AWARDS REGIONAL AWARDS FOR ARCHITECTUREsaia.org.za/wp-content/uploads/2014/09/Awards-Booklet-2014.pdf · awards regional awards for architecture ... this is the fourth time that the

2013/2014

SOUTH AFRICANINSTITUTE OF ARCHITECTS

AWARDS FOR EXCELLENCEAWARDS OF MERIT COMMENDATIONS

REGIONAL AWARDS FOR ARCHITECTURE

AW

AR

DSAN IMPORTANT FUNCTION OF THE SOUTH AFRICAN INSTITUTE OF ARCHITECTS (SAIA) IS TO RECOGNISE

AND PROMOTE EXCELLENCE IN ARCHITECTURE AND TO CREATE PUBLIC AWARENESS AND DEBATE ON ARCHITECTURAL ISSUES. THIS IS DONE THROUGH VARIOUS INITIATIVES, ONE OF WHICH IS THE PUBLICATION OF MAGAZINES AND BOOKS.

THIS IS THE FOURTH TIME THAT THE BOOK ON THE SAIA AWARDS PROGRAMME HAS BEEN PUBLISHED. IT CONTAINS THE LATEST CYCLE OF THE AWARDS FOR EXCELLENCE, MERIT AWARDS, COMMENDATIONS AND REGIONAL AWARDS FOR ARCHITECTURE.

THE INSTITUTE’S AWARDS PROGRAMME IS RUN OVER TWO YEARS; A PROJECT HAS TO WIN A REGIONAL AWARD FOR ARCHITECTURE IN ORDER TO QUALIFY FOR CONSIDERATION FOR THE MERIT AWARD AND ONLY MERIT AWARD WINNERS QUALIFY FOR CONSIDERAION FOR THE AWARD FOR EXCELLENCE.

R230 (INCL VAT)

AWARDS 2013/2014

FOR MORE INFORMATION CONTACT THE SOUTH AFRICAN INSTITUTE OF ARCHITECTSTEL: (011) 782 1315 | FAX: (011) 782 8771 | E-MAIL: [email protected]

I am thrilled to be the Patron of UIA2014 Durban.

It is not just the largest gathering of architects to have ever taken place in Southern Africa,it is also, significantly, the 25th UIA Congress - and it takes place in South Africa’s 20th Yearof Democracy. The gathering comes at a particularly poignant time in South Africa’s development.

We are very conscious of the fact that the neighbourhoods in which we live, and the relativequalities of life we enjoy, remain totally skewed by our divided history. This is not solely a SouthAfrican challenge; a massive gap in living standards is a global affliction.

We need cities, services, housing and human settlements that are more habitable, moreintegrated, more functional and more beautiful, so that all God’s people - rich and poor, black,green, pink and white - feel valued and can live dignified lives.

God bless you!

WE ARE INCREDIBLY PROUD AND HONOURED TO HAVEARCHBISHOP EMERITUS DESMOND TUTUAS THE PATRON OF THE UIA2014 CONGRESS ON ARCHITECTURE

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2013/2014

SOUTH AFRICANINSTITUTE OF ARCHITECTS

(SAIA)

AWARDS FOR EXCELLENCEAWARDS OF MERIT COMMENDATIONS

REGIONAL AWARDS FOR ARCHITECTURE

upfront.indd 1 2014/07/23 4:09 PM

EDITORIAL COLLECTIVE PROFESSOR PAUL KOTZE, MALCOLM CAMPBELLEDITORIAL CONTRIBUTOR DEBBIE PRELLERSAIA SUPPORT TEAM DEBBIE KIRK, MARLENE VAN NIEUWENHUIZEN

PICASSO HEADLINETIMES MEDIA BUILDINGCENTRAL PARK, BLACK RIVER PARKFIR STREET, OBSERVATORY, 7925CAPE TOWN 8001, SOUTH AFRICATEL +27 21 469 2400 FAX +27 86 6822 926

CONTENT MANAGER RAINA JULIESHEAD OF DESIGN STUDIO JAYNE MACE-FERGUSONDESIGNERS LEO ABRAHAMS, MFUNDO NDZOCOPY EDITOR VANESSA ROGERSPRODUCTION EDITOR SHAMIELA BRENNERBUSINESS MANAGER ROBIN CARPENTER-FRANK

SENIOR GM NEWSPAPERS AND MAGAZINES MIKE TISSONGASSOCIATE PUBLISHER JOCELYNE BAYER

COPYRIGHT: PICASSO HEADLINE AND THE SOUTH AFRICAN INSTITUTE OF ARCHITECTS (SAIA). NO PORTION OF

THIS BOOK MAY BE REPRODUCED IN ANY FORM WITHOUT THE WRITTEN CONSENT OF THE PUBLISHERS. PICASSO

HEADLINE REG: 59/01754/07 IS A SUBSIDIARY OF THE TIMES MEDIA GROUP. THE PUBLISHERS ARE NOT

RESPONSIBLE FOR UNSOLICITED MATERIAL, AND THE OPINIONS EXPRESSED ARE NOT NECESSARILY THOSE OF

PICASSO HEADLINE. SPONSORSHIP HAS BEEN PAID FOR AND THEREFORE DOES NOT CARRY ANY ENDORESMENT

BY SAIA OR THE PUBLISHERS.

ISBN 978-0-620-42146-1

PRINTED BY CTP PRINTERS CAPE TOWN

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CONT

ENTS

4 PREFACE (MESSAGE FROM SPONSOR)5 FOREWORD6 ADJUDICATORS’ REPORT9 AWARDS OF EXCELLENCE 2013/201429 AWARDS OF MERIT 2013/201459 COMMENDATIONS65 REGIONAL AWARDS 2013/2014108 AWARDS LEGACY

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We are again delighted, as a Patron of architecture and sponsor of the South African Institute of Architects Awards of Merit and Excellence programme, to preface this wonderful catalogue of great recent South African architecture.

South Africa certainly presents architects with exciting challenges consequent to varying topography and climates, often limited budgets and an evolving multicultural society where public architecture is required to be more engaging, transformative and inclusive. And then there are the many important design and specification considerations surrounding climate change, in order that we use non-renewable resources more effectively and tread with greater circumspection on our planet.

Each of the projects displayed in this book has passed the critical review of both the regional and national adjudication committees and has successfully addressed the challenges mentioned above, presenting an architecture founded on sound programmes, in context, demonstrating resource efficiency that extends into the future and using materiality that is innovative, right and proper.

Corobrik salutes the architects whose work is represented in this book, not only for the architectural merit of their buildings, but for conceiving architecture with the propensity to delight.

Dirk MeyerManaging Director, CorobrikPR

EFAC

E

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FORE

WOR

D Architecture is the most visible and functional of public arts. Works reflect the thinking, debates, mores, philosophies and concerns of an era, which remain observable on a landscape for countless generations. In this way, architecture leaves an indelible legacy, not only for the architects concerned, but for an entire generation.

One of the main functions of the South African Institute of Architecture (SAIA) is to recognise and award outstanding architectural works. Following the regional awards last year, the most exceptional works identified regionally were judged this year in the national awards. The objective was to identify the very best of South African architecture created in recent times. The projects submitted for inclusion in this year’s awards programme were of a high standard and were extremely diverse in nature, ranging from academic works to private residences and community, public and private sector buildings. Given this diversity and the high standard of the projects entered, the challenge for the adjudicators was to find the essence of what made a project worthy of distinction and award.

Following several rounds of adjudication, our panel comprising a representative from our sponsor, Corobrik; a prominent architect; an academic architect; an eminent layperson; and the convenor of the adjudication panel, SAIA’s president, Sindile Ngonyama, made their final selection.

These award-winning works, together with those being put forward by the regional institutes, are contained in this Awards booklet. This booklet records, for posterity, the very best of South African architecture. And, as we host the International Union of Architects (UIA) Durban 2014, these works serve as a reminder that South African architects can hold their heads up high, not only amongst our own communities, but indeed worldwide.

Obert ChakarisaChief Executive Officer, SAIA

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ADJU

DICA

TORS

’RE

PORT

As it has become a known tradition of the South African Institute of Architects (SAIA) to recognise the work of high standard that gets produced by our members, it is heart-warming to note that the majority of the projects submitted for awards, are of an exceptionally high standard. At SAIA, we extend well-deserved acknowledgment to Corobrik, which continues without fail, to sponsor this prestigious awards programme.

I have, during my presidential term, continued this tradition of convening the awards programme without exception. We kick-started this year’s process in May 2013, whereby an all-inclusive workshop of jurors was convened to review and agree on the adjudication criteria to be adopted at regional and national levels.

This year’s team of national adjudicators comprises highly knowledgeable and respected persons, both in the field of creative arts and in that of academia. They are:

• Peter Kidger, who represented Corobrik, sponsor of the awards;• Annemarie Meintjes, Deputy Editor of VISI magazine;• Malcolm Campbell, an architect from ACG Architects & Developement Planners, and academic in his own right; • Paul Kotze, an architect and urban designer and professor at the School of Architecture & Planning of the University of the Witwatersrand; and• Sindile Ngonyama, SAIA President.

A total of forty-nine (49) varying submissions were received from the regions. The project range included residential projects, new public buildings, restoration of heritage projects and an academic research project.

After looking at the range of projects submitted and having carefully considered the agreed criteria developed at the workshop of May 2013, the national jurors met over a two-day period, in February 2014, to work through the submissions. The jurors emerged, out of this intense and highly engaging two-day session, with a shortlist of twenty-eight (28) projects and an academic work. There was a further agreement that all the selected projects were to be physically visited, so as to solidify the jurors’ selection and shortlisting decision.

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This was, on the one hand, a daunting task, but the positives which eventually came out of it, bore resounding results. The adjudicators got time to seriously engage not only with each other, as individuals with different outlooks on architectural trajectory and background, but also with the projects and their respective authors. This was certainly the most enriching and valuable outcome of the awards programme.

It is with pleasure that I now share with you the eight (8) projects that received Awards of Excellence; the fourteen (14) projects that received Awards of Merit; and the two (2) projects which the jurors agreed had not quite met the set criteria, but had demonstrated certain qualities that need to receive ongoing architectural debate, as we move our profession forward.

Subsequent to this experience, I came to the personal conclusion that SAIA needs to continue the debate and review process regarding the adjudication of its awards. Successful architectural submissions should not only talk to materiality, programmatic requirements, employment of resources and application of socio-cultural debates, but also engage and articulate the day-to-day intellectual and topical discourse of our ever-changing biophysical environment.

Best wishes

Sindile Ngonyama Pr Arch; MI ArchSAIA President

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EXCE

LLEN

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Adjudication panelSINDILE NGONYAMA - CONVENORPETER KIDGERPROF PAUL KOTZEMALCOLM CAMPBELLANNEMARIE MEINTJES

10 UNIVERSITY OF SOUTH AFRICA PHASE 212 BABYLONSTOREN TOURISM (PTY) LTD14 //HAPO_ FREEDOM PARK MUSEUM16 NEW ADDITION AT ST CYPRIAN’S GIRLS SCHOOL20 SPRINGFIELD CONVENT SCHOOL, PRE-SCHOOL CAMPUS, FRA ANGELICO ART CENTRE AND JASPER WALSH ART GALLERY22 DUNKIRK ALL SUITES HOTEL24 HOUSE KLEYNHANS26 HOUSE SNYDERS

2013

/201

4


UNIVERSITY OF SOUTH AFRICA PHASE 2, 15 JEAN SIMONIS STREET, PAROW

CitationBeyond the world-famous horizon line of Table Mountain and beyond the equally familiar horizon line of the Hottentots Holland mountain range is a context that hardly ever receives a positive mention in the press, let alone the architectural press. This sandy and windswept wasteland is euphemistically known as the Cape Flats. Parow, where the Phase 2 University of South Africa (UNISA) building is situated, is on the northern border of these sandy flats where the topography starts to rise towards the Tygerberg Hills. This context, a world away from the desirable and rather glamorous parts of the City of Cape Town, is mostly the domain of the poor working classes and where industrial production occurs.

Climatically and topographically, it is a difficult and demanding context for any architect to work with. In a building mass where there is no height to produce the relief of the view towards a distant horizon, the architect is restricted to an internalised world. This is, fortunately, not a problem in the hands of a gifted and careful architect. This project gives proof that Michelle Sandilands is precisely such an architect.

The typological form that is most obvious and logical to use in these kinds of contexts would be the perimeter block, and climatically it makes sense to enable the circulation of air and light by means of the section. In a somewhat altered form, this is what the architects have done.

The non-place qualities of the broader macro context extend unaltered to the immediate context of the building. The site is situated in a mixed-use area between the major arterial route of Voortrekker Road and the railway line from Cape Town to Bellville and beyond. The bulk of the building is sandwiched between the existing UNISA facilities and the railway line, rendering the site reasonably accessible to the students of this distance-learning university.

The architects were requested to provide accommodation for student registration, examination venues, teaching venues and administrative offices. This is not a ‘normal’ residential university, where the social aspects are so fundamentally important to the educational experience. Thus, it was seen to be crucial that such spaces should be created in order for a semblance of this socialisation process to occur. The univer-sity authorities also decided that this campus should be a showcase for sustainable building practice.

