sea 23

sea

school of

explorative

architecture

SEA is a non-profit company and cannot be bought or sold. We exist for the love of architecture and social betterment through engaged creativity.

Contents 01

Introduction

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A School of Explorative Architecture: A creative manifesto

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BAS 2023

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Class of 2023: first year Class of 2023: second year

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Learning through seeing:

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Events @ SEA

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Learning together:

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Community engagements @ SEA 2023

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Learning through making:

12 Studio 14 Pile of junk 20 Hybrid 28 Studio elective 01: ‘Act 1’ 38 Plaything 46 Parasite 54 Guardian Spirit 64 Narkomjunga Infinité 72 Non - Library

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Acknowledgements

80 Founding circle 82 Acknowledgements

school of explorative architecture (RF) NPC

school of explorative architecture (RF) NPC

Introduction A School of Explorative Architecture: What it means to be at SEA...

Deserts and nomads are strange SEA creatures, but they exist. Even French philosophers agree.

The desert is the smooth space of the ocean, the ocean has its deserts. With the smooth space of nomadology comes journey and invention, a line of flight, a desiring machine. We could give you maps but they would be useless.

You are all at sea, overwhelmed by the lack of markings, landmarks and territories. It can be terrifying. What is this storm, this wild ride?You look around, you are not alone. We are all at sea. We are a ship of fools, as another French philosopher noted. Sailing with this Ship of fools.

We have collective wisdom, we just don’t know it yet. There are violent winds, we are just trying to stay afloat.

But if you look a bit closer you can see things submerged, things to hold onto, like shipwrecks from another civilization. You are moving so fast, it seems impossible to identify them. But there are bits from earlier versions of yourself, and things that you never knew were you. There are contours and outlines of ideas in things. You see some things you never knew you had seen before, but you had. And if that is not enough then there are fables and myths to hold onto. Did you see your reflection in the water? Were you paying attention to the material?

Slowly it is apparent that the smooth space you are in is a desert with solid ground. The enormous waves are the peaks of giant sand dunes. You are self propelling. You are moving across the desert. It’s hard going. It feels like you are walking on sinking sand. But then you hitch a ride on a ship of the desert, it appears seemingly out of nowhere. It’s two humps a lesson in themselves. You made this happen.

You conjured this world. It’s clear that the SEA

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is a desert you can survive in if you work through a SEA of doubt.

“And then it

becomes apparent: The sea creatures were the ones that turned to oil…

Under the desert the sea! “ This is our second year afloat at the School of Explorative Architecture, and we are building the ship as we sail it. We are a bunch of space cadets, setting the controls for the heart of the sun. We are thinking beyond the horizon, which is the limit of what we know. We are a ship of fools, relocating ourselves offshore to survive social upheaval. The sea is all around us, architects, awaiting to inundate and wash us away through its many versions. It brought us life, but it also brought us trouble—the Phoenicians and the Dhow, and then the schooner and the slaver. It brought us the horizon. The sea of the moon, the moon in the sea. It brought us a ship of fools, a desert as a smooth space across which nomadic ships sail. The sea is the salt of all life, a creative battery brine that charges us with uncertainty.

We thank you all for an amazing and enriching year out at SEA.

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school of explorative architecture (RF) NPC

Class of 2023 first year

Seth Davies

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Faith Pietersen

Rutendo Mangwiro

Abigail Correia

Chiamaka Joy Uzoma

Tylo Barends

Thando Jacques Zwane

Shannon Oesch

Devoux Kruger

Hannah Loudon

Leigh Jansen

Faranah Sage

Khanya Mhlati

Sophie Brouckaert

Benjamin Smith

Matthew Tullis

Chloe Landsberg

Dominic Harris

Mika’eel Mayet

Thabo Ntai

Vuyo Mukosa

Cindy Esterhuyse

Scarlett Hogan

‘I now see things differently & can communicate my ideas through drawings.’

‘Each project has pushed me out of my comfort zone in terms of my thought process and adapting my approach to problems.’

