is hand-painted and not spray painted – in most cases, I almost always use PVA and I paint by brush – as I want to retain an African influence in my work. However, in recent times I have started exploring my digital illustrative style in murals. In most cases, my line work is created using masking tape to create crisp clean lines.

This is a lengthy process, like the one I did in New Zealand, but the results are outstanding.

The creation of these murals in this crisp format creates an almost high definition print that is of a greater quality than a digital print. There is zero pixelation of the artwork. My aim is to create work that is so clean and precise you have to stop and look at it.

Q: Tell us about your name Resoborg?

A: The studio name is called Resoborg, which is a made up from two different words: Reso, which is short for "resource", and Borg, which is the Swedish word for “centre”, so the company represents the idea of being a “resource centre” for high-end creativity.

ABOUT WESLEY Wesley van Eeden, also known as Resoborg, is an artist, illustrator, graphic designer and muralist who works for clients across the world. The beginning of his career started in Durban, South Africa where he attended Durban University of Technology. Resoborg has explored graphic design, illustration, painting and murals. It is the convergence of all these disciplines that informs his visual style, which infuses into various projects and commissions in these creative disciplines.

During his youth, he discovered skateboarding and street art, which has played an influential role in his lowbrow aesthetic. Playing in bands in the early 2000s and making posters for the local music scene, his work is a montage of these “do it yourself” ethics and local African culture that he grew up with. Handmade signage, African patterns and informal African settlements all play a role in his organic approach. His work reflects contemporary global issues found in politics, youth culture, and is driven to seek fresh perspectives with bold shapes and textures. His paintings and murals reflect his digital illustrations as an attempt to create a graphic style that is complementary to the different disciplines that he is involved in. www.resoborg.com Instagram: resoborg

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30 MINUTES

with

Pro Landscaper catches up with Nathan Iyer, principal partner and chief creative director of IYER to find out all about the multidisciplinary team taking SA’s urban spaces by storm

Klipspruit Sports Centre

INTERVIEW

Moses Mabhida Stadium Precinct Q: What did you study at university, and what guided you to do so?

A: I completed a Masters in Urban Planning with my dissertation focused on urban design.

I have always been guided by an interest in understanding the socio-political dimensions of space and, back then in particular, the impact of the apartheid spatial structure of our cities and the effects of space on the lives of people. Urban planning allowed me to understand these impacts. I guess my education, together with social consciousness, continues to provide a grounding in the approach to our work at IYER.

this represents an important differentiator and is a fundamental part of our DNA, i.e. to think across scales of design and establish and express continuity in the making of projects. There is always a continuous strand to this DNA, and that is “making better places for people”.

projects that blur the line between urban design, architecture, and landscape architecture.

A notable example here is the Nancefield Indoor Basketball Arena, which is positioned over an extended public piazza, with external courts, play areas, and splash pads ensuring that the project is more than the building.

Another is the Noordgesig Social Cluster, where 30 employees. were responsible for the design and implementation of a new library, again set within a network of hard and soft spaces as part of a broader urban renewal programme for the Noordgesig community.

“I believe our interdisciplinary design and ‘people-centered place-making’ approach, together with the ability to provide a strong urban design basis to all our work differentiates us and defines the IYER brand.“

Q: Where or what was IYER born from?

A: IYER or its predecessor was established in 1996 by Bernd Rothaug and myself. Bernd was a friend, an architect/urban designer and a mentor at a previous firm. In 1996, we both decided to establish Iyer Rothaug Collaborative.

These were interesting times at the initial stages of transformation of South Africa, and the moment felt necessary. New ways of thinking were needed in the built environment and the restructuring of the post-apartheid city.

Q: How has the company expanded since its conception with your original partner?

A: The primary direction over the last 15 years has been to diversify the practice from a planning and urban design firm to an interdisciplinary design firm. Today, IYER integrates planning, urban design, architecture, and landscape architecture – in many ways reflecting the scale of design thinking, and the impact expressed in our work. I believe www.prolandscaper.co.za

To this end, the practice has grown to include a greater diversity of expertise and partnerships.

Q: What do you look for when hiring new team members?

Today, IYER has two partners: Nathan Iyer, who is the principal partner, and Kamalen Gounden, who is the Director of Planning. The practice is also led by Glanville Jacques, who is Director of Architecture, and Tahira Toffa, an associate director who heads up the Johannesburg Studio.

Collectively this makes up the core leadership of IYER today. At present, IYER has a total staff count of just under 30 employees.

A: Creativity and strong design ability are important attributes we look for in people at all levels of employment. The ability to locate design within the broader society, understand our purpose and demonstrate a commitment to excellence and hard work are essential characteristics we look for. For younger graduates, a keenness to learn and willingness to engage and grow are also important starting points that we look for.

Q: What made you expand the firm from Durban to Johannesburg?

A: The move to establish an office in Johannesburg stemmed from a need to broaden our market and impact. Johannesburg epitomized an African city in transition and the city had embarked on a range of urban renewal initiatives.

We were fortunate enough to be involved in projects such as the upgrading of the public realm in Hillbrow. Through our Johannesburg studio, we have managed to deliver some really interesting

Q: Who inspires your work? Or who do you look up to in the field?

A: I draw inspiration from many sources beyond architecture and urban design, such as art, graphic design and fashion design. At the top of the list would be Foster + Partners for their considered and interdisciplinary design, David Adjaye and Oswald Boateng for head-lining a contemporary African design aesthetic, and Diller Scofidio + Renfro for their impact in February 2020 | Pro Landscaper Africa

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INTERVIEW crafting meaningful places, such as the Highline in New York. Virgil Abloh for contemporary culture and the future of design, and then there is William Kentridge, whose art transcends many scales and mediums, including large scale urban installations such as the Firewalker in Johannesburg.

For anyone interested in the study of urbanism and South African cities, the early writings of Prof. Dave Dewar and Prof. Roelof Uytenbogaardt are seminal, and continue to form an important basis of our thinking. Lastly, and certainly not least, my good friend and long time collaborator Erky Wood, who has played a pivotal role in my career for which I am very grateful.

At a practice level, the inputs and support of my long term partners Kamalen Gounden and Glanville Jacques must be acknowledged in shaping the current practice and the body of work that has defined IYER over the last decade.

Q: Which projects are you most proud of as a team?

A: We are really proud of all of our projects that are realised and make a positive impact in our spaces, but there are a few that hold a special place though. An important project I would have to say is the Moses Mabhida Stadium and Precinct, which redefined the way large scale, ‘iconic’ buildings are integrated into their urban context, and how the boundaries of such projects can be expanded to include purposefully made public space as an essential basis of the project itself. I am particularly proud of this project as it received the South African Institute of Landscape Architects Presidents’ Award in 2011.

Another project that is very close to our hearts is the Cornubia integrated housing project and, in particular, Phase 1 where we have designed and implemented an alternate form of subsidy housing that breaks from the traditional RDP single plot and freestanding house. At Cornubia, we were able to create attached rowhouse typologies framing pedestrian-scaled courtyards at twice the density of traditional low-cost housing. This project demonstrates the impact of an interdisciplinary design approach that brings together housing, urban design, and placemaking.

We believe Cornubia sets a benchmark for more integrated housing and hopefully encourages a different approach to the delivery of low-cost housing environments moving forward.

A third firm favorite project would be the Go!Durban Stations, where IYER has had the privilege of designing the BRT Stations. This project is exciting and noteworthy on many

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fronts. It serves as an important basis for a sustainable public transport-led city, whilst at the same time bringing a quality of architecture that moves transport beyond the utilitarian service-oriented focus. The station design offers an opportunity to rebrand transport infrastructure and delivers contemporary architecture, equally, to township, suburb, and city.

Go! Durban BRT Station

Q: How do you see IYER changing and evolving the landscape of SA? A: I would hope that IYER continues to demonstrate the positive impact that good design and wellconsidered public spaces have on society and we inspire others to equally consider projects in a manner that contributes beyond the scope and that provides greater meaning to ‘cities’ and society.

Q: As a part of our urban issue, how does IYER feel about urban renewal projects and why do you think they are important for the broader community?

A: Our cities are a vital part of our existence, socially, culturally and from an economic perspective. A focus on the upliftment of cities in decline is essential to enhance the ability of the city to meet the above expectations, retain investment, and to enhance access and opportunity for all.