PRINCIPAL ARCHITECT MICHELE SANDILANDS

QUANTITY SURVEYOR BTKM QUANTITY SURVEYORS,

BRIAN MAHACHI, RODNEY WOOD

STRUCTURAL ENGINEER NADESON CONSULTING

SERVICES YOUSEF ISMAIL, THEO NEL

CIVIL ENGINEER NADESON CONSULTING

SERVICES CLINT STOCKWELL, ANDRE DYERS

for UNIVERSITY OF SOUTH AFRICAby MSa MICHELE SANDILANDS ARCHITECTS, CAPE TOWN

In principle, the newly created social space for the students became the most important space in the building. The remainder of the building mass was used to form this high-volume and light-filled space. The main student entry to the building is focused on this space and all circulation logically originates and ends here. Encircling and defining it, is the double-storey classroom and examination hall accommodation.

The section is ingeniously used to create a series of ventilation and light scoops to the teaching venues. This long teaching block is right up against the railway line to the south. The south façade is completely transparent, boldly creating a visual interaction between the learning activity and the intermittent passing trains with its daily community of commuters. The double-glazing façade reduces the possible noise interference from the trains, while also reducing energy consumption. The Fibonacci number system has been used to design the subdivisions and opening sections of this window wall. The light and ventilation towers ensure reflected daylight into these spaces, while also creating through ventilation via electronic sensors when

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10 UNIVERSITY OF SOUTH AFRICA PHASE 2


any of the windows are opened. Also, on the south side, is a series of water tanks storing the harvested rainwater that is used in the ablution facilities.

In this bleak and difficult environment, the architects have created a lyrical and inspiring place of learning by means of tectonics, detailing, materiality, mathe-matically inspired geometry and the near musical play that light and shadow creates through the sunscreens. Sandblasted paving bricks have been used for the walls throughout, and this brings an aged solidity to the building. In the metal detailing, the inherent qualities

of the chosen sections have been used to great poetic effect. In the open courtyard, an inspiring mosaic mural has been created by local artists. In the adjacent enclosed central courtyard, nature has been introduced in the form of trees growing in normal soil via openings in the floor. Overall, the building is solid and detailed for low maintenance without being cold and inhuman.

Every decision made by the architects speaks of a deep concern for the upliftment of the human condition and the judicious use of the earth’s resources. The architects’ careful consideration of every design decision in this building has created for every user a sense of comfort and delight. In many ways, the building also displays a sense of the textural to create a memorable place, as well as some abstract qualities to signify that the building houses a place of knowledge exchange and generation.

SECTION BB

SECTION AA

SOUTH EVALATION

UNIVERSITY OF SOUTH AFRICA PHASE 2 11


BABYLONSTOREN TOURISM (PTY) LTD, BETWEEN KLAPMUTS AND SIMONDIUM

CitationThis farm is the remaining piece of an 1692 VOC grant. It includes the historic werf of the original farm. The farm and a number of its buildings thus form part of the original Dutch colonisation of the Cape. It is located in the Drakenstein valley. The iconic horizon line of the mountain ranges in this part of the world overshadows whatever man places on the landscape. On the lower-lying and flatter terrain, the landscape is dominated by the geometric precision of intensive agriculture, in the form of vineyards and orchards. Architecture often acts as the man-made intermediary between the larger-scale natural elements, such as the mountain ranges and the smaller-scale agricultural activities. Very often these buildings take the form of low-slung, small-scale and relatively simple buildings with whitewashed walls and thatched roofs.

More often than not, these farm buildings are sometimes also consciously used in relation to natural elements, and to enclose space by means of low walls. These environments are born out of necessity, mostly the necessity of agricultural needs and the limitations imposed by building materials and technology. In this way, a cultural landscape has been produced that is of national and international importance. Many of these historic farms have experienced a constant evolutionary and natural change since inception. Within this process, the architectural question has always been one of how to obtain a balance between the historic and the contemporary. This balance, specifically in a globalised world, can only be achieved by a sure and secure vision of the past and the future and, obviously, by architectural restraint.

This is what Malherbe Rust Architects has achieved for the owners. Despite a relatively large capital investment in the farm, the architecture and new spaces created have retained a delicate character, whilst maintaining its rustic working-farm qualities.

The old structures on the farm, namely the manor house, cellar and koornhuis, have been carefully restored, new guest accommodation and facilities have been built on the footprint of previous workers’ housing (now rebuilt elsewhere on the farm), dilapidated outbuildings have been recycled as restaurants and a large new wine cellar has been constructed. A beautifully designed and impressively productive fruit and vegetable garden has also been created. Within this garden, traditional irrigation furrows have been reintroduced. In addition, a somewhat playful and idiosyncratic glasshouse and a shade structure for plants have been added to the ensemble.

ARCHITECT CHRIS FICK, JOHAN MALHERBE

STRUCTURAL AND CIVIL ENGINEERS DE VILLIERS

& HULME ENGINEERING, JOHN HULME

QUANTITY SURVEYOR DE LEEUW GROUP,

PIERRE DU PLESSIS

CONTRACTORS JJ DEMPERS MASTER BUILDERS,

ISIPANI CONSTRUCTION, JDV CONSTRUCTION AND

BAMBOU

LANDSCAPE DESIGN PATRICE TRAVELLA

ADDITIONAL LANDSCAPING: THE PINK GERANIUM

INTERIOR DESIGN JAMES BRUMMER ASSOCIATES

PHOTOGRAPHERS ARCHIGRAPHY – WIELAND

GLEICH

for BABYLONSTOREN TOURISM (LTY) LTDby MALHERBE RUST ARCHITECTS, PAARL

In the general layout of all these elements, great care has been taken to reinforce and enhance the existing, while adding new elements along similar principles. For example, the new elements added to the overall design create a much more pronounced focus on the Babylonstoren Hill, which is in proximity to the farm. The larger-scale elements, such as the wine cellars, have been sunken into the ground to reduce their bulk and possible spatial impact. In all the architectural work that has been done to the historic core of the farm buildings, care has obviously been taken to restore them as sensitively as possible,

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12 BABYLONSTOREN TOURISM


to reveal previous layers, to emulate the previous scale and to add the new in a bold and confident manner. Previous changes that were deemed insensitive and incongruent architecturally were removed. Everything was done to restore a line of continuous development that is in sympathy with the original buildings, while still remaining true to the sensibilities of its time.

What is most striking about the work done on the farm is precisely this uncovering and strengthening of a

continuous line of development. In some other instances of the restoration of Cape Dutch farms, there has been an effort to fossilise the buildings within a certain period of time. In this case, a different approach has been taken. The owners and their architects understood that the life of any building – or group of buildings – is, in reality, something that evolves over time. It is also the continuous process of cultural evolution that keeps a building ‘fresh’ and pertinent, while taking the weight of history seriously, but at the same time not too seriously – in this way, it can be renewed and reinterpreted.

The other aspect that is truly impressive is Babylonstoren’s quality of authenticity as a no-nonsense working farm.

BABYLONSTOREN TOURISM 13


//HAPO_ FREEDOM PARK MUSEUM, TSHWANE

CitationThis building has been constructed on the southern edge of the old colonial settlement of Pretoria. The older parts of the city of Pretoria/Tshwane are situated on the fertile plains between two roughly parallel ranges of low hills. These hills, to a large degree, contain most of the city centre and this allows nature to have a presence on its northern and southern horizon lines. To an extent, these hills also compartmentalise the city spatially into relatively discreet gestalt units. Over time, these hills have been used to elevate institutions of collective political and social importance. There is a whole series of them – for example, the military forts, the Union Buildings, the Voortrekker Monument, Freedom Park, etc. These institutions, placed in this manner above the city, communicate with each other in a symbolic way – they imbue a special character on the city, while also emphasising it as a place of national importance.

//hapo_Freedom Park Museum is located at the foot of Salvokop, south of Herbert Baker’s iconic Pretoria Station building and north of the Freedom Park Garden of Remembrance, situated on top of the hill. Both the Station and the Garden of Remembrance have a visual and symbolic presence in the city, while //hapo_Freedom Park Museum only has a presence in its immediate vicinity.

//hapo_Freedom Park Museum takes its design inspiration from nature. Its overall form and materiality emulates its natural context. As an institution and symbol of national importance, it seems, however, to ‘disappear’ into its physical context. It also does not visually compete with any of the other national symbols/institutions that are so prominent in the Tshwane environment.

The building is seen as a series of abstract ‘boulders’. Using this idea, the architects have assimilated and given form to traditional African ideas of healing and indigenous knowledge systems, while paying homage to an idea of what the typical South African landscape is all about. The design of the building reinterprets the cracks and complex shapes of rocks and other geological formations that have been the result of the forces of nature acting over millennia. It was also the architects’ design intention to symbolically recreate man’s first shelter or home, namely the cave. The cave, in this way, becomes the metaphor for man’s continued presence in this landscape. The cave is also a metaphor for how man has made his presence known visually, how events and observations have been recorded by various means, how human progress has been recorded, how the landscape has been appropriated and used for survival, and how the cave as refuge has been imbued with social and emotional meaning.

ARCHITECTURAL TEAM

PRINCIPAL ARCHITECT JEREMY ROSE

PROJECT ARCHITECT DIETER BRANDT

ARCHITECTURAL TEAM CARON SCHNAID,

EUGENE MARAIS, KATLEGO MAKOE,

LIONEL CUMPS, LIYA TESFAYE, RENE MCLAREN,

PETER VERNACIK, ROCHELLE VOLSCHENK,

SIMON BIRD, TEBOHO MAPHIRI, DORAH KHOZA

PROFESSIONAL TEAM

STRUCTURAL ENGINEERS AURECON

MECHANICAL ENGINEERS UHURU WETU

ELECTRICAL ENGINEERS ELECTRICAL – WSP /

UBUNYE

ENVIRONMENTAL EARTH INC

LANDSCAPING NGBM – NEWTOWN LANDSCAPE

ARCHITECTS, BAGALE GREEN INC. MOMO

LANDSCAPE ARCHITECTS JOINT VENTURE

QUANTITY SURVEYOR DAVIS LANGDON; CHAUKE QS

CONTRACTOR FIKILE / STOCKS JV

ELECTRONIC ENGINEERS WSP

PROJECT MANAGERS PMSA

for FREEDOM PARK, RSAby OFFICE OF COLLABORATIVE ARCHITECTS (GAPP ARCHITECTS/URBAN DESIGNERS + MASHABANE ROSE ASSOCIATES + MMA ARCHITECTS), JOHANNESBURG

The spatial progression through the building is, thus, a movement through a cave-like space. Along this route, the space is manipulated by constricting and opening up the volume, by moving up or down levels, and by punctuating the movement through the largely dimly lit spaces by means of ‘cracks and fissures’ in the building’s envelope to articulate the movement with light and views. The copper-clad exterior and the interior surfaces are faceted to recall natural forms.

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These faceted forms, in combination with the exhibition material, become the ‘message’ of the building. The large bulk of the building could, at first sight, become overpowering and intimidating to the visitor. However, the architects managed to work around this by subtly manipulating the form and experience into manageable spatial and thematic episodes. On the whole, the dimly lit interior spaces are not menacing or disorientating at all, but the play of light and darkness on the exterior and interior of the building are used to convey expertly the narrative of the physical, social and belief-system evolution in this part of the world.

Moving through the building and the beautifully

conceived and realised gardens adjacent to them gives meaning to, and reveals the logic of, the //hapo complex. The garden is a worthy counterpart and extension of the building. Its contemplative aura heals and refreshes those who want to see and observe. There is also a wonderfully dense and ‘wild’ indigenous forest to the back of the building, on the slopes of Salvokop. This forest greatly assists in nestling the //hapo complex further into its site.

This complex building has been thoughtfully detailed and expertly built to the highest standards that can be achieved in South Africa.

Whereas many other social institutions in South Africa and elsewhere create the impression of being finite in their form and message, //hapo_Freedom Park Museum by the Office of Collaborative Architects seems to open up new possibilities and visions, while it simultaneously records and symbolises the complex evolution of South Africa.

SECTION OF NATION BUILDING BOULDER

NORTH ELEVATION

ELEVATION

WEST ELEVATION

FREEDOM PARK MUSEUM 15


NEW ADDITION AT ST CYPRIAN’S GIRLS SCHOOL, ORANJEZICHT, CAPE TOWN

CitationThis school is situated in the lush and privileged context of Oranjezicht in Cape Town. The site is encircled by the Table Mountain range and has distant views over Table Bay. The original buildings were designed by the architects Kendall and Morris. Over the last hundred years, the school has been developed in a piecemeal, but caring and considered manner. When buildings or groups of buildings are developed in this way, it always becomes a context with a rich frame of reference and significant memories. Such contexts open up the possibility of continuing with their physical development in a similar manner. It is within this spirit that Noero Wolff and later Noero Architects approached this commission.