“Architecture encompasses the understanding of everything around and within us.”

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Class of 2023 second year

Kelly Fortuin

Simone Atties

Nelsia Massuanganhe

Daleel Hendricks

Tristan Link

Mbali Mbense

Benji Ashfield

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Gizelle Van Der Westhuizen

Justine Holtmann

Ant Swanepoel

Tess Houston

Alunga-Tesla Nomfenge

Prettynes Marawu

Zander Venter

Venus Chamunorwa

Jasmine Kalambayi

‘I love how at SEA we are encouraged to reject conventional modes of thinking to embrace the creative out of the box.

Kirsten Michaels

Wes Walbrugh

“I learned that practice never makes perfect... but it does make design better.”

“Studying the land, understanding the place is my favorite thing about architecture.”

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Exquiste Corpse of Architectural Worlds

SEA’s Winter Show

Open Studios

01 June 2023 Student Winter Showcase

18 October 2023 SEA x Open Studios

Sip & Sketch

The Architecture of Peter Rich

03 August 2023 Interactive night of drawing led by our first year students

2 November 2023 Conversations with Africa by Jonathon Noble

Print your own ‘Tee’

Quarry to Cornerstone

SEA’s Summer Show

4 May 2023 Print your own T(shirt) at SEA led by our second year students.

07 September 2023 Rocks to buildings by Tommy Brummer

07 December 2023 Student Summer Showcase

2 February 2023

The City of Everyone 2 March 2023 Tourisim and open space networks

by Don Albert

Learning through seeing: events 6

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school of explorative architecture (RF) NPC

‘As architects, we have so much to learn from local communities about place,ways of making, and relating to the site.’

Learning together:

community engagement This year, first year students participated in a community engagement project in Khayelitsha, partnering with landscape architect Amy Thompson of Yes And Studio to address spatial issues around food production through an agrihub. Our second-year students got to explore farming and making in the land with Kurt Ackerman of the SA Urban Food & Farming Trust.

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work by Vuyo Mukosa

work by Abigail Correia, Dominic Harris, Khanya Mhlati, Matthew Tullis Faranah Sage

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work by Benji Ashfield

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Learning through making: studio ‘My favorite thing about the way we learn about architecture at SEA is that we can explore a variety of materials, assemblies, and processes.’

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The essence of studio culture emerges as we engage in collaborative creation. Diverse projects have encouraged our students to explore architectural possibilities by experimenting with the interplay of light and materials, prompting them to ponder the ‘what if’ scenarios in design.

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Pile of junk ‘pile of junk’ challenges the students imaginative and rational skills through spatial world building.

Students created their assemblages composed of ‘junk’ materials and then transformed these abstract compositions into inhabitable sections through a series of explorations. This project introduces the notion of understanding and representing space, inhabitation, scale, and architecture as a language.

This task challenged the class to then was to imagine what activities were drafted. They were aware that certain spaces suggested a certain kind of inhabitation; in other words, they were to ‘read’ their spaces to find an appropriate activity to take place there. They could adjust and add some ‘floor slight. A level of simplification may have been necessary. As part of this task, they were to develop a narrative (a narrative is like a story to have particular characters or people in mind) about the inhabitation of the spaces. Again, the challenge was one of imagination and representation: what they did NOT want was a set of labels saying ‘bedroom,’ ‘ballroom,’ ‘abattoir,’ etc. Another difficulty they had to deal with was the ‘top’ of the object/space.They had to decide if some of the object/space would be located below ground and if some of the planes or pieces of the object were to be transparent or translucent.

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5.0 Shannon Oesch

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5.1 Scarlett Hogan 5.2 Thando Jacques Zwane 5.3 Leigh Jansen 5.4 Mika’eel Mayet 5.5 Seth Davies

5.1

5.2

5.3

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5.4

5. 5

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5.8

5.6 5.6 Sophie Brouckaert 5.7 Faranah Sage 5.8 Vuyo Mukosa 5.9 Cindy Esterhuyse

5.7

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5.9

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Hybrid By cutting, merging & remaking, a hybrid school had been created...