At IYER we firmly believe in the ability of urban renewal and have been active in this area for several years through larger-scale projects. This includes the Pietermaritzburg Urban Renewal Project (PURP) or through simply supporting initiatives of others, such as the recent Southapedia Mural Festival, which focused on establishing murals on derelict buildings as a means to spark processes of urban renewal.

Q: As a sponsor of the Southapedia Mural Festival, how important do you think public street art and murals are to the urban space?

A: Murals provide an attractive, simple, cost-effective and almost instant impact in bringing positive change to areas in decline. It also has the added benefit of the ‘city’ as art, making it the the most accessible 'museum'.

Q: Do you have any new or exciting urban projects we should look out for?

A: We have just completed the Durban Point Promenade, a collaboration with COX Architects from Australia, which is a noteworthy project of cityscale and impact and will play an important role in transforming the Point Precinct and beyond. We are also proud to be involved in the design of two Smart Cities in Mauritius and we are beginning to see real projects and urban life emerge from these incipient cities, and again it is worth watching this space. www.prolandscaper.co.za

INTERVIEW

Noordgesig Library

Cornubia Phase 1 Housing and Courtyard Typology Pietermaritzburg Urban Renewal Project - Urban Sculpture

People’s Park at Moses Mabhida Stadium Precinct

From left to right: Glanville Jacques, Nathan Iyer, Kamalen Gounden Standing is the Durban IYER studio in 2018

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A CIRCLE OF REMEMBRANCE

WALTER SISULU NATIONAL BOTANICAL GARDEN

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Size 1240m² Timeline 2 years Cost R2.5 million Location Walter Sisulu National Botanical Garden, Roodeport Client South African National Botanical Institute (SANBI)

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he Walter Sisulu NBG is one of the fastest growing gardens amongst the South African National Biodiversity Institute’s (SANBI) network of gardens, attracting more than 300,000 visitors per annum.

The garden has been voted the Best Picnic Spot in Johannesburg Reader’s Choice and was listed in Huffington Post as second amongst a list of 13 of the best botanical gardens in the world.

The Sisulu Circle was recently designed and implemented within the Walter Sisulu national botanical gardens. The circle was commissioned to celebrate the legacy of Walter Sisulu, his personal sacrifice and the significant contribution he made over a period of 90 years towards the achievement of democracy in South Africa.

Within gardens of diversity composed by the geographical splendour of dancing mountains

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with spinning skirts of floral delicacy and cascading waterfalls – comes a circle of remembrance and serene refuge acting as both an introduction to the Garden’s promise and a secluded sanctuary. kwpCREATE were the landscape architects, commissioned by SANBI to bring this garden to life, with the installation of various aspects of the garden done by Greenacres Landscapes and Plantwise. The South African National Biodiversity Institute (SANBI) sought to commemorate Walter Sisulu’s legacy through the introduction of a memorial garden. A bronze bust of Walter Sisulu was initially purchased for the purpose of commemorating this important figure, however a dignified and prominent space was needed to showcase the sculpture.

The client’s requirements for the landscape architect included: the design of a central space to display the bronze bust, the need to fulfil the role of a project manager, and to ultimately ensure this space would be educational in terms of its botanical value and Walter Sisulu’s legacy. A few areas and layouts were considered for the Sisulu Circle in order to make best use of the surrounding landscape. It was imperative that the Sisulu Circle comprised of a number of areas to pause and relax, whilst simultaneously educating its visitors about the biodiversity of our country and its history.

Ultimately, it was decided to place the Sisulu Circle close to the entrance - an area seldomly used, relatively flat and with views of the existing stage

and the waterfall in the background. By placing the Sisulu Circle at the entrance, the space is not only activated and well-used, but successfully emphasizes Walter Sisulu's legacy. This project is accessible to wheelchair users and allows users both young and old to interact in the space through a variety of activities.

The circle needed to encompass a range of functions, including: a picnic area, water features, educational signage, a market / events area and a water play area for children. The existing trees on site had to be protected and the botanical garden’s indigenous planting was to be incorporated. The concept for the memorial garden was largely influenced by water, and this prompted the design of a zero-depth, water-recycling children’s play water feature for recreation purposes.

The second water feature consists of carefully selected wetland plants which accommodate the rare indigenous Yellow Fish, whilst also assisting in the biological cleaning of the pond, contributing to the educational value of the space. The pond was designed with varying depths in order for the Yellow Fish to move around according to their temperature requirements. Planting on the mossy wet-wall creates an interesting focal point year-round, contrasted against the dry-packed rock walls.

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The form of a circle and similar organic forms became a prominent aspect of the design.

This reverts back to the concept of ‘the circle of life’ – referring to both Walter Sisulu’s life accomplishments and the life of a healthy ecosystem. The exposed-aggregate concrete floor finish and the use of local quartzite in the planted walls were chosen to complement the botanical garden’s setting, subtly responding to the existing quartzite mountain that forms a backdrop to the site. A shade structure in the form of a composite wood pergola was also introduced to provide cover for parents supervising their children at play in the zero-depth water feature. The shaded area also provides opportunities for exhibitions, a temporary market or any other event or gathering required.

The Walter Sisulu National Botanical Garden is a haven for city dwellers, fauna and flora alike.

The natural context within which it sits comprises rocky outcrops, waterways and an abundance of life, all of which provided the inspiration for the circle. It is an enhancement of the encompassing tranquillity, exhibiting Walter Sisulu as an icon of peace amongst the cascading sounds of the water feature. Robust materials such as reclaimed rock, composite wood, galvanized steel and concrete were used to minimize maintenance.

recessed niches to showcase and highlight specific plant species. The wet walls around the water feature forms a habitat for plants which are not often displayed in built environments. These walls form both the frame for the Walter Sisulu statue and serve as a threshold into the inner seating area.

The legislation and policy of the garden was followed in terms of their occupational health and safety policy, as well as being sensitive to the existing fauna and flora on site. This aim to assist in the conservation of important species is highlighted by the approach to species like the Yellow Fish.

With safety in mind, the water feature is cordoned off with a hand rail and the pond starts with shallow areas on both sides. The zero-depth water feature encourages play, but doesn’t

consist of any standing water where a child might be in danger.

The Sisulu Circle does not have automated irrigation but instead uses the botanical garden’s system. This does not connect to the municipal water system, but utilises the nearby river instead. The water system creates opportunities for the planting and exhibition of waterwise plants, whereas the wet wall displays unique plant species that only grow in damp conditions.

The project, nestled in an established natural environment, honours both nature and Walter Sisulu through its principles and design. True to its intent, an educational and functional space that is also aesthetically pleasing was created, emphasising the landscape architect’s role in both our socio-political and natural environment.

The central feature of the Walter Sisulu bust rests on a reclaimed boulder, and an engraved granite feature in the paving was designed around this to illustrate Walter Sisulu’s timeline of achievements.

Educational plaques designed by SANBI provide information about the wetland systems of our country as well as on the threatened Yellow Fish for which the pond was specifically designed.

Reclaimed rock from building sites on the hill was used to echo the inherent atmosphere of the surroundings.

At the opening of the Sisulu Circle, the naming of the threatened Albertina Sisulu Orchid, (Brachycorythis conica subsp. transvaalensis) which occurs on the adjacent hill was announced.

The orchid was not seen in Gauteng for 50 years until its recent rediscovery. An enthusiastic conversation was started by the late Minister of the Department of Environmental Affairs, Hon. Minister Edna Molelwa, about the desperate need for conservation even in this protected area since encroaching development still threatens this delicate ecosystem.

MEET THE TEAM Professional Landscape Architects kwpCREATE - 012 343 9141 Piet Vosloo and Charl Louw Project information Mariëtte Mulder, Professional Landscape Technician Landscape contractor Greenacres Landscapes - 014 576 1925 Plantwise - 011 665 2819

It was the intent that indigenous plant species be used throughout the design. These were all sourced from SANBI's in-house nursery. Rock walls around the zero-depth water feature have

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PORTFOLIO

SUPPLIERS Zero-depth water feature and wetland water feature Greenacres Landscapes – 014 576 1925 Water pumps Pool Spa & Filtration Supplies - 011 793 1381 Walter Sisulu bust Designed and sculpted by the late Phil Minnaar Lighting BEKA Schréder - 011 238 0000 Pergola Eva-Last® - 010 593 9220 Walter Sisulu entrance sign Plantwise - 011 665 2819 Railings Plantwise - 011 665 2819

A B O U T K W P C R E AT E kwpCREATE is a full range creative studio.