The site of the school, adjacent to George Street, is irregularly shaped. It has a relatively steep fall towards the north. The site is densely built, consisting mainly a series of courtyard buildings. The largest open spaces are a hockey field, and the entrance forecourt in front of the main building of the school. The successive waves of additions reflect the architectural sensibilities of the time. The older buildings exude a quality of ‘heaviness’ with their thick walls and relatively small windows, nevertheless forming beautifully tranquil and memorable courtyards, while the newer buildings, due to their ‘thinner and lighter’ construction methods, are mostly just objects in space. The older buildings are predominantly plastered and painted white, while the newer buildings were mostly built using facebrick. Most of the buildings have the same roof materials, namely red tiles.

The school initiated a campaign in the early 2000s entitled ‘Creating Future Leaders’. It was this campaign that resulted in the creation of a number of new buildings and spaces. The following alterations, as well as new buildings, have been completed in terms of this endeavour:

1: Creative Centre: This facility has been relocated in the old library and domestic science block. Two classrooms have been created for art education. These are subdivided by a sliding folding screen that enables the two areas, when combined, to be used as an exhibition space. Within this building, a space for drama teaching and performance has also been created. On the eastern, northern and southern façades a canopy has been added, while the remodelled eastern façade now allows for the pick-up and drop-off of learners by their parents.

2: Science Centre: This building has been largely remodelled to create a more updated facility. The building now showcases exhibition spaces, and those passing in the corridors can see into the science spaces.

3: New IT Hub: This is a two-storey circular building inserted into one of the courtyards. The circular form enables the teacher to view all the computer monitors from a central point. It is a small building, and all its fittings and pieces of equipment have been designed to optimise the usage of space. The intention of the architects was to create a spatial experience that would be different from the other teaching spaces. This building has been covered on the outside with pale blue mosaics – the result of this decision is that it nearly ‘disappears’ against the sky. On the inside, very strong and memorable colours have been used. The building also has small round windows, ensuring a distinction from its immediate context.

4: New Knowledge Centre: A new information and knowledge centre has been created in the old historic gymnasium. Care has been taken not to touch the old building. All the new elements have been made from timber so that they can be removed, should this be required. A courtyard adjacent to the gymnasium has been covered with a translucent roof. Inside this space, three cylindrical seating spaces have been created. These semi-private spaces quickly became highly used social or learning spaces.

for ST CYPRIAN’S GIRLS SCHOOLby NOERO WOLFF ARCHITECTS (2005-2012) AND NOERO ARCHITECTS (2012 TO DATE), CAPE TOWN

QUANTITY SURVEYORS RIVERSIDE CONSULTING

CIVIL AND STRUCTURAL ENGINEERS DE VILLIERS

AND HULME

ELECTRICAL ENGINEERS MAC CONSULTING,

CLINKSCALES MAUGHAN BROWN

MECHANICAL AND FIRE ENGINEER

ALAN CUNNINGHAME, CLINKSCALES MAUGHAN

BROWN

PHOTOGRAPHY UNO PEREIRA

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ST CYPRIAN’S GIRLS SCHOOL 17


5: Molteno House: New additions on the eastern and western facades have been made to this previously rather uninspiring rectangular building. The addition to the eastern façade has a wavelike form, in order to accommodate the existing trees. The accommodation on this side consists of specialised spaces, as well as extra ablution facilities. The façade has been punctured with long, thin vertical-strip windows. The extensions to the classrooms on the western side have simple direct openings, with ample sun-shading devices.

6: Loggia: On the southern side of Molteno House, a beautifully designed and crafted loggia has been added. This building attaches itself to a new extended walkway. The open loggia has tiered seating and is partially screened by breeze blocks. It is also adjacent to the main entrance forecourt of the school, and its purpose is to provide a waiting space for the children. The thin concrete roof and the see-through screen render this a delicate and elegant structure.

7: Life Centre: This building has been placed in an open corner formed by two other buildings, one of which is the school hall. It is a double-storey structure consisting of two multi-functional spaces on top of one another, linked by a circular staircase. This impressive building is clearly the piece de resistance of all the buildings created by the architects, is round in shape and has a square, high-pitched roof with a central roof light at its apex. It has been designed with mathematical precision and is an obvious delight to the architects and its users alike. The structure of the roof has been exposed to the top floor. The circular walls have been layered, with an outer skin of terracotta breezeblocks and an inner skin of glass. The interior of this light-filled building is dramatic, while on the outside it reveals a quietly imposing and dynamic quality. Its iconic roof profile has given an immediately memorable quality to the adjacent outside spaces.

8: Dining Hall: As an extension to the existing dining hall, one courtyard has been covered with a translucent roof. Additionally, a wooden floor has been inserted, while the existing trees have also been retained. Groups of buildings, like those of the St Cyprian’s School for Girls, that have been developed over time have created their own ‘story’ and narrative. Any new addition or demolition would alter the narrative and its associated meanings. The earlier work of Noero Wolff and the later work of Noero Architects has changed the narrative of this school in a fundamental and profound manner. It has also, at the same time, respectfully enriched the vocabulary.

The architects were not intimidated by the school’s history, but they instead added to it with confidence. In so doing, they have inserted a new chapter that can act as future inspiration, both for the users and for other architects.

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LIFE CENTREGROUND FLOOR PLAN & SECTION

MOLTENO HOUSE & LOGGIAGROUND FLOOR PLAN

KNOWLEDGE CENTRE/IT HUBDIAGRAMATTIC PLANS

ST CYPRIAN’S GIRLS SCHOOL 19


SPRINGFIELD CONVENT SCHOOL, PRE-SCHOOL CAMPUS, FRA ANGELICO ART CENTRE AND JASPER WALSH ART GALLERY, WYNBERG, CAPE TOWN

CitationThis school, which was started in 1871, is owned by the Dominican Sisters, who also reside on the property. It is situated in the southern suburbs of Cape Town, in the foothills of the Table Mountain range. Water drainage is from west to east. This has created a series of low and nearly perpendicular hills and valleys running from west to east. The school was built on the north-facing slope of such a low hill. It has its own watercourse on its northern boundary. In general, the school is surrounded by well-tended and impressive gardens. Development of the built infrastructure has, over time, been rather haphazard, and it is difficult to experience a spatial logic at first glance. In order to give spatial direction to this loosely arranged group of buildings, Framework Planning was carried out by Nicola Irving of CCNIA, Tarna Klitzner of TKLA and Jacqui Perrin and Sandra van der Merwe of Design Studio. As a result of this work, a central (parking) space has been created. This space greatly enhances and assists with the spatial orientation within the campus.

The architects of the pre-school and art centre had a difficult task, as they had to insert new buildings into the existing built fabric. This had to be done sensitively in order to enhance the spatial definition, without detracting from what is already there. This they have achieved in a judicious and careful manner. The pre-school is ‘quiet and demure’ in design and execution, while the art centre is far more expressive in its form making. However, both groups of buildings use similar methods and principles, namely to carefully relate it to its immediate surroundings. Most sections have been designed to bring in light by means of clerestory windows, and a white-walled architecture typical of the region has been used.

It was obvious that great care was taken with the design of the pre-school to relate it, in terms of scale, to its tiny users. Spatially, it is arranged alongside a newly created pedestrian street. There is excellent visual interaction between this circulation space and the school’s interior spaces. The infinite care of the architects is also beautifully evident in the way in which they have related this building to the sports fields on its southern side. Here, they have created a well-considered seating arrangement overlooking these fields.

The art centre is the more expressive counterpart to the pre-school building. It has been arranged to define and respect the Sisters’ Cemetery and the historic gardens, is adjacent to the Laundry Building of 1883 and overlooks a north-facing slope that leads to a small watercourse.

ARCHITECTS CHARLOTTE CHAMBERLAIN,

NICOLA IRVING AND ASHVIND BEETUL

LANDSCAPE ARCHITECTS TKLA

TARNA KLITZNER, BONNIE FLETCHER

CONSULTING STRUCTURAL AND CIVIL

ENGINEERS MENY-GIBERT & ASSOCIATES,

CHRIS MENY-GIBERT

CONSULTING ENGINEERS B2A

ANTON SAMUELS, BRENT SAMSON

MECHANICAL AND FIRE ENGINEERS SPARQ

CONSULTING RYAN BUDDEN

PROFESSIONAL LAND SURVEYORS DAVID HELLIG

& ABRAHAMSE RICHARD ABRAHAMSE

HERITAGE CONSULTANT CLAIRE ABRAHAMSE,

ARCHITECTURE| URBAN DESIGN| HERITAGE

CONTRACTOR HABITAT DECORATORS

J-P STROHFELD, PATRICK SAUNDERSON AND

SHAUN VAN DER RIET

for SPRINGFIELD CONVENT SCHOOLby CCNIA CHARLOTTE CHAMBERLAIN & NICOLA IRVING, ARCHITECTS, CAPE TOWN

This building manages to expertly define its outside space, while remaining a sculptural form to be viewed and enjoyed from all angles. Internally, it has several floor levels, and a constant spatial interrelationship has been created between each of the spaces and levels. This results in a wonderful relationship between the

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SECTIONS MODEL

viewing and production of art. While the focus of the building is mostly on this internal world, the architects have succeeded in bringing its interior and exterior into a positive relationship with each other. In a sensitive and respectful manner, the cemetery has become part

of the internal landscape of this building. It can only be a positive experience to view and produce art here.

The design of the pre-school and art centre is underpinned by well-considered judgement calls that have been carried out by the obviously caring and highly talented architects.

SPRINGFIELD CONVENT SCHOOL 21


CitationDunkirk Estate is situated approximately 50km north of Durban. The topography and the richly green landscape are characterised by frequent watercourses and rounded hills. In this subtropical climate, the plant growth is lush and it usually overwhelms the viewer with its density and height. A multitude of shades of green is interspersed with the bright colours of the flowering plants. These intensely green and fertile hills and valleys adjacent to the Indian Ocean form the dominant impression of this proverbial paradise.

The Dunkirk All Suites Hotel is situated in this natural condition, while it also overlooks the ocean. It is impressive to observe how inspired and brilliant the architects were in placing this building, in order to maximise the positive qualities of the site.

A minimalist spirit is in evidence at the Dunkirk All Suites Hotel. The accommodation has been divided into three separate buildings, where the administration, gymnasium and residential component respectively have each been assigned. These buildings are arranged to form a triangular courtyard.

Internally, the residential units are arranged into served and serving spaces. The ‘served’ spaces are the social spaces, while the ‘serving’ spaces are the kitchen and the more private bedrooms and bathrooms. The social spaces of each unit stretch the entire width of the building. These units are served by three sets of staircases. These staircases face into the courtyard – ensuring its animation and surveillance by the constant movement of people. The way in which the vertical circulation has been arranged allows each unit complete privacy, on both sides of the building. This arrangement, coupled with the internal design of the individual units, also allows for the free-flow of air through the building when the sliding doors are open – again, without any compromise to privacy. The balconies on the courtyard side of the building are enclosed in finely grained, vertically spaced wooden screens. Despite their delicate nature, these screens are the most important and memorable element of the façades of the building.

The architecture of the All Suites Hotel is crisp in its detailing and confident in its form. There is an intriguing interplay between these bold, confident and singular forms and the thinness of some of the elements that have been used. For example, some windows are set into metal surrounds, where the thinness of these surrounds contrasts with the flat surface of the wall, and where the shadows formed emphasise this contrast further.

PRINCIPAL ANDREW MAKIN, MARK HORNER

PROJECT ARCHITECT CARINA STRAUSS

TEAM CHARLES DE JAGER, RUDOLF NAUDÉ,

SHARDAY KOEKEMOER.

ENGINEER YOUNG + SATHARIA CONSULTING

STRUCTURAL & CIVIL ENGINEERS

QUANTITY SURVEYOR AECOM SOUTH AFRICA (PTY) LTD

MECHANICAL/ELECTRICAL CP&P CONSULTANT

MECHANICAL & ELECTRICAL ENGINEERS

FIRE CONSULTANT WSP GROUP LTD

CONTRACTOR GVK SIYA ZAMA BUILDING &

RENOVATION

for THE DUNKIRK ESTATE HOME OWNER’S ASSOCIATIONby DESIGNWORKSHOP: SA, ARCHITECTS, DURBAN

DUNKIRK ALL SUITES DUNKIRK ESTATE, SALT ROCK, KWAZULU-NATAL

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Other elements, like the steel staircases, have also been designed in terms of a play between line and plane/surface. The wooden, slatted screens are reminiscent of a culture of screens found in many countries on the Indian Ocean rim. They allow for privacy, while at the same time for glimpses of life to be seen on both sides of the screen. The crispness and machine-like precision of the building also forms a positive contrast to the apparent wildness of the luxuriant surrounding vegetation. It is as if the architects, with each of their site-making actions, attempted to cut open a ‘room’

within this forest. In design, the buildings are a logical and innovative response to the exacting realities of the local climate.

The minimalism displayed in the architecture is rich in its associative depth. This building has all the hallmarks of a highly confident, sensitive, thoughtful and talented architect’s hand. It displays a rare maturity of approach that does not seek its meaning in what is seen to be ‘current and new’, but rather seeks renewal by respectfully reinterpreting what is known, accepted and loved. The evolutionary journey that Designworkshop : SA has embarked on, in this and other buildings, will always renew itself, will always be intrinsically part of its place and time, while never failing to inspire current and future users and architects alike.