Architecture never occurs in a vacuum. One of the influences on an architect is the mass of past buildings and projects that exist in the world – a resource and reference. We can consider all art in some way to be a development or extension of ideas that have preceded it. The ‘Hybrid’ project took these ideas a bit further by literally combining two pre-existing buildings into a new structure.The project had drawn inspiration from rap, house, and hip-hop, genres known for sampling existing motifs, weaving borrowed elements with new phrases to create a hybrid. This new expression had evolved directly from its ‘parents,’ with sample motifs often recognizable in the mix or seamlessly integrated, challenging distinction. Similarly, the creative process had involved skillfully crafting a new order and structure from diverse musical phrases. In a parallel endeavor, the project had invited students to analyze two school precedents, one local and another international. Through the process of sampling, cutting, and remaking, a hybrid new version had been created, encompassing features from both analyzed schools into a novel creation.

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= Merge

6.0 Chloe Landsberg

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6.1 Benjamin Smith 6.2 Chiamaka Joy Uzoma 6.3 Cindy Esterhuyse

6.1

6.2

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6.3

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6.4 Dominic Harris 6.5 Scarlett Hogan 6.6 Vuyo Mukosa

6.5

6.4

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6.7 Sophie Brouckaert 6.8 Tylo Barends

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‘Act 1’

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Design

Elective 01

Act 1 explores notions around building with waste in the V & A Waterfront.

The MAAK is an award-winning spatial practice based in Cape Town, South Africa, and operates as a design-led studio with a strong emphasis on process and people. Rooted in materials, they guide their work to explore a diverse range of spatial, social, and academic inquiries. In 2023, they led SEA’s inaugural design elective, titled ‘Act 1,’ which delved into the potential of building with waste. This 8-week research module at SEA aligned with their philosophy of ‘public space making,’ grounded in the belief that “to be interested in buildings is to be interested in people.”

The collaboration between SEA and MAAK occupied a distinctive space, weaving together social impact architecture, experimental spatial pedagogy, and a platform for design discourse. On March 24th, SEA x MAAK proudly unveiled four new explorative buildings at the V&A Waterfront. ‘Act 1’ explored hyper-contextual vernacular evolutions through the theatrical and spatial reimagining of everyday waste materials.In collaborative groups, participants of ‘Act 1’ took on the challenge of reimagining materials from the V&A’s waste management plant, transforming them into viable building components and innovative explorative architecture. This work not only questioned preconceived ideas about our material landscape but also posed a fundamental question: Are waste materials the key to discovering the next steps for our industry?

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Plastic Pupa Students: Prettynes Marawu,Kelly Fortuin, Benji Ashfield,Tess Houston

This structure is situated in the Silo district, adjacent to the Zietz Museum of Contemporary Art Africa(MOCAA), presenting itself as an organic, dome-like formation with an opening at the top. Constructed from plastic waste compressed and wrapped in cling wrap, sourced from the V & A Waterfront’s waste plant, our primary objective was to establish an interactive, inhabited space. This goal was realized by assembling an enclosure, where each component was stacked akin to bricks at the structure’s base, ranging in size from the largest to the smallest. At the summit of the structure, one finds plastic balls and air-filled plastic bags. The utilization of compression in crafting these components, along with their strategic stacking, imparted a profound understanding of the weight and reality of the volume of plastic waste generated by the V & A Waterfront.

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Glass Symphony Students: Gizelle Van Der Westhuizen ,Zander Venter, Alunga-Tesla Nomfenge,Tristan Link

The glass bottle site is an open public space designed for unrestricted movement. Glass bottles function as columns, evoking ancient ruins, notably a coliseum. Originally crafted from sand, the project aims to showcase the material’s transformation into glass, offering diverse possibilities for lighting and structure. The design maximizes natural light by day and incorporates solar lights at night, reflecting the vibrancy of a city in the evening. Bottle caps encircle the columns, symbolizing the unity between glass and lid. Randomly placed smaller bottles tell a unique waste narrative, their orientations capturing the sounds produced by the wind interacting with the glass.