The studio combines young innovation with years of experience. F. A. Kemp Snr started the architectural practice in 1950 and the landscape studio started in 1986. The fourth generation of directors are at present actively involved in the practice. It is a private and independent registered company operating on a business basis to: accept or identify, design and document technically viable urban design, building, landscape and environmental projects, inspect the works and manage such projects during construction. It strives for excellence in a credible manner for people to be proud of what has been accomplished.

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THE COMMONS MUCKLENEUK

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PORTFOLIO Timeline of Development March 2017 to November 2018 Size: 1750m2 Location Muckleneuk, Pretoria The adopt-a-spot programme which started in Muckleneuk is encouraging a cleaner, safer and user-friendly park for its community. The programme, the Muckleneuk Commons, is encouraging social responsibility, addressing environmental injustice and taking ownership of the environment. It is a collective effort of residents coming together to beautify a space that over a year and a half ago was just rubble.

Graham Young Landscape Architects recently won a commendation at the 2019 ILASA Awards of Excellence for its involvement in this project.

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he Commons is not your typical landscape architecture project, although it could and should be. By way of a creative community initiative, a neglected and abandoned piece of land has been turned around completely and changed into a beautiful and functional public space that has become a major asset to the community.

MEET THE TEAM Landscape architect Graham Young and Johalize Koch – The Commons Workgroup Architect Chris Wilkinson Project manager Willem van Zyl and Roland Vorwerk Contractors The community and local unemployed people Sub-contractors Life Landscapes Irrigation installation Brian Georgiades Artist Isa Steynberg – Hand bench Chris Wilkinson – Perimeter bench branding Engela White and Lou Ann Young – Mosaic at drinking fountain The community – Identity disks in perimeter bench

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The role that landscape architecture played in the initiative was simply to provide a robust and practical design. This resulted in the creation of a distinct community place that forms the backdrop to daily life, allowing residents to go about their routines and also experience special times with their neighbours. The community has 'bought into' the initiative, and the number of activities that take place on a regular basis demonstrates a need for similar public spaces in our cities. The fact that the park was designed and built by the members of the community with no funding from the council whatsoever, has resulted in residents taking ownership and looking after the space.

If one assesses The Commons against the definition put forward by the Project for Public Spaces (PPS): “Great public spaces are those places where celebrations are held, social and economic exchanges occur, friends run into each other, and cultures mix. When these spaces work well, they serve as the stage for our public lives,” then certainly, The Commons, is an exemplary model of this sentiment.

Humble beginnings The idea for a community park in Muckleneuk germinated through a series of discussions between members of the community around the issue of how they could make their neighbourhood better.

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PORTFOLIO An urban design framework, drawn up, pro bono, by professionals living in Muckleneuk, was already in place. It suggested the development of a few neighbourhood parks, but not much was happening. So, in October 2016, a number of concerned individuals met at a local restaurant where the fund to develop one of these was born. They knew that the community would have to build and maintain it. It was felt that the council wasn't likely to ‘come to the party’ or, if they did, it would take too long for things to start moving.

The initial idea was that the park would be built entirely of recycled material to make it economically viable and to also be environmentally conscious in its approach.

Firstly, however, they needed a site. Based on the framework locations, criteria was put forward and was evolved during the conceptualisation process: •

It had to be easily accessible and provide direct connections to surrounding streets via connecting sidewalks, thus linking it to the greater community and making it easy to walk to. A plus was to locate it near a public transit stop (which it was).

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It needed to be located so that it could easily connect to other parks (particularly Kruin Nature Park) already extensively used by the community for walking and outings.

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It needed to be easy to move through, e.g. located where many people might pass by or through on a daily basis.

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It must be highly visible from surrounding streets for safety reasons and to showcase what was happening in the community.

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Image was also important –the park was to be well-presented, well-maintained and kept clean.

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It needed to be robust (flexible) in its design, providing a variety of seating as well as socialising opportunities.

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It needed to be easy to maintain.

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It had to be inclusive in its appeal to the community and neighbours in Sunnyside who often used the roads in Muckleneuk for running and exercising activities.

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It needed to be catered for a variety of activities, which would be programmed and managed by the community.

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After much debate, a site was chosen. The park was located where four streets meet, and is highly visible from all of these streets. Two of the roads are very important to the area: Leyds Street, which is a connector road through Muckleneuk and carries a lot of traffic throughout the day and night; and Bourke Street, which also acts as a major pedestrian route through Muckleneuk from the local Metrorail station. The location was ideal as it responded to a number of the criteria set out at its inception. It was also an abandoned site that was unkempt, an eyesore and was associated with negative elements, and was in need of a clean up.

A working group was formed, and a name of the park decided upon. In the naming of ‘The Commons’, its philosophy was expressed immediately. The working group believed the park should represent a common and central place in the neighbourhood where people could meet new friends, old acquaintances and socialise, thus creating the social bonds which are arguably necessary to grow and sustain a healthy community. The designers on the team, landscape architects Johalize Koch and Graham Young, and architects Chris and Inge Wilkinson, led a workshop in which the design was developed.

"The idea for a community park in Muckleneuk germinated through a series of discussions between members of the community around the issue of how they could make their neighbourhood better."

The design A main driver behind the design was to ensure that the park would be safe and provide opportunities for socialising. Views from the surrounding streets were kept open so that The Commons remained highly visible to passing traffic on Leyds, Devenish and Bourke Streets. The plan also accommodated two existing pedestrian traffic routes, which form the main structuring device of the park, as well as providing a constant flow of pedestrian traffic through it.

There is plenty of shade provided by existing and newly planted trees, as well as benches to sit on, a drinking fountain and a large open lawn terrace with the other main elements of the rather robust and efficient design expression. The terrace is functional, and, since the park has been completed, a variety of activities intuitively take place there, such as a weekly boot camp, end-of-month picnic socials (mainly for families with small children), metabolic training sessions four times a week, and a movie evening is www.prolandscaper.co.za

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SUPPLIERS Brick pavers Corobrik – 011 871 8600 Perimeter bench, concrete benches and stone bollards Wild Exposure – 083 650 4688 Compost Donated by Life Landscapes – 011 959 1000 Instant lawn Africa Lawn & Organics Donations Hand bench – Isa Steynberg (sculptor), donated

by PPC as a part of the Cool Capital initiative Trees – Jean Buckley Metal owl – Roland Vorwerk Drinking fountain – Chris Wilkinson facilitated this, donated by Mike Roy Concrete – Funded by Telkom Irrigation sponsor - Dino Theodoro Garbage bins – City of Tshwane Ceramic tiles – Nicolaas Bester crafted this, selected group by community to assist, painting of tiles by donors Mosaic on drinking fountain – Materials donated by community members and made by community members (mady by Engela White and Louann Young) Shrubbery – Planted by community members Stones and rocks – Sourced from nearby road cuttings in the neighbourhood Vegetable garden - Inge Wilkinson Free water connection - Telkom Fundraising - Inge Wilkinson and Carla Spies

Alet Pretorius - @aletpretorius

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organised once a month. Informal soccer training and aerobic sessions also spontaneously occur on the terrace. Mostly, the park is used by people who simply want to meet with friends in a comfortable setting and to watch the passing parade.

Adding to the ‘giving back' aspect of the park’s design is a vegetable garden, contained in three metal raised planters from which the community is encouraged to harvest its wares.

A compost heap is located nearby fed with grass cuttings and other organic materials. The edges of the park, along Bourke and Leyds Streets, were conceived as a ‘natural garden’, where the growth of highveld grass species whose seeds had lain dormant in the soil, was encouraged.

The park has beautiful views over the inner-city skyline as well as towards the Union Buildings.

In addition to being in the shade, the park’s benches, where strategically placed to take advantage of these views.

Sponsorship The design was finalised by late October 2016.

Then began the task of seeking sponsorship.

Through a variety of contacts and networks within the community, members contacted corporates and locals alike for donations, materials, time and money. By early 2017, the working group had secured the following: •

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The iconic ‘hand bench’ designed by sculptor Isa Steynberg, was donated by PPC as part of the Cool Capital Initiative – it became central to the original design, which was modified slightly to accommodate it.