SECTION B MASTER UNIT PLAN

SOUTH ELEVATION NORTH ELEVATION

DUNKIRK ALL SUITES 23


CitationThe landscape in the Marble Hall area is relatively flat, with no real or memorable topographical features. What is impressive about this landscape, however, is the meticulously well-kept agricultural areas in the immediate vicinity. The plant spacing, the irrigation methods used, and the food and cotton that are produced create an impression of a mathematical precision to this highly fertile environment. In the residential areas of the town, a layer of bushveld landscape forms a filter between man and the big sky dome above. The broken sunlight and shadows created by this filter form the first layer of a sense of dwelling in the landscape.

House Kleynhans is situated on the edge of the town. The architect used the building with great skill to form a barrier between the suburban and rural landscapes. The forecourt of the house is relatively hard, while in the private areas on the other side of the house considerable care was taken to incorporate the natural landscape into the lifestyle of the owners. The plan of the house is organised around a pinwheel structure, consisting of four stone-clad walls. These walls have been arranged at a 90-degree angle to each other. This organising device demarcates and defines the circulation and main functional spaces of the building. These walls and circulation spaces are generally lit by means of skylights. This light, and the view of the outside from the bedroom wing passage and entrance into the garden, greatly assist with the creation of hierarchy and orientation. The way in which the walls and roofs have been disassociated from each other, by means of materials and shadow lines, lends the building a dynamic quality. On the private northern side of the house, a staircase leads up to a viewing area on the roof. This is a rather clever device. It takes the user above the protective tree line of the area, to orientate them in the larger context underneath the sky dome. In the immediate vicinity of the house, a series of courtyards, platforms and more formal outdoor spaces have been created. These form a well-considered transition zone between inside and outside, that links the house and garden in an effortless manner.

A part of the house has been covered with a barnlike pitched roof. Galvanised corrugated-iron sheeting has been used both on the inside for the ceiling, and on the outside for the roof covering. This brings memories of, as well as creating the illusion of, an agricultural environment. The types of materials used, the finishes and the precision of the detailing reinforce the references to the directness of rural and agricultural architecture. Furthermore, the building has been owner-built to a level of technical perfection that is astounding and enviable.

ARCHITECT TG ARCHITECTS + INTERIORS (THOMAS

& SUREEN GOUWS)

CONTRACTOR OWNER BUILDER

STRUCTURAL ENGINEER P DESIGN CONSULTING

(PIETER-BEN VAN ASWEGEN)

INTERIOR TG ARCHITECTS + INTERIORS (SUREEN

GOUWS) – IN PROGRESS WITH CLIENT

for THEODOR & THEA KLEYNHANSby THOMAS GOUWS, ARCHITECTS INTERIORS, PRETORIA

HOUSE KLEYNHANS, MARBLE HALL

The house has a quiet and tranquil quality. It has a ‘lightness’ of touch that must make living in it on a daily basis an utter pleasure. In a perhaps unintentional manner, the mathematical and geometric precision with which the house has been designed and built brings it in tune with both the wildness of the veld and the highly ordered quality of the intense agriculture in the Marble Hall vicinity. Intentionally created with this in mind or not – the house is the perfect mediator between these two landscapes.

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HOUSE KLEYNHANS. 25


CitationNature in its purest form is in short supply in the Gauteng province, due to it being the smallest, most densely populated and significantly urbanised province in the country. What is left of nature is constantly under threat; it is often being urbanised in very inefficient ways. This increases exponentially the value of what is left of nature.

Blair Athol Estate is situated towards the north-west sector of Gauteng. The Cradle of Mankind is not too far from it. The mere proximity of this world heritage site, the open quality of the landscape and the pressures of development on the outer fringes of the conurbation all increase the conceptual challenge of building in the area. This undulating and seemingly uninteresting landscape with its low hills, shallow valleys, watercourses and unexpected fissures and caves has been the context that played an important role in the evolution of man. The most distinguishing feature of the site of House Snyders, situated within a privileged and low-density gated community, is its close proximity to the Crocodile River.

The site has a gentle slope towards the river that forms part of its eastern boundary. Much of the image of the primeval grassed landscape still remains in the area. The gentle slope towards the east, the grassed landscape and the precious water in the river formed the basis of the conceptual departure point for the design of this house. All of these elements, in combination, were used and celebrated to form a place of dwelling for the Snyders Family. The utmost care has since been taken to ensure the primacy of the relationship to nature and that the building mass will always remain subservient to this relationship. The building itself has, consistently, despite its apparent bulk, been dematerialised with manipulated indirect light and views onto the landscape. Water, with its reflective and life-giving qualities, as well as in reference to the presence of the Crocodile River, has been used generously and with great effect to underscore this dematerialisation even further. The building has an open yet private quality, while the burden of security has been dealt with in an unobtrusive manner.

The house is functionally and geometrically arranged around this relationship to the grassed landscape and river. The house, like the site, also steps down to the river. The bulk of the house cannot be seen from the street entrance; the focus upon entry is on the relationship with the river and the watery landscape created by the architects. The grassed roofs extend the natural landscape onto the building. The house itself is mostly used as a device to frame and form this relationship. The lower part of the house

ARCHITECT W DESIGN ARCHITECTURE STUDIO CC

JOHAN WENTZEL

BUILDER PANACHT CONSULTANTS (PTY) LTD

BUILDER PHILIP VAN ACHTERBERG – PANACHT

CONSULTANTS PTY LTD

STRUCTURAL ENGINEER JOSIAS ZERWICK –

GODISANG CONSULTING ENGINEERS CC

for PEET AND HANLI SNYDERSby W DESIGN ARCHITECTURE STUDIO CC, ARCHITECTS, PRETORIA

HOUSE SNYDERS, BLAIR ATHOL ESTATE, JOHANNESBURG

seems to be part of, as well as being protected by, the landscape. The building on the level of plan, section and form is direct and strong in its making, giving evidence of the long and contemplative process the architects must have followed in its development and design. The detailing is careful, and the execution of the building reflects the highest technical standards.

The respect for nature as a device for inspired architectural form-making, the way in which the building has been placed on the site, the manner in which nature has been re-created in the open and closed courtyards, and the subservience of the building to nature, has created an inspired and peaceful place of dwelling in this landscape and for this family.

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HOUSE SNYDERS 27


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30 AUDITORIUM FOR THE SCHOOL OF AGRICULTURE, ALICE CAMPUS, UNIVERSITY OF FORT HARE32 HELLENVALE COMMUNITY CENTRE34 WALMER LINK HOUSING PROJECT36 UNIVERSITY OF THE FREE STATE, DEPARTMENT OF ARCHITECTURE38 WEEKEND HIDE-IN AT ROSENDAL, FREE STATE40 DUNKIRK BEACH CLUBHOUSE42 BRIXTON STUDIO44 AFRICAN IDENTITY IN POST-APARTHEID PUBLIC ARCHITECTURE46 HOUSE KLEINE SCHUUR48 SEED LIBRARY50 HOPEWELL VISITORS’ CENTRE52 NEW ARCHITECTURE WING, TSHWANE UNIVERSITY OF TECHNOLOGY54 TEN ON LANE56 ART MUSEUM, UNIVERSITY OF THE WITWATERSRAND

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AUDITORIUM FOR THE SCHOOL OF AGRICULTURE, UNIVERSITY OF FORT HARE, ALICE CAMPUS

CitationWhen architects do their job really well, they usually achieve buildings and spaces with a quiet sense of ‘rightness’ about them. When the observer or visitor steps into the shoes of the architect, even for a brief moment, and allows him- or herself to become acquainted with the logic the architect developed and applied in the design of a building – respect for their accomplishment usually follows. The design logic of the architects of this building is immediately and directly clear for visitors and observers alike.

All auditoriums need to follow certain parameters in order for them to properly fulfill their functions. They are also highly serviced spaces. Their expense needs to be optimised by means of frequency of use (crucially important at any university), and sensibility needs to be applied as to the level and sophistication of services, since it is easy to pitch these incorrectly. In reality, the demands placed on the budget by these technical necessities can be such that not much budget remains for the building itself. In all of this, a careful balancing act is usually required. It is also critically important to get the basics right.

The above is what has been achieved with this auditorium. The balance between building envelope and technical requirements ensures that the auditorium fulfills, in an excellent manner, all the basic requirements. The design of the building is efficient without any superfluous elements, while it respects and complements its built and natural environment. It connects logically with existing infrastructure and its detailing has a direct quality.

The generous way that the foyer space opens up to the views of the building’s natural surroundings is a thoughtful antidote to the weariness that can result from attending lectures. The most memorable aspect of the building is, quite rightly, the interior of the auditorium. This is a space that should, in principle, enable continuous concentration on, and involvement in, the educational experience. The auditorium is also shaped in such a way that the audience can interact with one another in an easy manner – creating a much more personal and social experience when it is in use. Overall the crisp, tranquil and well-considered detail and layout of this building enables the space to be positively memorable.

ARCHITECTS NGONYAMA OKPANUM &

ASSOCIATES - (EDWARD PEINKE)

STRUCTURAL ENGINEERS HSC CONSULTING -

(EDITH SAVANHU)

MECHANICAL ENGINEERS RICHARD NZUZA &

ASSOCIATES - (TRAVIS WARNE)

ELECTRICAL ENGINEERS RICHARD NZUZA &

ASSOCIATES - (BUBELE DYANTYI)

QUANTITY SURVEYOR PULANA BAXTER &

ASSOCIATES - (LES SMITH)

CONTRACTOR ALEXANDER CONSTRUCTION TRUST

CONSULTANTS/OTHER SPECIALISTS:

ACOUSTICS & NOISE CONTROL CONSULTING -

(IVAN STEENKAMP), RAW STUDIOS (SEATING) -

(PEET VAN STRAATEN)

SUB-CONTRACTORS SHUKUMA (PRECAST

CONCRETE RAKED SEATING PLATFORM)

RV SMITH (ROOF, CEILING + ACOUSTIC PANEL

INSTALLATION)

PHOTOGRAPHER ESP PHOTOGRAPHY -

(EDWARD PEINKE)

for NGONYAMA OKPANUM & ASSOCIATES, ARCHITECTS, EAST LONDONby EDWARD PEINKE

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MULTI-PURPOSE COMMUNITY CENTRE, HELENVALE, PORT ELIZABETH

CitationHelenvale, on the outskirts of Port Elizabeth, is situated in a hilly landscape. The small grain residential fabric of this community marches relentlessly like a monotone quilt over the hills and valleys. Sporadically, there is a thickening of the fabric with larger-scale urban elements where social, commercial and community functions are accommodated. Welcome relief from the relentless and depressing character of this environment can be found in the form of certain investments in the upgrading of public urban spaces. In these areas, it is as if there is a quickening of the collective pulse and a far more positive experience of Helenvale comes to the fore.

This community centre forms part of the public space-making programme. The facility, replacing a previous and obsolete community centre, is appropriately sited on top of a hill. The views from, and towards, this small acropolis seem to imbue the whole area with a more positive air.

The public and urban spaces that have been made culminate in, as well as connect seamlessly into, the community centre. The climax is a well-defined public forecourt, emphasised with a vertical element (a specific requirement of the development agency), a ‘community street’ (as organising element of the whole complex), and a less important exit/entrance to this ‘street’ at its far end. All the community facilities, like the support services offices and various multi-purpose halls, relate to this ‘street’ in a logical and direct way. In this well-lit and well-proportioned space, provision has been made for semi-private waiting areas. At times, people wait in these areas for very private purposes and these cubicles enable the wait to be more dignified.

There is a straightforward and logical simplicity to the structure and forms employed throughout this building. Considerable care has been taken to bring daylight into the building, and to constantly and positively relate the interior of the building to its immediate exterior. This immediately assists with orientation, and creates a positive transparency where all activities can take place in the open. What exterior spaces are left on the site have been well considered, cared for and brought in to complement the building. Colour, daylight, expressive and exposed structural elements are used throughout to emphasise orientation and to create memorability.

Compared to the previous facility it has replaced, and in experiencing the positive role that this building and the adjacent urban space-making actions have brought about in the area, Matrix Urban Designers and Architects should be congratulated for their positive role in the physical and social development of the Helenvale community.