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Chaos & Cosmos Students: Wes Walbrugh, Ant Swanepoel, Daleel Hendricks,Simone Atties,Venus Chamunorwa

Chaos denotes randomness and unpredictability, contrasting with cosmos, representing order and symmetry. Our structure, crafted from 1300 recycled plastic clothing hangers, forms modular panels using cable ties. Combining three panels creates a triangular prism, and five panels make a cube.Strategically juxtaposing chaos and cosmos, we designed a winding pathway through interconnected spaces, fostering immersion and exploration. The structure engages occupants visually with intricate patterns and shadow effects that evolve with the sun’s path.The resulting environment is both functional and engaging, offering diverse explorative experiences.

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Cardboard Canopy:Sustainable Oasis Students: Mbali Mbense, Nelsia Massuanganhe,Justine Holtmann,Kirsten Michaels,Jasmine Kamwanya

This project features an organic hanging structure crafted entirely from recycled cardboard boxes sourced from the V&A Waterfront waste plant. We explored various aspects of the material, creating a performance space for public interaction. The open design allows for a seamless flow between people and nature. The lightweight cardboard panels mimic natural forms, shaping an open and free structure. Within this space, a seating area is nestled beneath the organic form, evoking a fantasy world. Sitting here, one feels immersed in the embodiment of a tree. The design harmonizes with the surrounding environment, preserving natural views and walkways for the public.

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Plaything ‘Plaything’ introduces abstraction as a foundational tool to create & inspire order in design for the first years at SEA.

Deer Park, situated on the lower slopes of Table Mountain at the rim of the city bowl, undergoes a transformation into a diverse playground. The park is initially divided into equal-sized plots and re-imagined as a ‘form’ menagerie. Students then individually redesign the terrain on their assigned plots, turning their experiments into ‘playthings’ within this bucolic landscape.

The process begins with design sketches of universal forms, primarily orthogonal and organic geometries derived from site drawings. These sketches are physically modeled into forms in the studio, compared to the human body, multiplied, mirrored, subtracted, dimensionally transformed, and eventually reorganized into architectural parti models. Each student adopts unique rules that govern their formal and spatial experiments, explicitly practicing architectural order.

Deer Park’s terrain becomes a design medium, remodeled, manipulated, and graded to create a playground for students to explore and locate their formal design experiments. Through this process, students understand how the park’s nature, context, and steep slope influence the materiality, atmosphere, and types of spaces their designs create. These abstract form experiments in the playground landscape then transform into playground equipment for their

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8.0 Seth Davies

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8.1 Hannah Loudon

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8.2 Thando Jacques Zwane

8.3 Scarlett Hogan 8.2 Hannah Loudon

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8.4

8.6

8.5 8.4 Khanya Mhlati 8.5 Mika’eel Mayet 8.6 Rutendo Mangwiro 8.7 Matthew Tullis 8.7 42

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8.8 Leigh Jansen 8.9 Faith Pietersen 8.10 Chiamaka Joy Uzoma 8.11 Sophie Brouckaert

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4.15 8.8

8.9

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8.10

4.18

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Parasite Creating new layered worlds through material exploration in inner city Cape Town.

In Parasite SEA explored sites of dependency, navigating a world of recycling and repurposing where it was ‘adapt or die.’ Your design became an opportunity to inject new life into a hollow husk of a building. By definition, parasites require a host, creatures that fed off others. Parasites often inhabited the spaces between things; they fed off existing buildings and structures without killing their host, as that would result in their own demise.

The lexical meaning of the prefix ‘para’ implied similarity or closeness, resembling and closely related to. The term ‘site’ as a verb meant to ‘fix or build something in a particular place.’ In the Korean film “Parasite” by Bong Joon-ho, the struggling Kim family seized an opportunity when their son started working for the wealthy Park family. They infiltrated and soon found ways to work for the same family to extract wealth.