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•

Approximately R30,000 worth of brick pavers were donated from Corobrik

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A R50,000 donation from Telkom went a long way, and Telkom also provided a place to store equipment during the construction phase (Telkom Tower is adjacent the Commons site), water during construction and ultimately for irrigating the park.

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Various other elements were donated by community members and contractors who gave of their time and resources.

Construction – a community affair Encouraged by the positive response to raising funds and securing materials and labour, construction began in January 2017. The aim was to be complete the installation before the rainy season started so as to take advantage of the summer growth period.

The installation of the hand bench on Friday, 13 January 2017, was an ‘exclamation mark of intent’. It was the first element to be installed and became a beacon of resolve – the commitment was made and there was no looking back. Immediately, the bench became an attraction – people gravitated towards it, often taking selfies of themselves and their friends. The former executive Mayor of Tshwane christened the park soon after the bench was installed by sitting on it, proclaiming the park to be open.

Much work, however, was still needed to be completed.

Work began in earnest in March 2017, when

community work groups were organized to install paving, build a stone retaining wall, install plants and generally clean up the area. Out of work locals were employed for a period of six months, along with a bricklayer who trained them. During the week, they built the header courses for the pathways. Then, on weekends, work parties made up of people from the community, laid the paving and experimented with stone paving where bricks could not be used.

In order to create the main terrace, a dry packed retaining wall had to be built from natural stone retrieved from a cutting in a nearby road.

Community members provided bakkies to transport the stone and soil required to build up the terrace, which was compacted using a bakkie that rode backwards and forwards across the area.

With limited funds, ingenuity was required.

Once the earthworks, retaining wall and pathways (which extended beyond the park along sidewalks that directed people from busy thoroughfares to and through the park) had been completed, the soft landscaping began. A bosque of trees was installed along with aloes, succulents and plants, donated by community members.

To pay for the perimeter bench, designed by Chris Wilkinson and manufactured and installed

by Mike Behr, the working group came upon the idea that individuals sponsor a section of the bench by donating R500 (each section cost R473 to manufacture). In return, they would receive a ceramic disk of their own making, which was then embedded into the seat of their section of the bench. Nicolaas Bester, a ceramicist living

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in Muckleneuk, volunteered his equipment and expertise to manage this process. The result was hugely successful as a sense of ownership of the bench and by extension the park, took place.

Central to the perimeter bench is a metal laser cut disk, surrounded by stone gathered from the site.

The disk brands the park as well as broadcasts the message of ‘please do not litter’ – a perennial problem in public places.

To ‘jazz-up’ the metal drinking fountain, two members of the community (Lou Ann Young and Engela White) designed and installed a colourful mosaic that, along with the fountain, welcomes weary pedestrians entering the park from the south. A drinking bowl was designed into its base to accommodate for dogs who accompany their owners on their walks around the neighbourhood.

The original installation deadline was met when the lawn and final plantings around the edges of the park were installed in October 2017.

Ongoing sustainability and management In order to ensure the long-term sustainability of the park, volunteerism was essential, along with programmed events to keep it in the minds of the community. This task was taken up by the Commons Working Group, which works to ensure that there are programmed events happening throughout the year. This ranges from movie nights, live music in the park, educational talks on topics (such as medicinal plants, understanding the local flora and fauna and how/why it is important to create healthy soils), harvest tables (or food markets) and cultural days.

The events have two main purposes: first, they provide ‘formal’ opportunities for the community to come together and socialize and network; and secondly to raise funds for the ongoing development and maintenance of the park.

Furthermore, various impromptu events are often organised at The Commons, such as birthday get togethers, monthly picnics for young families, and soccer and aerobics training.

Recently, the working group agreed to help a previously disadvantaged individual who is struggling to make a go of his little business by training him and his team in horticultural maintenance. Funds raised during the most recent harvest table food market will ensure that equipment can be purchased (which he will pay back in work over time), and that he can be paid a ‘retainer’ each month to maintain the park throughout the year. www.prolandscaper.co.za

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WESTBURY TRANSFORMATION CENTRE

MEET THE TEAM Client City of Johannesburg Architects Ntsika Architects Nadia Tromp, director Landscape contractors Vertical Landscapes Justin Sam, director

Image By: Kevin Rudham Photography / Motheo Construction

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C

an social justice be found through friendly and inclusive design? Ntsika Architects thinks so – the Westbury Transformation Development Centre (TDC) project grapples with the issue of spatial and social justice in a marginalized community.

An existing building, St. Barnabas School building (circa 1935), was set to be demolished to make way for the new facility. But, through Ntsika's ground research, it was found to hold an important place as part of the community’s collective memory of the space because many people had attended this school.

The Westbury Transformation Development Centre (TDC) is a mixed-use public building, focusing on engaging with marginalised communities in a significant and sustainable way. It seeks to create innovative, locally fabricated architecture from a local palette of materials whilst using local skills. A generous public space in front of the building can be used by the community for various social activities.

After 25 years of democracy, one of the legacies of apartheid planning is the many marginalized communities still prevalent in South Africa. These communities are often poorly serviced and have very few public amenities. The public facilities which one can find are often behind a fence, very clearly enforcing exclusion. Ntsika Architects decided to challenge this norm through this project and to create a new typology of public facility in South Africa.

It was an easy decision to keep the building. It became the anchoring point of the site, around which the rest of the design has been hinged. It was repurposed as the pre-school classrooms for the ECD. The rest of the ECD building program wraps the edge if the site, creating a safe courtyard against the busy corner of Main Rd and Harmony St.

An indigenous acacia forest links the user to the landscape. A series of defensible internal courtyards are designed to create safe spaces within. The Westbury Transformation Development Centre (WTDC) has emerged as a winner in the Architectural Design: Mixed Use Architecture category at the 2019 Architecture MasterPrize (AMP) awards and was designed by award-winning Ntsika Architects with landscape contracting by Vertical Landscapes.

A complex project brief with multiple end-user stakeholders, the project houses a variety of social development programs, such as a senior citizens daycare, food security unit, greenhouse, migrant unit, early childhood development centre (ECD) and offices. The project is centered around creating smaller safe spaces within a larger programme while providing a generous public space along the street edge of the narrow site.

The ultimate goal was for the building to be used by the community for various social activities.

Total size: 6400m2 Green wall size 120m2 Other landscaping 180m2 Timeline 1 year (completed July 2019) Client Johannesburg Development Agency (JDA) on behalf of the City of Johannesburg.

The scale of the ECD has been designed with the children, aged from 0 to 6 years old, in mind.

The external facade is intentionally dark (using the Japanese shou sugi ban charred timber technique), but, as you enter the courtyard, you are immersed in bursts of colour – 'the world of the child'.

The long-built form is oriented along the north-south axis of the site, allowing the narrow floor plates to get maximum natural daylight deep into each floor.

Image By: Kevin Rudham Photography / Motheo Construction

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Image By: Kevin Rudham Photography / Motheo Construction

Image By: Kevin Rudham Photography / Motheo Construction

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The western and eastern façades are intentionally short, with minimal sun shading required. The northern façade has deep horizontal fins, with a large concrete overhang on the first and second floors.

A screen on the second floor is planted with creepers which flower during summer, creating a natural shade. These then lose their leaves in winter, letting in the winter sun. This living screen, along the North façade of the building, becomes an integral passive heating and cooling device.

The star jasmine planted is indigenous to the area and creates a sensory stimuli, subliminally conjuring a nostalgia and memory of yester-year.

A planted green wall at the main entrance of the building is symbolic of the community’s continued interconnection with the facility. The aim was to create a completely indigenous succulent vertical garden. The current water issues in South Africa mean succulents have become really appealing, being hardy and waterwise.

By extending the Department of Social Development’s ‘Food Security Programme’, which is administered in this building, the community has the opportunity to participate in the planting and continued maintenance of the green wall.

This forms part of Ntsika's 'The Green Screen Project', started in 2015, which looks at educating communities in urban farming.

A greenhouse on the second floor is used for teaching and is complimented with a fully fitted high-tech laboratory for research in the field. The planted roof is edged by indigenous succulents with a central vegetable garden for practical education. Meanwhile, the senior citizens daycare is located on the ground floor with its own outdoor gym courtyard.

Colour and texture has been used for ease of navigation through the site, with various programmes being easily identifiable from the street. Ramps, directional paving, floor surface treatment, a lift and colour has made the building legible and accessible to all from street level and throughout.

this project by Ntsika Architects. Their brief was to create a landscape using predominantly indigenous trees and plants to compliment the striking building. It also specified that there was to be an emphasis on the facility’s intention to empower the local community with skills.