ARCHITECT THE MATRIX… URBAN DESIGNERS AND ARCHITECTS CCQUANTITY SURVEYOR MARKUS BURRI QUANTITY SURVEYORS CCCIVIL ENGINEER BVI CONSULTING ENGINEERS EASTERN CAPE (PTY) LTDELECTRICAL ENGINEER C.A. DU TOIT (PTY) LTD CONSULTING ENGINEERSMECHANICAL ENGINEER C.A. DU TOIT (PTY) LTD CONSULTING ENGINEERSSTRUCTURAL ENGINEER BVI CONSULTING ENGINEERS EASTERN CAPE (PTY) LTDPRINCIPAL AGENT THE MATRIX… URBAN DESIGNERS AND ARCHITECTS CCPROJECT MANAGER CABITECH PROJECT MANAGEMENT AND CIVIL ENGINEERING CONSULTANCYHEALTH AND SAFETY CONSULTANT ENGINEERING ADVICE AND SERVICESFINANCIAL CONSULTANT DOJON FINANCIAL SERVICES CCSURVEYOR SURPLAN SURVEYING AND ENGINEERING SERVICESMAIN CONTRACTOR PRO KHAYA CONSTRUCTIONCIVIL WORKS SUBCONTRACTOR FWSELECTRICAL SUBCONTRACTOR UNAKA ELECTRICALMECHANICAL SUBCONTRACTOR SIREC THERMALSTEEL SUBCONTRACTOR BAY STEEL STRUCTURESROOFING SUBCONTRACTOR CLADALL ROOFING (PTY) LTDALUMINIUM SUBCONTRACTOR JOWIL ALUMINIUMFLOORING SUBCONTRACTOR COAT-RITE, SHAAIDS FLOORINGLANDSCAPING SUBCONTRACTOR PRETTY GARDENS

for HELENVALE COMMUNITYby THE MATRIX, URBAN DESIGNERS AND ARCHITECTS, PORT ELIZABETH

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COMMUNITY CENTRE 33

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WALMER LINK: SOCIAL HOUSING DEVELOPMENT

CitationHousing is a basic human requirement. In many countries, as in South Africa, it is a constitutionally enshrined basic human right. Housing, like food and education, ensures a stable and dignified human existence. In countries with certain patterns of population and economic growth, the demand for housing far outstrips the ability of the society to provide formal housing for those most in need of it. This inability is then expressed in the way that the informal processes, operative in society, provide housing. The speed of delivery of formal (social) housing, coupled with the often inhumane and exploitative conditions created in the informal housing sector, creates significant social tension. This social tension is often expressed in outbreaks of public violence.

South Africa expresses all of these characteristics. Furthermore, we do not have an exemplary track record concerning social or affordable housing provision. Architects, and their allied professions of Urban Planning and Urban Design, have largely been excluded, or have excluded themselves from this process. To see architects getting involved in housing provision, at this level, is gratifying; to see them excel, is highly inspirational. This is what Erik Voight Architects achieved with the Walmer Link Housing Project.

Walmer Link is a greenfields social housing development. To date, it is the only social (rental) housing project that has used government subsidies for this form of housing and, when the second component of affordable units for sale using the new Finance Linked Individual Subsidy is complete, it will be the only project in the country that has used these two forms of procurement in one area.

The rental component of the project has 347 units. These units are made up of studio, one-bedroom and two-bedroom units, mixed into different walk-up blocks. The great care with which the different units and blocks, and the overall layout has been designed, is highly impressive. Despite the obvious economy of means that has been applied, the architects have managed to create sensible gradations between privacy and publicness, variety, delight and ease of upkeep. Horizontal and vertical circulation has been positioned in such a way that it fosters surveillance and group formation, while at the same time allowing for privacy.

Interest and variation have been created by the judicious use of different materials, colours, differing block heights and shapes. Long-term maintenance will be kept to a minimum by the careful choice of materials, robust and straightforward detailing, and the sensible placing of services.

ARCHITECT/PRINCIPAL ARCHITECT ERIK VOIGT

ARCHITECTS

PROJECT MANGAER METROPLAN TOWN &

REGIONAL PLANNERS

QUANTITY SURVEYORS ROUSSEAU PROBERT

ELLIOT CC

STRUCTURAL ENGINEERS ELWANDLE PROJECTS CC

CIVIL ENGINEERS ENGINEERING ADVICE AND

SERVICES (PTY) LTD

ELECTRICAL/MECHANICAL ENGINEERS TRIOCON

CONSULTING ENGINEERS (PTY) LTD

LAND SURVEYORS VPM TOWN PLANNERS &

SURVEYORS CC

PRINCIPAL CONTRACTORS O STEYN

CONSTRUCTION CC

PHOTOGRAPHY CREDITS ROSHAN BHAGWANDAS CC

for THE HOME MARKET by ERIK VOIGHT, ARCHITECT, PORT ELIZABETH

The overall layout makes use of the perimeter block principle and a public ‘boulevard’ as entrance gesture has been created. This design element creates a positive feeling of dignity and urbanity in the project. Adjoining the boulevard are two large courtyards, formed by the various housing blocks. In these courtyards, ample provision has been made for social and play spaces, while remaining under constant surveillance of the inhabitants in order to ensure safety. These spaces also allow for vehicle parking. In time, the new planting will mature to increase the amenity value of these spaces.

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Apart from the architectural concerns and expressions, it was clear that the management systems that have been put in place would be crucial to the initial and ongoing success of the project. High levels of spatial, architectural and economic efficiency have also been achieved

to underpin the success even more. It is evident that the architecture, and this specific architect’s skill, talent, commitment and experience, has made a fundamental contribution to ensuring human dignity and to bringing hope to the fortunate inhabitants of this housing project. Furthermore the architect, Erik Voight, has proven, once again, that architects and architecture can make a priceless contribution to housing for those most in need of it.

ELEVATION 1

ELEVATION 2

ELEVATION 3

ELEVATION 4

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DEPARTMENT OF ARCHITECTURE, UFS

CitationThis building, originally constructed as an all-purpose, loose-fit and least-cost option for the Departments of Architecture, Quantity Surveying and Town Planning at the University of the Free State, was intended as a ‘temporary’ building. Many years and many alterations later, the building still houses the Departments of Architecture and Town Planning, while the growth in student numbers necessitated that the Department of Quantity Surveying be moved to a new building.

The original building with its general and generous structure and its equally functionalist section resulted in an utter utilitarian structure. However, its adaptability proved its worth and it became begrudgingly accepted and appreciated by countless generations of students and staff. It is within this generalist quality of the plan and section, where the opportunities for the latest round of changes and adaptations were found and realised. It was also these existing conditions that were mainly enhanced and amplified in the design by Henry Pretorius and Hein Raubenheimer of Typology Architects.

The wide central passage on the first and main floor of the building has always played a crucial role in the academic and social life of the Department of Architecture. The latent visual and social interaction that the plan and section could facilitate was now made manifest and celebrated. Mezzanine floors were inserted, and the walkways created on these facilitated an increased possibility of social interaction, while emphasising the original height of the building that was previously hidden in the ceiling space. Vertical staircases were extended and movement through the section of the building was celebrated by means of colour accents. The central roof lights that previously existed were modified to make this source of light indirect and more of a ‘mystery’. At the same time, services and environmental controls were improved, resulting in a much more acceptable internal climate and working conditions.

The entrance arrangements on the west façade have been rearranged and re-imagined. Roof overhangs, the partial lifting of the roof, sun screening and the general way in which the façade has been recreated, has resulted in an increased amelioration of the harsh western afternoon sun, as well as the creation of a more celebratory entrance to the building. In addition, the most positive result of these changes has been the fact that the building now makes a more positive contribution to the creation of an outside transitional and social space. This relationship created between inside and outside space sets a good example for the rest of the university’s buildings, where physical insularity is generally the main operative condition.

PRINCIPAL ARCHITECT HENRY PETORIUS

PROJECT ARCHITECT HEIN RAUBENHEIMER

STRUCTURAL ENGINEERS MOSTERT, VAN DEN

BERG & DE LEEUW, BLOEMFONTEIN

MECHANICAL ENGINEERS WORLEY PARSONS

ELECTRICAL ENGINEERS WORLEY PARSONS

ENVIRONMENTAL

QUANTITY SURVEYOR VERSTER BERRY

PARTNERSHIP

CONTRACTOR WGK BLOEMFONTEIN

CONSULTANTS/OTHER SPECIALISTS

SPECIAL MENTION TO FERREIRAS DÉCOR WORLD:

TILE SPONSORSHIP

PHOTOGRAPHER STEPHEN COLLETT

for UNIVERSITY OF THE FREE STATE, BLOEMFONTEINby TYPOLOGY ARCHITECTS, BLOEMFONTEIN

Overall the changes to the building have been achieved in an economical and direct manner. The academic and social life enabled by the building has received a huge positive boost. Human dignity and the celebration of the daily operations of the Architecture Programme have been instilled and assured by the design interventions, without the negation of the possibilities of future changes and adaptations to the physical fabric of the building.

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SECTION AA

SECTION BB

SECTION CC

SECTION DD

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WEEKEND HIDE-IN (HOUSE WESTMORE), ROSENDAL, FREE STATE

CitationThis is the proverbial small building with big ideas. The brief from the client was simple and direct – minimal accommodation was to be added to a small building on a site on the edge of the town of Rosendal in the eastern Free State.

This part of the country is well known and enjoyed for its scenic beauty. The area marks the beginning of the topographical build-up to the Maluti Mountains in Lesotho. The horizon line of the undulating landscape is punctuated with flat-topped mountains. Usually, these mountains are crowned with a layer of sandstone that is still resisting the slow forces of erosion – the continual shaper of this landscape. In summer, the huge floating clouds become the visual counterpoint to these mountains; in winter, the landscape turns brown, it is bare and usually bitterly cold.

Man and man-made objects, like architecture, are relatively small in scale in relation to this natural backdrop. The older part of Rosendal, where this building is located, has the usual grid layout, vaguely orientated to the cardinal points. The grid of Rosendal is generally so sparsely built up that it is of no real spatial consequence. Most buildings read, thus, as objects in space. With the design of this small weekend abode, Dickens realised intuitively that this large, natural landscape was the real context and not necessarily the rest of the built fabric of Rosendal. If the plan of the building is analysed, it is as if she arranged the accommodation in discrete spatial units in a ‘street and square’ configuration. In reality, it acts as an urban counterpoint to Rosendal – the town that does not exist as an urban space, but only as a loose collection of largely unrelated buildings. In turn, these ‘streets’, corridors, movement routes and visual axes, and the ‘square’ – the main social space – are the real elements that relate back to the vastness of the landscape. The new elements of accommodation are brought in relation to the original structure in an additive/cumulative process, much like cities change and morph over time. All the new elements have been wrapped in layers of black metal cladding – as if they are not really there. This action also places them in a position of contrast to the original white-painted building. The cladding and the way that the openings have been articulated in it creates an illusion of thick walls that are, again, not there in reality but instead act as an emotional layer of protection against the vastness of the landscape. The central ‘square’, or outside deck where most outside social activities would occur against the background of the landscape, has been framed with a metal frame that creates a cube-like space. Without this cube, the space would not have existed – it frames and defines the urban square, while it waits for the city to arrive. Like all good (urban) architecture, Dickens created thresholds of privacy and security

ARCHITECT CARMEN DICKENS

TECHNICAL DESIGNING AND CONTRACTING, SITE

AND PROJECT MANAGING INIZIO HOMES

ENGINEER THUSABATHO CONSULTING ENGINEERS

for IAN WESTMOREby CARMEN DICKENS, ARCHITECT, BLOEMFONTEIN

to be negotiated, while moving between, and before entering, the different elements of the accommodation. The cladding, the moving screens (that are actually security devices) and the framed views into and out of the building, add to its sense of surprise and mystery. It has often been said that a house is like a city and a city is like a house – in this instance, this phrase is also applicable to the building at hand.

Fortunately, Dickens did not fall into the trap of using sandstone and corrugated iron as materials – for so many, the symbols of the romantic domesticity of dwelling in this landscape. She used forms and materiality that are relevant to the time, while making contemporary references to longer-term traditions.

The most poetic of all the gestures might be the small floor-level window inserted into the original building. This window simply frames a view onto the Free State veld. This is a small-scale but profound celebration of place. Like all good poetry, this building alludes to the acute powers of observation and interpretation of the architect, Carmen Dickens. Like all good poetry, each stroke of the pen makes reference to powerful associations that cannot always be described or built.

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PLAN

SECTION AA

EAST ELEVATION NORTH ELEVATION WEST ELEVATION SOUTH ELEVATION

WEEKEND HIDE-IN 39

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DUNKIRK BEACH CLUBHOUSE

CitationDunkirk Estate is situated approximately 50km north of Durban. The area is characterised by the rolling hills and the lush, green landscape of the coastal edge of KwaZulu-Natal.

The Clubhouse is situated on a long and narrow site, with the short boundaries adjoining a road on the one side and the beach at the other. From the road, the site has a gentle slope towards the crest of the site, with a dramatic fall towards the ocean thereafter. Previously, there was a house on this site and the Environmental Assessment Report stipulated fortuitously that the new building had to be placed on the same spot again – right on the crest of the site.

The architects’ design for the Clubhouse is a delight in minimalism. Architecturally, they have done just enough to heighten the expectation, and then to confirm and to celebrate the dramatic qualities of the view over the Indian Ocean. On both the ground and first floor of this building, the most important aspect is the user’s interaction with the sea. Proximity to the sea is the main reason for being there and, for this purpose, it is as if the building is not there at all.