Through our medium of material explorations involving frame, platform, screen, and armor, our aim was to create an architectural insect-like infestation ripe for exploiting a host. Your goal was to construct a world for your creature’s occupation.

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9.0 Devoux Kruger

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9.1 Sophie Brouckaert 9.2 Tylo Barend

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9.3 Devoux Kruger 9.4 Matthew Tullis 9.5 Abigail Correia 9.6 Chiamaka Joy Uzoma

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9.4

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4.21

9.5

9.6

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9.7 Vuyo Mukosa 9.8 Rutendo Mangwiro 9.9 Chloe Landsberg 9.10 Khanya Mhlati 9.11 Scarlett Hogan

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4.209.8

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Guardian Spirit Anthropomorphic animated spatial structures in the V & A Waterfront

Building upon the concepts introduced in the “Act One” installation, we delved into the era preceding the Waterfront. We pondered: What existed before? Three elements were selected to bring into presence. Three mediums and working methods were chosen to explore these voids, emphasizing abstraction over figurative representation. Various techniques were experimented with—collage (analogue and digital), painting, cutting, erasing, dripping—whatever proved pertinent and fruitful. These were regarded as explorations that might not yield immediate success but would unveil insights during the process.

Nine Guardian Spirits were conceptualized in relation to specific enigmatic conditions of the site and an interplay of movement and material. These Guardian Spirits became animated. The aim was for students to understand the locale as a potential for placemaking and to propose how the Guardian Spirits would integrate into movement routes or generate new movement routes and connections to other activities at the Waterfront. This was achieved via model making, montage, analytical sketches, and drawings such as ‘figure-ground’ to refine the Guardian Spirits and enhance their placemaking potential.

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10.0 Ant Swanepoel

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10.1 4.15

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10.4

10.1 Benji Ashfield 10.2 Alunga-Tesla Nomfenge 10.3 Daleel Hendricks 10.4 Nelsia Massuanganhe 10.5 Zander Venter

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10.6

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10.8

10.6 Jasmine Kalambayi 10.7 Tess Houston 10.8 Kelly Fortuin 10.9 Justine Holtmann

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10.9

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10.10 Gizelle Van Der Westhuizen 10.11 Prettynes Marawu 10.12 Venus Chamunorwa

10.10 10.13 Mbali Mbense

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10.12

10.14 Mbali Mbense

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10.15 Simone Atties

10.16 Tristan Link

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10.17 Wes Walbrugh

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Narkomjunga Infinité We declare - Our city is more than topography! Our city is a choreography!

We invite you to walk with SEA in the East city, don’t march, lengthen your stride, as you walk down Roeland Street, feel your heartbeat race as your pace increases and gravity pulls you down the slope toward Company’s Gardens. We walk a new walk to find a new African rhythm, we dance in the lap of Table Mountain, we imagine our city, not as a place that is completely new, but as a familiar place for people to gather. All the world’s a stage, a collection of rooms and a theater for people. We advocate explorative freedom, collapsing the distance between places, collapsing the distance between the duties of citizenship and the fruits of an independent ego.

Our 1st-year studio authored “Narkomfunga Infinite” as a vision of what city living in Cape Town CBD could be like. We offer the citizens of Cape Town our vision: a strategically placed, multi-authored, urban-scale intervention that we believe may serve as a model for change—an optimistic vision for the city. We present a means for the city to function better as an economic engine, generating greater wealth, distributing wealth more equitably, featuring tree-lined streets or a green lung, and offering an imaginative approach to combat poverty, urban decay, business flight, and economic degradation. We formulated strategic aims, born from processes of investigation, analysis, debate, dialogue, and design development to ensure that our urban proposal remains people-focused.

Project Strategic Aims: - Fill in the urban lots of Cape Town East City by designing lively places within them. This expels the ghosts of forced removal, eliminating the feeling of inhuman poverty, suffering, and apocalyptic blight.