Plants Grow Wild – 011 465 8857 Random Harvest Nursery – 011 957 5354 Ekonoplant – 083 286 4976 CND Nursery – 010 035 5212 Heuers Nursery – 012 253 2097 Du Prins Nursery – 082 850 8019

The feature green wall is a hydroponic solution, planted with approximately 6,000 succulents providing a wide variety of textures and hues to complement the colourful building. The modular green wall system was designed in-house, planted off-site and installed in 10 days.

Drip irrigation equipment Aquatec Solutions – 081 440 2422 Product used: Netafim

The design objective for the third floor green screen was for the plants to provide natural, dynamic, solar shading for the office occupants.

The green screen employs a specially designed stainless steel architectural mesh, with deciduous wisteria creepers growing onto it. In the hot months, the lush foliage reflects heat and keeps the offices cool. In the cold months, the dormant creepers lose their leaves and let the sunlight in, thereby reducing artificial heating and cooling requirements.

Planters WilsonStone – 011 616 7129 Paint Dulux – 0860 330 111 Rubber Outdoor Flooring: Green Outdoor Gyms - 010 593 7687 Stainless steel architectural mesh GKD South Africa – 011 696 8000

The indoor greenhouse is used to train the local community in hydroponic growing methods and is planted with 540 herbs and vegetable plants. The planted roof above the parking lot is xeriscaped; a variety of drought-tolerant succulents are planted throughout. The top roof features a herb and vegetable garden.

Vertical Landscapes installed the specialised waterproofing with anti-root additives, the subsoil drainage system and the garden, providing a single-source, grouped warranty on the works.

The sloped sections of the planted roof was implemented with erosion control matting and ornamental stone, much of which was reclaimed from the on-site excavations.

The grove of fever trees is intended to form a canopy over the paved steps leading up to the main entrance of the building. These acacias were specifically selected for its characteristic yellow-green bark.

The building has become a landmark for a previously invisible community, often only made visible with news of gang and community violence.

Star jasmine was planted along the fence at the entrance of the building, to provide welcome protection from the traffic on the busy main road.

This creeper was also used to create the stainless steel wire rope columns in front of the sports hall.

The landscape Vertical Landscapes’ director Justin Sam explains that their team was commissioned to design

At the formal opening of the building on the 26 November 2019, the following comments were made:

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SUPPLIERS

“This project helps address the challenges of inequality created by the spatial planning of the past. It has created tangible and meaningful change within this community.”

- Member of the Mayoral Committee for Development Planning, Cllr Reuben Masango

"The Westbury TDC facility will greatly benefit this community and fulfil a dire need for a safe space for our children in the ECD."

-

The Mayor of Johannesburg, Cllr Herman Mashaba

February 2020 | Pro Landscaper Africa

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PORTFOLIO

ABOUT VERTICAL LANDSCAPES Vertical Landscapes is a landscape design and contracting firm founded in 2009 by Justin Sam. By fusing engineering technology with traditional landscaping, it builds innovative and distinctive landscapes that integrate seamlessly with building architecture, blurring the lines between inside and outside, buildings and gardens. The passionate and skilled team excels in all aspects of hard and softscaping, water features, decking and waterproofing.

The team takes pride in their state-ofthe-art design, foresight in planning and precision in execution. They collaborate closely with architects, landscape architects and designers, building contractors, and clients to implement designs on-time and within budget.

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www.prolandscaper.co.za

APPLICATIONS: Green Walls | Facades | Fall Protection | Zoo Enclosures

Catherine van Blerk | 083 414 5750 | www.gkd.co.za

Illustration by Resoborg

Inspire

Back to the Future� is a mural commissioned by Innovate Durban and IYER for the Southapedia mural festival that was held in the Point precinct in July 2019. Innovate Durban develops and supports technological programmes for communities in the KZN region such as maker spaces and code development. The mural illustrates VR technology and imagines what the future could look like.

The trusted specialists in green wall and roof design & implementation since 2010

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Vertical Garden Technology That Works KRAAIBOSCH NURSERIES (PTY) LTD

Living walls add a beautiful element to any interior or exterior space, transforming ordinary grey walls into eco-friendly spaces.  The entire system is self-irrigating.  Modular for quick and simple installation.  Detachable components for ease of maintenance and replacement.

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 012 661 0538 | info@modiwall.com | www.modiwall.com

F E AT U R E

Transforming

TRASH

The idea behind the FITV initiative is to help foster a more dynamic 'culture of use' for public spaces in developing communities. Most low-income areas have access to open public land, but the same spaces often lack any meaningful activation.

E

very year theMAAK facilitates an experimental design and make programme called Follies in the Veld (FITV). During the fast-paced course they collaborate with other makers, thinkers and doers over two weeks to collectively design and build a large scale folly (a temporary spatial installation).

Each year, a specific site and a unique material is used as the departure point for the hands-on creative programme. This year, an open public space next to the Old Pass Museum in Langa was chosen as the site and full project team worked with food packaging giant Tetra Pak's products to build this year's folly.

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Langa-based creative collective OurWorkshop and Cape Town based artist/educator Amy Rusch were included as co-facilitators of the FITV 2019 course. Working with theMAAK, there was an overarching theme of 'working with waste materials’ (hence the decision to work with Tetra Pak materials as the primary building resource).

The process and outcomes of this programme are hopes to illustrate a more proactive approach/ understanding of what is waste, with the idea of empowering, educating, and prompting dialogue with others around the topic. This is something that this is especially relevant in low-income areas where creatives might not have access to either the capital or infrastructure required to work with anything else.

Pro Landscaper interviews Ashleigh Killa, Architect at theMAAK to find out more about this unique and create urban initiative Q: What is the importance of doing these installations in a public space?

A: The potential of FITV is both in the process and the outcome. The programme focuses on collaborative, unbiased engagement and really tries to bring together people from all sorts of backgrounds, skill levels, disciplines, etc.

The resulting physical outcome is always something of interest and beauty and acts as a statement piece from which people can question, learn/un-learn, and grow.

Q: Why did you choose to use a public urban space?

A: Previously, FITV has been in rural areas on farms that were available to us. This meant that,

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F E AT U R E

after much effort from a dedicated team, only a few visitors could access the folly. In 2019, we wanted to change this and make the processes and eventual outcome more accessible to a larger audience – urban public space was the ideal place.

As a studio, we are focused on public space and public buildings, so we are very excited to have brought the FITV programme ‘closer to home’, into the spaces that we believe have the largest potential for our society to engage, learn, have fun and have access to opportunities.

Q: Out of all the waste products, why did you choose Tetra Pak products?

A: One of the people involved in the team works with Tetra Pak products to make wallets, bags, blankets, etc. We were all intrigued by the material’s beautiful aesthetic quality and wanted to see how it could be pushed and used on a larger scale as a building component.

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Q: Did you find that the installation effected the community positively?

A: Absolutely. There was a lot of interest and intrigue from the surrounding neighbourhood and passing community.

People were amazed that the material was something that was an everyday item from everyone’s kitchens.

While the canopies were up, the space itself took on a new meaning for people, there was value and investment into a space that previously stood empty.

Q: Will you continue to now do FITV in urban spaces?

A: We won’t turn back! We are on the lookout for our next urban space and collaborative facilitators for FITV 2020 – get in touch if you know of an interesting space.

February 2020 | Pro Landscaper Africa

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F E AT U R E

THE SPEKBOOM LABYRINTH Fighting Climate Change & Poverty

C

reating labyrinths is a concept that dates back over millennia, and soon, Stellenbosch will be home to the biggest labyrinth in Africa, with the hopes that this landmark will be a major player in neutralising our carbon footprint. The idea of creating a labyrinth came along when social entrepreneur and environmental activist Peter Shrimpton and his team, decided to create – with expert design by Terry de Vries – an 11-circuit Medieval labyrinth, one where visitors can embark on a pilgrimage through it. This initiative looks to fight both climate change in poverty in the community.

The plan is to build the biggest labyrinth in the world made of spekboom trees in order to create an awareness campaign for carbon reduction that grabs global media attention. It has been

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adapted for cyclists and hikers and will also be open to the public to utilise.