The plan uses the well-established principle of served and serving spaces. The ‘serving’ spaces are discretely enclosed and used as two bookends to frame the view. All the vertical support structures between these two elements are slender and delicate, so as not to interfere with the view. These columns primarily support the mostly translucent roof over the first floor. Equally delicate vertically spaced wooden slatted screens have been used to provide privacy in places and to protect users from the coastal winds. The parking between the road and the building has been designed as a minimalist urban forecourt, emphasising the building without the distraction of any visual paraphernalia. This forecourt (parking) acts as a dramatic clearing in the natural, subtropical forest. This places greater emphasis on the Clubhouse, as a pristine object and the ultimate destination for the visitors. A grove of trees, planted on a grid in front of the building, leads the eye to the entrance in the most subtle way possible.

The architecture of the Clubhouse is crisp in its detailing and confident in its form. The crispness also forms a positive contrast to the apparent wildness of the area’s luxuriant vegetation. In the way in which it has been designed, this building is also a logical and innovative response to the exacting realities of the local climate.

ARCHITECTS DESIGNWORKSHOP : SA

STRUCTURAL ENGINEER YOUNG + SATHARIA

CONSULTING STRUCTURAL AND CIVIL ENGINEERS

ENVIRONMENTAL CONSULTANT SUSTAINABLE

DEVELOPMENT PROJECTS

QUANTITY SURVEYORS AECOM SOUTH AFRICA

[PTY] LTD

CONTRACTOR STEFCON PROJECTS

for DUNKIRK RESIDENTIAL ESTATE HOMEOWNERS ASSOCIATIONby DESIGNWORKSHOP : SA, ARCHITECTS, DURBAN

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designworkshop : sa94 florida road l durban | 4001 | south africa

+27 [0]31 303 5191 l t+27 [0]31 303 5198 l f

[email protected] l e

reg no.rate no.-

DUNKIRK ESTATE BEACHCLUBHOUSE

COPYRIGHT:

In accordance with the relevant clauses of theCopyright Act (Act 98 of 1978) relating toassignment, a l l documents prepared bydesignworkshop : sa in connection with theproject remain the property and copyright ofdesignworkshop : sa , subject to their use by theclient for the particular project to which thisdocument relates, and the client shall not beentitled, either directly or indirectly, to make use ofthe document(s) for any additional or similar worksor publish the same except with the prior consentfrom designworkshop : sa .

ARCHITECT : Andrew Makin 6689

FOR : DUNKIRK ESTATE HOME OWNERSDunkirk Estate, SaltrockCLIENT : GUY VAN DEN BERG

LOT 297, 1 HOTEL ROAD, SALT ROCK, KWAZULU-NATAL

NEW BEACH CLUBHOUSE AND RENOVATION OF EXISTINGSTAFF FACILITIES

01 02 03

05 0406

07

08

02 0301

0405

07

06

02 03 04

06

0501

02

08070605

091011

04

01 03

site section c-c

01! terrace02! bar03! kitchen04! server counter05! upper deck06! stair07! entrance courtyard08! parking

section a-a

01! kitchen02! bar03! terrace04! stair05! upper deck06! server counter07! entrance courtyard

0 1 2 5 10m

0 1 2 5 10m

section b-b

01! outdoor showers02! female ablutions03! lounge04! bar05! service yard06! upper deck

0 1 2 5 10m

site section d-d

01! staff wc02! caretaker flat03! surf store room04! entrance courtyard05! kitchen06! service yard07! bar08! terrace09! stair10! upper deck11! server counter

0 1 2 5 10m

GROUND FLOOR FIRST FLOOR

SECTION AA

SECTION BB

ELEVATION CC

SITE SECTION DD

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STUDIO-HOME, 30 WIMBLEDON ROAD, BRIXTON, JOHANNESBURG

CitationBrixton, the suburb where this project is situated, is one of the oldest (mainly) working-class suburbs in Johannesburg. Topographically, it bears the distinction that it straddles the watershed between the Atlantic and Indian Oceans that traverses this part of the city. This means that the suburb is situated on one of the highest points in the city. From the start, its relatively small properties resulted in a fine urban grain. Despite the suburb being well situated in terms of work, leisure opportunities and its proximity to metropolitan connector routes, the change that gentrification or urban decay can inflict on an urban area has largely passed it by. The change that has occurred is of a slower and more incremental nature. The population living in Brixton is, like that of many inner-city areas, highly diverse and cosmopolitan. Most residents have lived here for a relatively long period of time; long enough to form lasting bonds with the place and the other inhabitants. This has resulted in a pronounced pride in, and ownership of, the area by the majority of its residents.

Brixton is well served internally with retail, work, recreation and social opportunities – all mostly within walking distance. The studio-house at 30 Wimbledon Road is one of several examples where life and work occur on the same premises.

The architects and owners, Anne Graupner and Thorsten Deckler of 26’10 south Architects, were careful to painstakingly document the process of evolution that their home and studio underwent prior to their involvement in it. They have, in an equally careful manner, envisaged a possible future expansion of the property. The first building on the site, a corner shop, was erected in 1906. In 1931, a classroom was added to the back of the property. Thereafter, the school was converted into a residence. This changed into a cooking school and then, again, into student accommodation. It was only then that this structure was converted into the current home and office.

The outstanding aspect of this project is the architects’ respect for the continuity of change that the group of buildings has undergone. The understanding that has been shown here is equal to the respect that the architects have shown to the social continuities of the neighbourhood. From the start, they made it clear that their intention was to be good neighbours, architecturally as well as socially – and they have proved themselves to be such.

Their architectural act shows a fundamental belief in the value of urban living. The way in which they have accommodated their own specific requirements is, in essence, generic

ARCHITECTS 26’10 SOUTH ARCHITECTS & URBAN

DESIGNERS

ARCHITECTURAL TEAM THORSTEN DECKLER

(PRINCIPAL, REGISTERED ARCHITECT), ANNE

GRAUPNER (PRINCIPAL, REGISTERED ARCHITECT),

LARA WILSON (REGISTERED ARCHITECT, PROJECT

ARCHITECT), SHAMEEMAH DAVIDS (CANDIDATE

ARCHITECTURAL TECHNOLOGIST) NZINGA BIEGUENG

MBOUP (CANDIDATE SENIOR ARCHITECTURAL

TECHNOLOGIST), GUY TRANGOŠ (REGISTERED

ARCHITECT), STEPHEN REID (REGISTERED

ARCHITECT), THULANI RACHIA (ARCHITECTURAL

ASSISTANT), ALEXANDRA HOWELL (ARCHITECTURAL

ASSISTANT)

STRUCTURAL ENGINEERS MIKE LINNING, RIGBY

CRONJE INC.

QUANTITY SURVEYOR JJ CALITZ, MI-CONSULTING

CONTRACTOR DURSTON CONSTRUCTION

LANDSCAPE ARCHITECT SONJA SWANEPOEL,

AFRICAN ENVIRONMENTAL DESIGN

for ANNE GRAUPNER & THORSTEN DECKLERby 26’10 SOUTH ARCHITECTS, JOHANNESBURG

and not too specific. It is not too difficult to imagine that the buildings will be suitable to be used for different purposes in the future. In this way, the building will continue to prove its continued resilience – like all good

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urban buildings. All the spaces that have been created have a generality and multiplicity of use inherent in them. The way in which the building continues to define public urban space is equal to the way in which it defines private open space. It fits seamlessly and humbly into

its context, as well as into many proven urban models of development. The architects were equally brave in that they have applied their considerable talent and financial investment in the face of a perception of urban decline. With this visionary act, they have also set a worthy example to follow. Not only that, but they’ve created a group of buildings that is a source of quiet delight to many.

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‘AFRICAN IDENTITY IN POST-APARTHEID PUBLIC ARCHITECTURE – WHITE SKIN BLACK MASKS’

CitationThis work is derived from a PhD study undertaken by Professor Jonathan Noble, and is based on the case studies of five significant post-apartheid public buildings and the processes that gave rise to them.

It interrogates the inclusion of traditional African representations and forms of architectural expression, their relationship to traditional knowledge bases, and the nature of the dialogue between these and universal/modernist forms in the differing hybridised responses that emerge from each of the case studies. Drawing on Franz Fanon’s work ‘Black Skin White Mask’ as a theoretical frame of reference, Professor Noble explores the different forms of interplay between skin and mask, as manifests in the case studies.

What results is a means of exploring the relationship between modernism and authenticity; a rich, well-researched and meticulous documentation of significant projects and processes that arise from the ‘heroic’ period of the post-apartheid discourse. Particularly exciting to read is the narrative of the competitions, which accompanies each of the included case studies.

The book poses critical questions that should precipitate debate around approaches to architecture, in this post-apartheid period. Its other real strength is as an historical resource, providing a way for architects and students to engage in ongoing conversations around recent past experiences and practices in architecture.

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HOUSE ‘KLEINE SCHUUR’PARKTOWN, JOHANNESBURG

CitationThere are not many buildings in the relatively young city of Johannesburg that can be classified as ‘old’. The number of buildings that can be viewed as ‘important’ for architectural and socio-cultural reasons are miniscule in relation to the total built fabric of the conurbation. This fragile heritage plays only a small part of the daily life of its inhabitants. Its role is so small and insignificant that most, generally, believe that this fabric can be allowed to follow a natural path into oblivion or that the salvageable materials/structures should be used for the very different requirements of newer generations and the conditions dictated by the quest for survival.

When the owners of a building and, in this case their architect, step in to creatively stem the tide of attrition – society should take note. When it is done with such elegance and careful thought – those interested in the values inherent in the built environment and the architectural profession, should celebrate.

Kleine Schuur was designed in 1910 by Sir Herbert Baker for Dennis Santry, who was a satirist working for the Sunday Times and the Rand Daily Mail. This house, situated on the southern edge of the Parktown Ridge, was named Kleine Schuur in a satirical gesture to the house Groote Schuur in Cape Town, which was built for Cecil John Rhodes and was also designed by Sir Baker. Francis Fleming, Baker’s partner, later prepared the design for alterations to Kleine Schuur.

The original double-storey house, built in the materials and solid craftsmanship of the time, reminds one of the Arts and Crafts style of some typical English country cottages. Its symmetry is reinforced by its elevation, and steeply pitched broseley tiled roof that has dormer windows and prominent chimneys. In plan, this symmetry is reinforced with a central room stretching from the northern to the southern façades. Adjacent to this beautifully proportioned room, the more private and service accommodation is to be found. The house was placed right on the edge of the ridge in order to visually connect the north-facing garden with a magnificent southerly view over central Johannesburg. The architect, Nabeel Essa, worked carefully with this legacy and fabric in order to add the required new accommodation, to rationalise and modify older accretions, and to effect internal re-arrangements. This was done with great sensitivity, applying also the principle that the ‘old’ will remain so, while the ‘new’ will also reflect the sensibilities of its time in order for the combined whole to reflect its total history, both physically and socio-culturally, as far as possible.

ARCHITECTS NABEEL ESSA OF OFFICE 24-7

STRUCTURAL ENGINEERS MVW CONSULTING

ENGINEERS

QUANTITY SURVEYOR QUANCO

CONTRACTOR MDC CONSTRUCTION

LANDSCAPE DESIGNER BRENDON EDWARDS

PHOTOGRAPHER RENELLE RAMPERSAD

for SCOTT DRIMIEby NABEEL ESSA, OFFICE 24/7, ARCHITECT, JOHANNESBURG

Inside the original house, service areas like the kitchen and bathrooms have been rationalised and updated. A new spiral staircase has been introduced to enable easier access between the ground floor and the loft. On the side of the garage, further rationalisation of existing accommodation followed. It was with the new addition in this area of the existing buildings that the architect really excelled in making a memorable contribution to the whole. This new room, with its bare concrete floor and ceiling and its crisply detailed floor-to-ceiling windows and sliding-folding doors, is a tour de force belying its small scale. The cantilevered window box is made ‘weightless’ by the vertical garden that covers and hides its support structure and the accommodation that might be behind it. The vertical garden emulates the steeply sloping and heavily forested ‘wildness’ of the garden on the southern part of the property. It also contrasts with the more serene and classically ordered north-facing garden on the other side of the buildings. The views created from this room draw attention to the old house, as well as to the city. The longest and most prominent wall of this room is covered with an enlarged version of one of Dennis Santry’s satirical drawings – most probably created in the loft space of the original house, where he worked for most of his life. The shape

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of, and views from, this room also bring to mind the qualities of the ‘noble’ central room of the original house.

The qualities created in this new addition, coupled with the way that the changes were effected to the older parts

of the house, ensure that space-time and social continuities are embodied in the structure and felt throughout. In this way, both ‘new’ and ‘old’ sets a context for the next generations that might inhabit the house. Kleine Schuur also sets an example for society, as well as the architectural profession, of how to deal with such a fragile historical legacy in an inspired and careful manner.

SOUTH ELEVATION SECTION CC SECTION AA

HOUSE ‘KLEINE SCHUUR’ 47

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SEED LIBRARY AT MC WEILER PRIMARY SCHOOL, ALEXANDRA, JOHANNESBURG

CitationThe MC Weiler Primary School is situated on the ‘East Bank’ of Alexandra. This part of Alexandra is newer and, judging from the general condition of the built fabric, it is obvious that there is more prosperity here than in the older parts of the suburb. The school itself reveals a typical model, where efficiency and utility were the driving forces in the design of this hard and foreboding place. Its infrastructure is overburdened and there is hardly a green leaf to be seen. The buildings are rundown and depressing – sadly, it is like so many other schools across South Africa.