- Create defensible space, providing security without barbed wire and electric fences, to ameliorate the securitization of the public realm.

- Counter the increased post-COVID alienation and homelessness of the poor by introducing a mixed-tenure housing program.

- Prevent the deleterious effects of derelict land and building invasions by activating an increasingly inactive public realm.

- Create parks, green spaces, and tree planting within the urban fabric.

Ameliorate the loss of historic built fabric and the memory of past injustice.

On the 1st of November, we exhibited a collaborative exhibition, ‘Crossover: Walking the City with UCT and CPUT,’ at the Cape Institute for Architects (CIFA).

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11.0 Tylo Barends

11.1 Dominic Harris 66

11.2 Chiamaka Joy Uzoma 67

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11.3 11.5 11.3 Matthew Tullis 11.4 Hannah Loudon 11.5 Faith Pietersen 11.6 Mika’eel Mayet

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11.8 Seth Davies

11.7 Thabo Ntai

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11.9 Abigail Correia

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Non - Library Re-imagining the library typology for community engagment in Walmer Estate.

Libraries have changed their type over the years. This is reflected in the shifting names now given to libraries: • • • • • • • •

Learning centre Information centre Media centre Learning commons Mediatheque Cultural house Community centre Idea store

In the context of Walmer Estate, Cape Town, there is a specific kind of community library needed, namely one that can act as a collector for school kids of all ages from the surrounding seven ‘township’ and local schools and act as a safe place / homework space before heading home with parents or older siblings via taxi or public transport. A ‘makers space’ can also be seen as a key part of a community library that entices and engages young people in ‘STEAM’ activities – even if just to access top end computers for gaming! With the eventual redevelopment of District Six, the small community library can also be integrated into the greater urban context.The students were tasked with the following: Task 1: designing a beautiful and joyful library.

The Western Cape government had provided a schedule of accommodation for one of their typical ‘community libraries,’ which had been adapted to suit the Walmer Estate site. Their task was to design a library that young people would want to spend as much of their after-school time in as possible.

It should also fit in the schedule of accommodation (with some leeway).

The allocation of spaces to floor levels was suggested and was not to be taken as required. As designers, their job was to design the library with their own rationale. This is what the ‘programme’ needed, or designing from the inside out. Their focus was on the joy, comfort, and ease of the users of the space. Students had to decide where on the scale between “clubhouse” and “quite please!” their library would work.

Task 2: designing an urban building.

A building in the city, and especially a necessarily ‘public’ one such as a library, was required to add to the public realm and make a positive contribution to the city. As such, their library needed to find ways in which it could integrate and contribute to its context and surrounds. This was what the site needed, or ‘designing from the outside in.’

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12.0 Mbali Mbense

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12.1 Benji Ashfield

12.3 Jasmine Kalambayi

12.2 Daleel Hendricks

12.4 Ant Swanepoel

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12.6 Kirsten Michaels

12.5 Gizelle Van Der Westhuizen 12.7 Kelly Fortuin 76

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12.10 Zander Venter 12.8 Prettynes Marawu

12.9 Tess Houston

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12.11 Justine Holtmann

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Founding Circle 2023

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Acknowledgements Academic Staff: Dr Nicholas Coetzer (Director) Albert van Jaarsveld (Director: Academic) Katya Krat (Part-time) Support Staff: Julie Thompsett (School Manager and Academic Administrator) Athenkosi Maqubela (Student Relations) Theresa Ilonze (Librarian) Studio Elective 2: Act One - Max Melvill and Ashleigh Killa (The MAAK) Tutors: Garth Francis, Paul Elliott, Hans Viljoen, Matthew Eberhard, Jana Scriba, Bayo Windapo, Fierdouz Hendricks