Peter has noted that it all began with 300 trees, three years ago. He initiated the project by going into townships and then inviting underprivileged and unemployed people to grow the spekboom for him. All of the spekboom trees have been grown by previously disadvantaged people, who were given all the materials to grow them.

Peter’s team then started a ‘Treepreneur’ programme, called Wonder Plant, with top performers who each have 25,000 trees. In total, the team planted over 65,000 and now have 164,000 in stock. The investment into the programme thus far has been close to R1.8 million. In total, Peter and his team aim to raise R9 million for the organization.

THE SPEKBOOM PROCESS The team micropropagated through entrepreneurship in townships, then scaled up to township nurseries – this blossomed into 150,000 spekboom trees!

Where is the labyrinth going to based?

It will form part of Stellenbosch Bridge Property Development, which is being built on smart city principles (which will be one of the first smart cities in Africa). This smart city is set to be over 3000 hectres of development, in between Stellenbosch and Klapmuts. The labryinth has been designed by renowned expert, Terry de Vries.

When starting the process, Peter searched for the largest man-made object that can be seen from

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F E AT U R E space, the pyramid was on top of the list. It will be 230 x 230m, use 90,000 trees, and visitors will walk 5km in and 5km back out – but, the design will allow for escape routes and shortcuts too.

The trees are all on site, it has been levelled, and the team has started planting since January 2020. They have called on community members to come and help plant in their spare time. It will hopefully be completed by April 2020.

The message? Be mindful of your carbon footprint. We're also encouraging everyone to plant their own spekboom trees.

Another pertinent question to ask is why?

South Africa releases over 500 million tonnes of poisonous CO2 into the atmosphere each year. South Africa’s carbon emissions is 9.18 tonnes per capita – that's over double the world average of 4.49 tonnes. This global landmark will serve as a living monument for environmental preservation on our planet.

Why a labyrinth?

A labyrinth is a pattern of pathways that weave in a circle around a central point. You walk through the pathways to get to the centre. A labyrinth is not a maze. There is only one way in and one way out, so you don't need to think about where you're going.

Labyrinths are powerful landmarks that intrigue and fascinate people from all walks of life throughout the world. They've got ancient roots.

They’re found on Greek pottery, on Spanish petroglyphs, rock carvings, and on the floors of medieval cathedrals in Europe. Today, there is a global revival of labyrinths and tourists flock to see and experience these.

Spekbooms were the right choice for this as they are succulent trees and native to South Africa.

They are easy to propagate, reach between 2m and 5m tall and live to be 200 years old. They are 10 times more effective at reducing carbon than tropical rainforest trees – one mature spekboom can remove 8.5kg of CO² per year, whilst surviving frost, fire, or drought.

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February 2020 | Pro Landscaper Africa

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Single Application Multiple Benefits

MulticoteÂŽ (8) 15-3-12+Mg+ME Controlled Release Fertilizer for Nurseries & Landscaping

Optimal plant nutrition

Haifa South Africa

Less fertilizers are needed

Saves labor and time

P.O.Box 1409, Brackenfell, 7561, South Africa Gerrit Burger | 082 8008766 | gerrit.burger@haifa-group.com Michael Koch | 083 2314516 | michael.koch@haifa-group.com www.haifa-group.com

Simple application

Environmentally friendly

Illustration by Resoborg

Nurture

Part of several illustrations commissioned by Chicken Licken that are used in a new store re-brand. This illustration specifically focuses on South African nature, the iconic Loerie and Protea, montaged with African shapes and simple patterns.

NURTURE

BULLETPROOF BEAUTIES Urban planting for the Western Cape

Bruce de Smidt, Divisional manager, Interplant Horticulture

T

he Western Cape is well known for its breathtakingly rugged beauty which couldn’t exist without a vigorous climate. While perfect days do exist in the Cape, the environment is generally windy with large variance of temperatures – experiencing four seasons in one day can be a somewhat normal experience. Because of these factors which are often intensified by artificial surfaces, a unique choice of plants can assist with combating and improving these conditions within the public sphere.

Trees Harpephyllum caffrum (Wild plum) This wonderful evergreen tree provides a good defence against the relentless South Easter, while providing much needed shade for sunburnt tourists. As an added bonus, the trees fruit or ‘plums’ are edible, which promote birdlife within urban areas while encouraging an urban farming mind set while providing functional and aesthetic appeal.

in Gordon’s Bay or wind sculpted in Sea Point.

Their dense dark glossy leaves are beautiful and effective as a wind break and they too provide black berries which attract insects and birds.

Olea europaea L. subsp. Africana (Wild olive) A very sculptural tree with a rich cultural heritage and unique Grey-green foliage which is amazingly resilient, wind and drought hardy.

While it takes a few decades to give abundant shade, it’s value lies in its resilience and providing food for birds and insects through its much smaller olive fruit than the traditional olive trees.

It also has a wonderful architectural growth habit, ideal as a focal point within a park, pots or raised planters.

Shrubs Tarconanthus littoralis (Coastal camphor bush) The ultimate answer to any difficult growing conditions, this amazing plant will handle the harshest conditions – sandy soil, drought, wind, sea spray – with ease. It is a great screening plant and makes a good hedge, great for directing pedestrian traffic and softening large walls. Its fluffy flowers are loved by birds which eat them or use them as nesting material.

Brachylaena discolor (Silver oak) A common find in any coastal environment, this silver-blue large shrub is ideal for separating areas and can also be hedged. Its fast-growing nature is ideal for quick cover of unsightly areas and urgent wind breaks, its leaves also create a lovely shimmering effect in the wind.

Sideroxylon inerme (White milkwood) A truly rewarding tree, comfortable growing on the beach and can be found in beautiful groves

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leathery leaves. They make great hedges in the central islands of roads and also have lovely edible fruits which are high in vitamin C.

Osteospermum moniliferum A common occurrence around the Western Cape, this self-seeding pioneer comes up easily in a number of poor and sandy soil conditions. It is also a very fast grower and works well for rehabilitation of sand dunes, road verges and slopes. Due to their quick growth rate, they need to be monitored and controlled so they don’t overpower the landscape.

Groundcovers Gazania sp.

A wonderful showy groundcover that flowers throughout the year, peaking in September/ October. This hardy drought resistant perennial can handle moderate traffic, salty and windy conditions and graces many road verges and open public spaces. It adds a great splash of colour and attracts many insects and bees.

Plectranthus neochilus (Lobster bush) The landscaper’s lifeline! This amazing plant grows anywhere, has a beautiful purple lavender like flower and propagates easily from cuttings. It is also rumoured to be a snake deterrent which is a benefit in public areas.

Carrissa macrocarpa (Large num-num) A well-known all-rounder, ideal for traffic control through thorny discouragement and tough

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NURTURE

THE URBAN PALETTE Urban plant palettes for the Gauteng region

Gugulethu Msezane, Horticulturist and marketing manager, Amaloba Projects

W

hen one is asked to create a plant pallet for urban spaces, as a horticulturist, I am already thinking of my go-to plants that I have used religiously over the years and have advised my clients on. Here I have divided the plants into three different types.

Trees When planting a tree in an urban area on side road islands and pavements, one needs to consider the low maintenance conditions that the tree will need to be able to cope with.

The cost of the landscaping also needs to be considered and the hardiness of the tree is an important element too. The root system also needs to be taken into account – this is to prevent future costs of damage to building structures, roads, curbs, paving and so on.

Celtis africana (White stinkwood) This plant is a very hardy tree and drought resistant. It is a large fast, growing specimen that functions as a magnificent shade tree. It also grows well in rocky soil, but not as tall as in deeper loam soils. It can range from a tall tree in a forest to a medium-sized tree in the bushveld.

Searsia lancea (Karee) I love using these trees in an urban landscape as they are evergreen, drought resistant and they grow up to a height of 8m and a spread of 5m. The tree is frost hardy and we know how the Highveld is prone to frost. Having a tree like this also saves you cost as it doesn’t need much maintenance.

Hedges These are planted for various functions in an urban landscape. These functions may be to redirect foot traffic or protect/designate a particular area, such as lawn areas and flower beds. They can also be used as wind, dust and sound barriers.

Abelia x grandiflora (Glossy abelia) This plant is such a great hedge – it grows to be very dense in a short space of time, and it also has beautiful, scented flowers, adding a versatile interest in any garden or landscape it appears in.

It looks equally impressive clipped or simply left to grow naturally.