The SEED (Supplementary Extended Education Device) Library is the exact physical opposite of the abovementioned school building. It is the result of an earlier and more ambitious library proposal commissioned by the MAL Foundation, which could not be realised due to insufficient funds. The architects then redesigned it, and what has been built is the result of this redesign. This building, constructed from disused shipping containers, is not intended to replace the earlier project – but will be moved to another school when the funds are secured for the earlier design.

Alternative building materials, such as shipping containers, have fascinated architects for many years. Many have partially established reputations for themselves by using and developing such materials and construction methods. This kind of experimentation is mostly future orientated and has been, in certain instances, associated with countercultures. It also has a healthy rebelliousness associated with it. Such experimentation mostly attracts the constantly young at heart and those who are not afraid to challenge convention.

Lacovig, Rassman and Granicki, the partners involved in Architects of Justice have, in a short space of time, established quite an enviable reputation for themselves in this kind of experimentation. The containers were placed on top of each other in a cross formation and linked with a playful steel staircase. The side walls of the containers were modified to allow for light and ventilation. Other components were added to achieve structural stability, as well as to create additional floor space. Insulation, services, internal finishes, furniture and additional outdoor platforms were also installed and constructed. The roof of the top container was made accessible to create additional reading and recreational spaces.

The internal finishes are subdued; it is ‘warm’ and a humane, touch adds to the proper functioning of this structure as a place of information and informal learning. The exterior

CONTRACTOR DYMOND ENGINEERING

ARCHITECTS ARCHITECTS OF JUSTICE

for MC WEILER PRIMARY SCHOOL

by ARCHITECTS OF JUSTICE, EDENVALE

is exuberant, playful and colourful – as if it is a giant toy. The whole courtyard, where the structure has been placed, has been covered in artificial grass.

Everything in combination is a much-welcomed antidote to the depressing reality of the school and its immediate urban context. The architects have also quite skillfully managed to give the structure a feeling of permanence, while in certain instances they have kept the containers in their original and somewhat battered form. This feeling of permanence was intuitively a good move, as many such buildings fail to win the affections of their users – not because there is something inherently wrong with them, but simply because they do not contribute a sense of ‘permanence’.

The SEED Library is intended as a repeatable prototype. It can only be wished that it would be repeated many times over, as there are simply too many sad and depressing places of learning in South Africa where buildings such as this could act as symbols of, and could contribute to, a materially better future.

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HOPEWELL VISITORS’ CENTRE, VICINITY OF PORT ELIZABETH

CitationThe landscape in which this small building is situated is characterised by majestic views and deep ravines, with the distant horizon line of a high mountain range. Whatever man builds here will be small by comparison. When the architect’s response to this magnificent and somewhat intimidating site is analysed, it would seem that he (Richard Stretton of Koop Design) was inspired to react with a design that has all the hallmarks of thoughtfulness and infinite care in order to create a building of great sensitivity and delicacy. The larger-scale site consists of a memorable valley section, enclosing the building and visitor below the horizon line. Within this setting, the building virtually disappears, while the interaction between nature and man remains the dominant sensation.

In keeping with the careful approach to this project, the building was placed on a previously disturbed site. The accommodation was divided into ‘served’ and ‘serving’ spaces. A clear spatial and material distinction was made in order to set the two types of accommodation apart. The serving accommodation is located inside a ‘heavy’ form built from stone, like the base of the building. This form interlocks with, but is made distinct in section and plan from, the ‘light’ glass and timber-frame structure housing of the served spaces. The stone structure houses the ablution facilities, kitchen and sales office, while the glass and timber structure accommodates the sales office. In keeping with this distinction, openings in the stone structure are kept small and to a minimum, while everything is done to maximise the view of nature in the ‘light’ structure. The window surrounds in the stone structure are made from thin steel plate (in an open homage to similar details developed by Designworkshop : SA), creating a distinction and crispness of detail between the two elements. The load-bearing structure of the glass pavilion is constructed from twinned SA Pine columns. The thin strip of light between the two members of these twinned columns emphasises the lightness of this structure even more. In this part of the building, the view is paramount. Nothing is allowed to distract from it. Even the sun screening and exhibition panels are designed in such a way that they emphasise ‘lightness’ and the viewers’ relationship with the dramatic qualities of the site.

This pavilion-like building is ultimately inspired by a ‘less is more’ ethic. However, not in an inhumane machine-like manner – but where the site, the materials sourced from the site, and those materials imported to the site are used in a sparing and minimalist way in order to exhalt place and time.

ARCHITECTS RICHARD STRETTON, KOOP DESIGN

STRUCTURAL ENGINEER JP MULDER BVI

ENGINEERS

QUANTITY SURVEYOR JUAN BOSCH, DAVIS LANGDON

CONTRACTOR WOUTER VD WESTHUISEN,

CHRIS HOWES CONSTRUCTION

LANDSCAPE BLACKIE WITBOOI HOPEWELL

CONSERVATION

(INTERIOR SPACES STRONGLY INFLUENCED BY THE

LANDSCAPE)

for HOPEWELL CONSERVATIONby RICHARD STRETTON OF KOOP DESIGN, DURBAN

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TSHWANE UNIVERSITY OF TECHNOLOGY, NEW ARCHITECTURE WING, PRETORIA

CitationThe design of new buildings to accommodate the education of architects seems to place an extra burden on the architects chosen. Sometimes, it propels them into a hyperconsciousness of what architecture is suppose to be doing for its users. Sometimes, this extra scrutiny results in a stunted awkwardness. It is as if the knowledge that current and future architects are watching their every move prevents them from acting in a natural, logical and authentic way.

In the design of this building, it would seem that Crafford & Crafford did not allow themselves to be too influenced by this often hypercritical gaze. They remained true to their own values and experience as architects. They designed a matter-of-fact building, where the tectonics, the materiality and the adaptable systems of architectural sustainability and environmental modification constitute the symbol and metaphor of what a context of architectural learning could be.

By all accounts, there seems to have been a good working relationship between the architects and the staff of the Department of Architecture (the de facto client) during the preparation of the design of the building. Functionally, the building consists of studio spaces, a library, staff accommodation, an auditorium and all the servicing spaces required. This accommodation is in addition to the other space that the Department still occupies in an adjacent building.

The design of the new building does everything possible to ensure an effective place of learning. The building itself enables social and academic interaction as far as possible, with ample space for individual and reflective work. Furthermore, each detail and material usage is there for educational purposes. All those concerned with the making and usage of the building are open about the fact that the various sustainability systems have not yet been perfected. The building still needs constant ‘tuning’ and various adjustments, and in the nature of such buildings, it would seem that it almost operates as a ‘living’ organism. This fact is also welcomed by the users of the building, because they can then use it as an active learning device.

Some of the vertical and socially integrative spaces that have been created are very impressive. It is equally gratifying to observe the obviously high levels of unselfconscious comfort that the users derive from the good inside/outside relationship between the building and it’s major courtyard, just to the north of the entry space.

ARCHITECTURAL TEAM ERROL PETERS, NIEL

CRAFFORD, ARNO PIETERS

PROJECT MANAGER DPA

QUANTITY SURVEYOR KMAQS

STRUCTURAL ENGINEERS ASAKHENI

MECHANICAL ENGINEERS AOS CONSULTING

ELECTRICAL ENGINEER INFUTURUM

ACOUSTIC CONSULTANT JF ROSSOUW

CONTRACTOR C-PRO CONSTRUCTION

PROFFESSIONALS

PHOTOGRAPHIC CREDITS COURTESY OF CRAFFORD

& CRAFFORD ARCHITECTS AND CARLA CRAFFORD

for TSHWANE UNIVERSITY OF TECHNOLOGYby CRAFFORD & CRAFFORD, ARCHITECTS, PRETORIA

There seems to be a comfortable fit between the long-established and respected ethos of the Department, and the architecture of their building. On the surface, it would seem that this relationship has been achieved in an effortless manner. There is, however, no doubt that in reality this symbiotic relationship has been obtained by the obvious hard work, dedication and sheer talent of the architects, Crafford & Crafford. Moreover, both the architects and the client have displayed a willingness to live with the consequences of the calculated risk associated with the environmental experiments conducted in the building. Equally, they have expressed the willingness to advance the art and science of architecture by means of this building. In all of these endeavours and idealisms, they have succeeded admirably.

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TSHWANE UNIVERSITY OF TECHNOLOGY 53

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TEN ON LANE

CitationThe landscape in the vicinity of Polokwane in Limpopo Province is relatively flat, without many memorable or distinctive features. The older part of Polokwane has a grid-iron layout, like many other South African cities and towns. As in many of the other examples, this grid layout is also closely aligned with the cardinal points, which naturally assists with orientation. This landscape results in the dominance of the sky dome which, together with the grid’s orientation and the climate, forms the macro context for the complex. The immediate physical context of the project, Ten on Lane, is a typical South African suburban environment, largely characterised by a lack of positively defined urban space and placelessness.

The architect responsible for the design, Pierre Swanepoel of studioMAS, inverted this characteristic urban grain. The design creates a logical and interrelated series of distinctive gestalt units of space, through which the residents move in a logical progression from public to private space. Each of these units of well-defined urban space leaves a distinct impression on the user. The sequence of spaces also greatly assists with the spatial orientation within the larger whole of the immediate urban context, as well as within this residential complex.

The architect has created two major semi-public courtyards. The first and biggest is the entrance courtyard, used mainly for closed and open parking. However, the design of this space is such that cars do not dominate while the planting, when mature, will eventually be the distinguishing feature. The second courtyard, which is perpendicular to the first, is very different in its nature and in its constituent elements. Its height and width relationships create a relatively narrow space. Additionally, this space is partially covered with a pergola. This pergola structure will also eventually provide support for plants to mediate and soften the bright sunlight of this warm part of South Africa. The resulting dappled sunlight, together with the beautiful water fountain that is as long as the courtyard itself, creates a memorable green ‘room’. This room, for the near exclusive use of the residents, is a wonderful surprise to the users and visitors alike. It evokes the feeling of an exotic and private world to be enjoyed every day, and to be shared with others in quiet dignity and urban civility.

Each residential unit enters directly from this space. Great care has been given to the design of the entry to each unit. A subtle and carefully articulated transition space has been created between the communal courtyard and the privacy of the unit. Shallow

ARCHITECTS PIERRE SWANEPOEL

QUANTITY SURVEYOR MI-CONSULTING, JJ CALTS

CLIENT/DEVELOPER/CONTRACTOR EXPAN

DEVELOPMENTS, RUAN DE KLERK

ENGINEER DE LANGE & ASSOCIATES, BERTUS

DE LANGE

for EXPAN DEVELOPMENTSby studioMAS, ARCHITECTS & URBAN DESIGNERS, JOHANNESBURGPOLOKWANE, LIMPOPO

alcoves have been created by means of setbacks. Each of these has an outside built-in seat to foster impromptu social interaction, while also creating the possibility of the limited individualisation of each unit. The layout, on the scale of the whole complex and the on the level of each residential unit, is characterised by an enviable efficiency, enabling the maximisation of space. The construction of the building is relatively conventional. The detailing is exemplary in its directness and robustness. It is a building that is obviously designed to age gracefully; it does not require constant upkeep and maintenance. The finishes become increasingly smoother, more sophisticated and expensive with more attention having been paid to small details as the user moves from the semi-public to the private spaces. Once the user is beyond the front door of the individual unit,

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complete privacy within the unit – including its own individual courtyard – is assured. However, it remains easy to have visual surveillance from the unit to the communal courtyard, as well as to the streets adjacent to the complex from the upper levels of the units. Ten on Lane is a laudable and exemplary alternative

to current and less-than-inspired models of higher-density living in South Africa. It draws richly and wisely from local and international typologies. It also reminds all that a denser-living environment can be highly rewarding and socially integrative, while ensuring privacy and a high-quality physical environment. These architectural principles and typologies, embodied in the design of Ten on Lane, are applicable to all residential designs, irrespective of whether it provides a home for the rich or for the poor.

TEN ON LANE 55

Merit.indd 55 2014/07/23 1:15 PM

UNIVERSITY OF THE WITWATERSRAND, ART MUSEUM, CORNER BERTHA AND JORISSEN STREETS, JOHANNESBURG

CitationArtistic expression in all its forms is intrinsically part of the human condition. It remains one of the most trustworthy barometers of all human development and the way we perceive the world, as well as the way we want the world to be.

The University of the Witwatersrand has, since its inception, built up an African Art collection. The quality and size of this collection has given it a value and a reputation beyond estimation, both inside and outside of South Africa. This collection might belong to the University, but it is also there to be shared with all who might be interested in it. Additionally, it is there to be researched by scholars/researchers/academics wherever they are, as part of the generation and sharing of knowledge.

Art collections at universities are accepted internationally as part of the primary elements that constitute such institutions. Within this pattern, there are many famous and valuable collections that come to mind. In the same way, there are an equal number of very inspired buildings that house these collections. All good and responsible universities worldwide also understand that their art collections are an excellent way to share their treasures and essential mission with their respective societies, of which they are an intrinsic part.