Special thanks: Spier Arts Trust, Spier Wine Farm, The Doris Crossley Foundation, SAOTA, Alex Stewart and Partners, DHK Architects, Caragh Barwise (The Craft and Design Institute), Karla de la Bat and the V&A Waterfront, Kurt Ackermann (SA Urban Food & Farming Trust), Ian Summers (Langa Agrihub), Kyle Mackintosh (for building Narkomjunga Infinite Lumion model), Guy Woodhouse, Francesca Merton, Garth Francis (CifA exhibition poster design), First Year Field trip – Peter Neokorides, Cobus Stemmit & Ebbie Lamprechts (HG Molenaar & Co.), Jimmy Clift (JA Clift and Sons), SAOTA tutors: Zonika van der Riet , Keerathi Patel, Luphiwo Tanda and Alex Coetzee and SAOTA VR organized by Oliver Hall and Jozi Ntuthuko.

SEA Founding Circle 2023: SAOTA, Alex Stewart & Partners, Soundspacedesign, Jacobs Parker Architects, Meyer & Associates, Open City Architecture, Metropolis Design, Mira Architects, dhk Architects, Jakupa Architects and Urban Designers, Stretch Architects, KMH architects, Salt Architects.

Board of Directors: Albert van Jaarsveld (Chair) Mokena Makeka Carson Smuts Dr Nicholas Coetzer Advisory Board: Mirna Wessels Nina Saunders Winnie Sze Yewande Omotoso Greg Truen Micheal Lin Special Lecture Series / Mini Projects: Hans Viljoen – ‘Elements’ Vernon Collis – ‘Structures’ Amy Thompson – Khayelitsha Urban Farmers Guest Lectures: Axel Kayoka (Macsteel), Jeanette Unite (Paint Matters), Pierre Fouche (Art Lace), Winnie Sze and Kevin Fellingham (Witches as types), Stephen Hitchcock (Stretch Architects), Annemie van den Heever and Christiaan van Aswegen (Hours Clear Architects), Pierre Swanepoel (DHK Architects), Philip Stiekema (Team Architects), Jim Hislop, Guy Simpson, Peter Rich, Abrie Visagie and Jasper Venter (JNA Thatchers), Nicola Irving and Charlotte Chamberlain (CCNIA), Tarna Klitzner (TK-LA), Ashley Hemraj and Thaufir Davids (Spatial Planning and Environment Directorate – City of Cape Town), Chen Nakar (Bergstan), Rene Winzker (2 AD Space Architects), Jamie Smily (XLAM), Michál Cohen (Walters & Cohen Architects), Max Melvill and Ashleigh Killa (TheMAAK), Astrid Wicht (Walking Cafe), Jo Noero (Noero Architects), Alfredo Brillembourg and Fred Levrat (Urban-Think Tank). Allistair Cloete (Corobrick), Guy Briggs (DHK) Principles of Urban Design, Paul Elliott (African space making, sacred geometry and spatial planning lecture series) Guest Critics: Peter Neokorides, Annemie van den Heever, Christiaan van Aswegen, Don Albert, Jonathan Noble, Bettina Woodward, Daphne Nederstigt, Jon Jacobson, Christiaan van Aswegen, Warren Papier, Rese Boshoff, Waheed Parker, Gustav Roberts, Philippa Tumubweinee , Greg Truen , Hans Viljoen, Alex Stewart, Daniel Xu, Nina Saunders, Carin Smuts, 82

SEA Summer Show Editorial 2023: Design, curation, copy & editing: Katya Krat ‘A School of Explorative Architecture: What it means to be at SEA...’ text by Nic Coetzer External Examiners: Second Year: Daniel Xu, Chisomo Phiri, Stella Papanicolaou, Thinus Venter First year Studio: Philippa Tumubweinee & Daniel Xu, Jonathan Noble First Year Building: Studies: Fierdouz Hendricks & Hans Viljoen CifA exhibition steering committee: Asa Gordon (CifA) Llyod Pretorius (CPUT) Lynette Thabo (CPUT) Michael-Tietz Geldenhuys (UCT) Dr Philippa Tumubweinee (UCT) Albert van Jaarsveld (SEA) 83