Carissa macrocarpa (Large num-num) This is a great option to plant when you want to redirect traffic and as a security barrier as its branches have extremely large and intimidating thorns. The num-num also has beautiful jasmine scented flowers and the edible red fruit that it produces is very nutritious and attracts both birds and butterflies. It has beautifully lush, dark green leaves which are an asset to any Winter Highveld garden.

ground covers are even used for snake and pest repellents in some cases. Ground covers are also great for using in places where lawn is not recommended or a feasible option. They tend to encompass most of the more attractive and pretty members of a landscaped area.

Dietes grandiflora (Wild iris) This is a favourite in Gauteng as it is fast growing, easily covers the ground, low maintenance and flowers abundantly for an extended season.

Dietes are very useful to fill large empty areas because they are extremely cost effective and more mature clumps can be periodically split into numerous individual plants.

Agapanthus sp. (Lily of the Nile) This perennial is available in numerous shades, ranging from pure white to deep purple and various flowering heights. They are useful to add a massive flush of seasonal colour when mass planted. They are fairly drought hardy and grow easily. Another specimen great for splitting and they have an adventitious root system, which is phenomenal for its soil stabilising properties.

These are all fantastic plants with very fitting qualities to get you started on selecting the best plants for an urban project.

Perennials and ground covers These are normally used predominantly on roadsides and embankments to protect the soil, prevent erosion and create stability. Some www.prolandscaper.co.za

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NURTURE

TREESCAPING FOR URBAN SPACES WITH MATURE TREES We all love trees, but do we love them enough to choose wisely?

Suzanne-Francoise Rossouw-Moss, Trees-SA

I

n August 2018, Trees-SA introduced the readers of Pro Landscaper Africa to the concept of “treescaping” – a specialisation within the discipline of landscaping. In short, it is the art of selecting and successfully installing a large tree for any given type of garden, and requires the combined knowledge of arboriculture and landscaping. Our guide to trees for residential gardens was published in the May 2019 edition, and this month we take a closer look at trees suitable for urban spaces.

The key is to assess the type of site and then apply the trees that will thrive there. Here are a few examples of sites and the trees that will be better suited.

Corridors between high-rise buildings – focusing on Cupressus sempervirens Stricta 'Italian cypress': This evergreen conifer with dark green foliage colour is valued for its easy cultivation, fast growth habit and suitability to a wide variety of climatic conditions, which includes coastal wind, frost and drought tolerance. The erect and slender growth habit of this columnar tree makes it a perfect option to utilise for many different purposes. In the urban environment it works well for planting in corridors between high-rise buildings, screening between neighbouring properties and even a focal point in a more formal landscape.

Other species include: Populus simonii, Liquidambar styraciflua, Platanus acerifolia (pollarded), Syzygium guineense, Quercus ilex (high wind tolerance), Celtis sinensis, Afrocarpus falcatus and Vachellia xanthophloea.

Italian Cypress trees- Nooitgedacht Estate.

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Sidewalks – look at the Quercus cerris 'Turkish Oak': The Turkish oak is an elegant, quick-growing ornamental tree. It has a very upright growth habit, becoming a medium to large tree – around 10-20m tall, depending on the space available. Oaks prefer growing in areas where winters are cold and the rainfall is high during

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NURTURE

the year, and is often used in cities or towns as a tree for parks or on road sides. It is often planted as a replacement oak variety to the English oak, due to its dark green foliage that closely resembles that of the English oak. According to information supplied by the arborists based in Gauteng, this species is not susceptible to shot hole borer beetle.

Other species to consider: Harpephyllum caffrum, Syzygium cordatum, Syzygium guineense, Quercus palustris, Ficus microcarpa, Quercus ilex, Afrocarpus falcatus and Celtis sinensis.

Parks and public spaces – consider the Ulmus parvifolia 'Chinese Elm': The Chinese Elm is an attractive deciduous tree, very often planted in parks and public spaces as an ornamental shade tree, similar in look and growth habit to the Celtis sinensis. The tree has a delicate appearance when looking at its midgreen serrated leaves and thin branch tips. Its fast-growth speed and adaptability to a variety of soil types makes it an easy choice for any landscape. The tree has been found to be fairly drought tolerant, frost hardy, and can grow in strong wind conditions.

Many other options are available for our beautiful parks. Also look at the following:

Trichilia emetica, Plantanus acerifolia, Quercus suber, Quercus nigra, Searsia pendulina, Vachellia xanthophloea, Pinus pinea, Nuxia floribunda, Afrocarpus falcatus, Combretum erythrophyllum, Ficus natalensis, Erythrina caffra, Erythrina lysistemon, Betula pendula, Aloidendron barberae, Quercus robur, Taxodium distichum, Vachellia sieberiana, Syzygium cordatum, Ekebergia capensis, Searsia lancea and Jacaranda mimosifolia.

Why are certain tree species so common in different areas?

Trademark trees that come to mind with this statement are the Jacarandas of Pretoria, the Oaks of Stellenbosch, and the Yellowwoods of George. Often chosen for their beauty a long time ago (rather than their suitability), these tree species have had to adapt to their environment, and therefore became a common choice as “street trees” for certain towns.

But which tree can do it all?

One of the most versatile tree species you can find for the urban environment, is thought to have originated in Spain, as a hybrid breed between Platanus orientalis and Platanus occidentalis, known as Platanus x acerifolia.

This is a moderate to fast-growing tree, with an upright pyramid shape, dense canopy and a

worldwide popularity for urban environments.

This seasonal tree prefers cooler climates, but can adapt to warmer temperatures and extremely poor soil conditions, which includes environmental salts. It is best planted in the full sun and can grow in both dry and moist locations, with no real preference for soil pH. The Plane tree survives, and even thrives, in city environments due to its high tolerance to air pollution. Further benefit to this hybrid variety is its disease resistance, minimal branch-dropping or decaying characteristic, and the fact that is drought tolerant. Due to limited space in the city environment, and the fact that the Plane trees can get very big, the practice of pollarding is often implemented. Widely popular in European countries, pollarding of Plane trees becomes an annual affair and various pollarding styles can be achieved on these trees due to their adaptability to regular pruning. Many cities or towns in South Africa also proudly feature this tree species in its streets. Just in the Western Cape alone you will find avenues in Cape Town, Constantia and Stellenbosch.

Every site has its own unique qualities. We urge you to contact your local arborist or tree nursery for further advice and recommendations.

Love your tree – choose wisely.

Turkish oaks in a park

Chinese Elm tree

Golden London Plane trees along the R44 in Stellenbosch.

Italian cypress and Liquidamber trees in Nooitgedacht Estate

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February 2020 | Pro Landscaper Africa

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EQUIPMENT

TOP KIT

This February, we look at forward thinking equipment for all of your 2020 projects.

FERRIS ISX™ 800 Commercial zero turn mowing with next generation ferris suspension technology Landscape professionals that are looking to optimize their productivit, to mow faster without sacrificing cut quality and want to experience a smooth ride should look to the ISX™ 800 commercial zero turn mower. Featuring the next generation of Ferris suspension technology – ForeFront™ suspension, a 2-belt iCD™ cutting system, heavy-duty Hydro-Gear® commercial drive system and cutting speeds up to 16km/h, the ISX™ 800 is engineered to increase efficiency and operator comfort.

The ISX™ 800 is powered by a Briggs & Stratton® Commercial Series engine with a unique 5-step air filtration system, and is paired with a 132cm mower deck. www.powerproducts.co.za

HUSQVARNA BLI950X BACKPACK CHARGER Heavy duty design meets maximum runtime – this truly durable 31.1 Ah backpack battery offers high productivity and long runtime. The robust design is perfect for daily outdoor work in all weathers.

LED charge indicators are on the battery pack, with an exact battery charge percentage readable from the adapter. Advanced ergonomic harness allows a perfect fit, and the easily detachable battery pack means users can share batteries freely without swapping harnesses. A detachable support foot, designed for free-standing use, ensures all day comfort and productivity. www.husqvarna.com/za

Z994R – NEW ZTRAK™ DIESEL ZERO-TURN MOWER Developed from extensive customer feedback, the new Z994R zero-turn mower expands the John Deere portfolio of diesel solutions for professional landscape contractors. The Z994R offers enhanced comfort, increased productivity, lower operating costs and longer engine life. The Z994R is powered by a three-cylinder, liquid-cooled diesel engine with gross 24.7hp (18.4 kW) and 3200 rpm.

The high-torque, low-emission diesel engine provides power for tough conditions with low vibration and noise levels. To increase productivity, the Z994R is equipped with a single 43.5L diesel fuel tank and operator comfort is a primary focus of the Z994R mower, with three available seat options.

There are three mower deck options for the Z994R Diesel ZTrak mower. The 7-Iron™ PRO side-discharge mower deck and the 1 7-Iron PRO Mulch On Demand™ mower deck can easily change from side-discharge mode to fully chambered mulching mode with a single move of a lever. The mower is also available with Michelin X-Tweel Turf airless radial tires to virtually eliminate flats and increase productivity. www.deere.com/sub-saharan

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EQUIPMENT

MAKITA DUH651Z CORDLESS TWIN BATTERY HEDGE TRIMMER The DUH651Z Twin 18V Cordless Hedge Trimmer has two 18V LXT batteries installed in series to supply energy to the powerful 36V DC motor drive system. This model has a 650mm double-sided blade and can produce up to 3,600 strokes per minute. The DUH651Z will cut branches up to 18mm in diameter. It has a five-position rotating rear handle, with positive stops at 0,45 and 90 degrees, thus enabling optimal manoeuvrability when cutting vertical or angled hedges. The variable speed dial provides extra control, so trimming young foliage on a low setting is possible using the high setting for denser wood trimming. The batteries and charger are sold separately, allowing customers to easily add to their Makita tool arsenals, as all of the 18V LXT models use the same battery platform.

As with all of Makita’s 18V LXT Cordless models, this hedge trimmer is compatible with the Makita 6.0Ah (55-minute charge time), 5.0Ah (45-minute charge time) and 3.0Ah (22 minute-charge time) batteries. The rechargeable and eco-friendly Makita 18V Li-Ion batteries provide longer run-time. www.makita.co.za

ECHO SRM420ES BRUSH CUTTER Environmental awareness has been the cornerstone of ECHO’s philosophy for three decades. ECHO has a long history of developing technology, relationships, and processes that keep the environment at the forefront. Whether it’s emissions reduction, contributing to conservation initiatives and habitat restoration, or a recycling programme, ECHO says it is proud of the achievements its made and are committed to future initiatives.

When work demands the absolute best tools on the market, the Echo SRM420ES is the go-to. It's an industry-leading brushcutter with impressive features, giving a performance that is unrivalled. This machine is equipped with a 41.5cc engine, output of 1.78kw, with a dry weight of 8.5kg. This SRM420ES with best-in-class features is designed to help green space professionals perform their jobs better in their respective applications.

Features like light weight, increased power, vibration reduction and longer run-times, all contribute to getting one job done and moving onto the next. Superior work demands superior products, and that’s what you get from the ECHO SRM420ES brush cutter. www.multipowerimports.co.za

STIHL – GTA 26 CORDLESS SAW Innovative cordless cutting from STIHL The versatile STIHL GTA 26 cordless saw has revolutionised cutting for landscapers, gardeners, handymen and homeowners. Conveniently powered by a replaceable 10.8V rechargeable battery, this compact and lightweight machine combines high-mobility, low vibrations and manoeuvrability. The 10cm guide bar and chain easily slice through small branches and square or round timber with a precise cutting performance, with the low noise levels making it ideal for urban gardens. Quick, quiet and cordless cutting from STIHL. www.stihl.co.za

www.prolandscaper.co.za

February 2020 | Pro Landscaper Africa

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EQUIPMENT

Makita Cordless Outdoor Power Equipment CORDLESS INNOVATION TO PROVIDE STREAMLINED EFFICIENCY

M

akita has a rich history as one of the world leaders in the manufacture and supply of industrial power tools associated with quality, excellence and reliability, and has one of the world's largest cordless tool line-ups powered by an 18V slide-style battery.

Makita 18V batteries are engineered for consistent power and runtime and have the fastest charge times in their categories, so the tools spend more time working for maximum efficiency and performance. The Makita 3.0Ah battery charge time from cold is 22 minutes, 45 minutes for the 5.0Ah battery and 55 minutes for the 6.0Ah battery.

There are two options of fast charger currently available, the single charger DC18RC and the Two Port Multi Fast Charger DC18RD. There is also an Automotive available, understandably with a longer battery charge time. The Fast Chargers (normally sold separately) have a smart-charging system that communicates with the battery during the charging process to monitor current, voltage and temperature.

This advanced charging technology helps to optimize battery life and deliver a faster charge.

In addition, the charger has a built-in fan to cool the battery.

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Pro Landscaper Africa | February 2020

Makita 18V cordless tools are normally available as a tool only (without batteries and charger), so you can get what you need to expand your tool range, whether that be different size batteries, chargers or tools. Makita is currently running a Crazy Cordless Combo Promotion until the 31st May 2020 offering various Outdoor Power Equipment models in kit form (consisting of a tool, battery/batteries and a charger).

energy output from the battery so you get increased RPM and torque when you need it. The brushless motor runs cooler and more efficiently for a longer life.

Makita keeps at the forefront of innovation by undertaking continuous research and development. Over the last number of years a big part thereof is the high performance brushless DC motor (BL Motor) that is used in most of the Twin Battery tools. There are numerous other innovations including eXtreme Protection Technology (XPT) that provides added protection against dust and moisture.

There are a whole host of cordless Outdoor Power Equipment (OPE) tools available for both commercial and home users some of which include the BL Motors and most of which include XPT. The range includes Chainsaws, Trimmers, Brush Cutters, Blowers, Hedge Trimmers and Recipro Saws to name a few and there is even a battery assisted Wheelbarrow.

Brushless tools are engineered for longer run time, increased power and speed, and longer tool life. The Makita brushless motor is electronically controlled to optimize battery energy use for up to 50% longer run time per charge. Electronic controls constantly monitor the changing demands of each application, regulating and adjusting the flow of current to the brushless motor in real time and delivering optimum

The benefits of using Cordless Outdoor Power Equipment include Low Noise levels, a Cleaner Greener Environment with Zero emissions and Ease of use.

Makita’s Outdoor Power Equipment market share continues to grow steadily and Makita is planning to add more outdoor products to their range on an ongoing basis. www.makita.co.za

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Where Quality & Creativity Meet

1) Build single leaf. (12.5 Blocks M2) 2) No costly plastering & on going painting costs.

3) All products are sealed during manufacturing with the latest sealant technology.

DSM Sentinel Range

Sentinel (Full or Half) Corner Block Left corner shown

Sentinel Full Wall Block

Sentinel 200mm Capping Block

Sentinel Half Wall Block

1) 2) 3) 4) 5) 6)

Prestige & Quality Near Vertical Walls Do It Yourself No Concrete Footings Flexible 90° Corners, Steps, Straight or Curved Walls Commercial or Civil Walls to 6 Meters High

Curves For Convex curved walls simply knock the back fin off the block with a hammer.

MINIMUM RADIUS Curve Sentinel Full Blocks: 1300mm Sentinel Half Blocks: 650mm s This is the min. radius of the top course.

Adjust lower courses allowing for 10mm step back.

Office : 011-964-1001

Corners Corners are built by adhesively fixing the purpose made corner blocks to alternate courses.

Allowances should be made for a 10mm step back per course.

Lugs must be removed from the Sentinel Blocks to ensure that the corner block fits evenly.

www.dsmmasonry.co.za

Steps Steps can be easily built using a combination of Sentinel Blocks and capping units. The step risers are built with Sentinel blocks.

The capping units are then adhered to the top of the blocks to form the treads.

info@dsmmasonry.co.za

BEST STAND WINNER FUTURESCAPE 2019

Seamless flooring leads the way.

Bank City Precinct - Johannesburg CBD (3000m2)

In keeping abreast with International inner-city revitalisation projects worldwide, Seamless Flooring Systems was chosen to supply the colourful EPDM pedestrian and vehicular flooring in the JHB CBD.This is a world first for a project of this scale.

The benefits of our 15mm EPDM rubber system are: • • • • • •

Used for multi-sport, playground, landscaping and recreational areas Ultra-durable, flexible and impact resistant surfacing Flame retardant and eco-friendly UV stable, colour fast and weatherproof Low maintenance & sustainable Available in an array of colour blends PlaySafe is a brand of

086 178 2789 - info@playsafe.africa www.seamlessflooring.co.za