The University of the Witwatersrand also believes that it has this responsibility, as the custodian of this remarkable collection. When the University decided to do something about the inadequate accommodation where the collection used to be kept, it was also decided that it should be important to house it in the best possible manner. For this purpose, the University arranged a competition in 2005 for architects, in order to find the best and most inspired design. The winners of this competition were Nina Cohen, Fiona Garson and William Martinson. The University decided, in terms of the urban design guidelines operative at the time, to use for this purpose three buildings on the edge of the campus on the corner of Bertha and Jorissen Streets. The most prominent and well known of these was Lawson’s Corner – up to that time a petrol filling station and car showroom. Due to the fact that all three buildings were built for different purposes, to different standards and to different design parameters, the architects faced a difficult task from the start. The University, in terms of its own idealism that was expressed through its urban-design vision at the time, required that the new facility should have a ‘presence’ on the street. It should be entered directly from the street and should make a contribution to street life. Thus, it would have to constitute a new ‘face’ of Wits in order

ARCHITECTS FIONA GARSON, NINA COHEN AND

DEBORAH KIRKMAN

for UNIVERSITY OF THE WITWATERSRANDby NINA COHEN & FIONA GARSON, ARCHITECTS, PARKVIEW, JOHANNESBURG

to physically become part of the greater community, and for the collection to take up its rightful role as part of the city’s many cultural institutions.

Functionally, the new entity also had to cope with equally difficult and contradictory demands, namely exhibition space, storage and curatorial space, research, delivery, security and climate control. The three buildings also each had their own structural and spatial systems. Their ‘deep’ plans furthermore complicated daylight provision to the exhibition spaces. Spatially, the architects had to overcome these problems while focusing on the primary objective of providing a high-quality viewing and exhibition experience. The process, from the time of the competition till the time of completion, took about ten years. The whole project was achieved with private donations.

The architects managed, in an inspired way, to fulfill all the main requirements that the University had initially set. The University now has an institution that is one of its ‘faces’ onto the street and its facilities for art viewing, research and restoration are as good as it was possible to make them. The main entry is from the street, there is activity (a restaurant) and art viewing (a gallery) that activates and animates the institution/

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street interaction. Movement through the exhibitions is logical and spatially exciting. Varied conditions for exhibitions have been created, both by design and by necessity. The architectural space that has been created forms a positive background to the art – it is neutral, but not so neutral that it ‘disappears’. The movement through the space becomes part of the viewing and spatial experience. The storage and work space that do not require daylight have been placed above the exhibition space. Their presence is made known with a new form introduced on the façade, projecting over the entrance – emphasising both.

As a Gesamtkunstwerk the detailing, the spatial experience and the thoughtful way that the architects have dealt with the architectural history and legacy of the individual buildings in a restrained and subtle manner, creates a tour de force. The key to understanding the achievement of Cohen & Garson with this building is to look at the relationships that they have established between the art, the viewing public, the researchers and the genius of the architecture itself. Against overwhelming odds, they have managed to create a serene, beautifully crafted and lit gestalt that naturally comes to rest in the mind of the users. The spaces they have shaped create an instantaneous memory for those who use it, and for those who consciously experience the pleasure of being there. The instantly positive popular and critical reactions with which the Wits Art Museum was received, upon completion, underscores also its architectural value. The irreplaceable art collection of the University of the Witwatersrand has, at last, received its worthy ‘home’.

SECTION AA SECTION BB

UNIVERSITY OF THE WITWATERSRAND ART MUSEUM 57

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60 TAXI RANK NO 262 HOUSE GAUCHÉ

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TAXI RANK NO 2, MAIN ROAD, DIEPSLOOT, JOHANNESBURG

CitationDiepsloot is the kind of environment that requires input from the best, most courageous and inspired architects. It is not every architect who would have the patience and willingness to learn from this environment, or the humility necessary to create opportunities and bring human dignity to it, where it is most needed. The reality is that most people on earth live within conditions of informality – the reality is also that very few architects have the ability to work meaningfully within such contexts. However, it would seem that Thorsten Deckler and Anne Graupner from 26’10 south Architects are the exception to this generalisation.

The process of realising a building like this is no easy task. It is clear that the architects and the rest of the professional team and builders had to face and overcome administrative inefficiencies, political opportunism, high levels of social tension and budget constraints.

When the architects received the appointment for its upgrade, the taxi rank already had some facilities. From their appointment onwards, they faced a hazardous stop-start process and had to have delicate and protracted negotiations with various stakeholders and interested parties to bring it to completion. The architects had to re-configure the taxi rank’s shed- like roof in order to allow for more daylight. They have added the linear market and a celebratory public porch on the southern side of the site, while upgrading and adding the other functions needed for the facility.

The taxi rank is at is busiest from 04:00 until 06:00 each weekday, while the market and other amenities on the site are used throughout the day. During the frequent electricity black outs, due to the general insufficient power supply to the area, the market stalls are still able to operate effectively due to the provision of fuel-fired cooking facilities. The chimneys to these have been celebrated and have become one of the distinguishing features of the project. Initially, it was also intended that these could become the support structures for advertising in order to maximise income.

With the formalisation and upgrading of the previously existing informal market that is located on the edge of the site, the architects have effectively extended the double-sided linear market that exists along Main Road. They have, in this way, positively defined the public space with the formalisation of an active edge to the road. With it, they have also created safe, well-functioning and dignified stalls for the traders. The celebratory entry to the taxi rank, the public porch, the use of colour and the trees that have been planted

ARCHITECTS PROJECT TEAM THORSTEN DECKLER

(PRINCIPAL, REGISTERED ARCHITECT)

ANNE GRAUPNER (PRINCIPAL, REGISTERED

ARCHITECT) NKULULEKO BHENGU (CANDIDATE

ARCHITECTURAL TECHNOLOGIST)

STEPHEN REID (REGISTERED ARCHITECT)

CARL JACOBSZ (REGISTERED ARCHITECT)

GUY TRANGOŠ (REGISTERED ARCHITECT)

LARA WILSON (REGISTERED ARCHITECT)

NZINGA BIEGUENG MBOUP (ARCHITECTURAL

ASSISTANT) SHAMEEMAH DAVIDS

(ARCHITECTURAL ASSISTANT) ALEXANDRA HOWELL

(ARCHITECTURAL ASSISTANT) THULANI RACHIA

(ARCHITECTURAL ASSISTANT)

STRUCTURAL ENGINEERS HLANGANANI

CONSULTING ENGINEERS & PROJECT MANAGERS

ELECTRICAL ENGINEERS SELANYA CONSULTING

ENGINEERS

ENVIRONMENTAL ENVIROLUTION CONSULTING

(INCL. COMMUNITY LIAISON)

QUANTITY SURVEYOR PCQS PARESH CHIBA

QUANTITY SURVEYOR

CONTRACTOR DRYDEN CONSTRUCTION

MOSEME CONSTRUCTION (ADMIN & ABLUTION

BUILDINGS ONLY)

PROJECT MANAGEMENT TRIVIRON PROJECT

MANAGEMENT

for THE JOHANNESBURG DEVELOPMENT AGENCYby 26’10 SOUTH ARCHITECTS, JOHANNESBURG

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60 TAXI RANK NO. 2


have given an ‘address’ and place-like qualities to a bleak and hard environment.

The building and spaces created by 26’10 south Architects bear witness to their ability to humble

themselves in order to learn from local conditions and from international best practice. Following this approach, they have not only created a foothold for survival among those who need it most, but they have also created a good example of how to make an inspiring and dignified urban place. It would bode officialdom and other architects well to take the lessons from this example to heart.

TAXI RANK NO. 2 61


HOUSE GAUCHÉ, SILVER LAKES GOLF ESTATE, PRETORIA

CitationContexts such as Silver Lakes Golf Estate do not hold much promise for authentic and innovative architectural expression. The architectural rules that govern such environments mostly endeavour to ensure an acceptable ‘average’ but, more often than not, it excludes the exceptional.

Yet this is precisely what House Gauché, designed by André Eksteen of Earthworld Architects, is – a particularly brave exception.

Apparently, the site where the house was built was one of the last open pieces of land in the suburb because it was somewhat difficult to build on. The site is characterised by two rocky outcrops and an abundance of mature indigenous trees. The architects decided to disturb the site as little as possible – in the manner of ‘treading lightly’ on this earth. The clients, in turn, wanted the house to be constructed out of concrete. These requirements, and the functional brief, largely gave form to the building.

The house was raised from the earth to float amongst the trees – a device that has been used by many architects before. Entry into the house is by means of two staircases that barely touch the ground. A large deck, for outdoor living, has been created on the level of the house. The majority of the window openings are in close proximity to the trees, and it is as if the trees form a material extension of the interior of the house. In a way, there is no better poetic manner to celebrate this wonderful proximity.

The dominant materials used for the building are glass, steel, and the aforementioned concrete. Yet, despite the apparent machine-like and ‘cold’ qualities that such materials can create, the interior of the house exudes a wonderfully ‘warm’, humane and domestic lived-in quality. All details and material usage speak of careful attention and much forethought.

This is a brave and courageous building, giving testimony to both the client and the architects, who were not afraid to push some boundaries to achieve the exceptional and the unique.

PROJECT ARCHITECTS ANDRE EKSTEEN,

CYNTHIA NKOSI, JACQUES VERSTER

STRUCTURAL ENGINEER RUDI OPPERMAN

for JP & HEIDI GAUCHEby EARTHWORLD ARCHITECTS, PRETORIA

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62 HOUSE GAUCHÉ


BASEMENT FLOOR PLAN

GROUND FLOOR PLAN

SOUTH ELEVATION

WEST ELEVATION

EAST ELEVATION

NORTH ELEVATION

HOUSE GAUCHÉ 63


regional awards.indd 64 2014/07/23 4:02 PM

REG

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L 67 BORDER KEI INSTITUTE OF ARCHITECTS (BKIA)71 CAPE INSTITUTE OF ARCHITECTURE (CIA)77 EASTERN CAPE INSTITUTE OF ARCHITECTURE (ECIA)83 FREE STATE INSTITUTE OF ARCHITECTS (FSIA)89 GAUTENG INSTITUTE FOR ARCHITECTURE (GIFA)95 KWAZULU- NATAL INSTITUTE FOR ARCHITECTURE (KZNIA)99 PRETORIA INSTITUTE FOR ARCHITECTURE (PIA)

2013

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AWARDS

Adjudication panelANDY HART (BKIA PRESIDENT) – CONVENORDAVID MULLER (BKIA MEMBER)MIKE LOWE (DAILY DISPATCH)AL STRATFORD (BKIA MEMBER)



BKI

A

68 ADDITIONS AND ALTERATIONS TO THE SOUTH AFRICAN RESERVE BANK69 NEW OFFICE BUILDING FOR VALYAN CONSTRUCTION

REGION

Adjudication panelANDY HART (BKIA PRESIDENT) - CONVENORDAVID MULLER (BKIA MEMBER)MIKE LOWE (DAILY DISPATCH)AL STRATFORD (BKIA MEMBER)


ADDITIONS AND ALTERATIONS TO THE SOUTH AFRICAN RESERVE BANKfor SOUTH AFRICAN RESERVE BANK by IMBONO FJA ARCHITECTS CC

REGION

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68 SOUTH AFRICAN RESERVE BANK


NEW OFFICE BUILDING IN EAST LONDON

for VALYAN CONSTRUCTION PROJECTS CC by IKAMVA ARCHITECTS CC

NEW OFFICE BUILDING 69

N

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Ground Floor Legend:

1. Parking2. Entrance3. Lobby4. Reception5. Female Toilet6. Male Toilet7. Kitchenette8. Filing / Server9. Drawing Office10. Office11. Director Office12. Deck13. Boardroom

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Ground Floor Legend:

1. Parking2. Entrance3. Lobby4. Reception5. Female Toilet6. Male Toilet7. Kitchenette8. Filing / Server9. Drawing Office10. Office11. Director Office12. Deck13. Boardroom

1234

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Floor Plan

GROUND FLOOR PLAN



CFIA

72 NEW HOME, DE WET 34 IN BANTRY BAY73 HOUSE VD MERWE COETZEE,DE WATERKANT74 HOUSE IN THE BANHOEK VALLEY, JOHANNESDAL FARM 1026

REGION

Adjudication panelKAREL BAKKERDERICK HENSTRAMIKE LOUWSIMMY PEERUTINALAYNE REESBERGALEX ROBERTSONCARIN SMUTS


NEW HOME, DE WET 34 IN BANTRY BAY, CAPE TOWNfor STEFAN AND CARLA ANTONI by SAOTA – STEFAN ANTONI OLMESDAHL TRUEN ARCHITECTS

REGION

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72 NEW HOME, DE WET 34 IN BANTRY BAY

BASEMENT FLOOR PLAN

GROUND FLOOR PLAN

FIRST FLOOR PLAN

SECOND FLOOR PLAN


HOUSE VD MERWE COETZEE, DE WATERKANT, CAPE TOWN for DR G COETZEE & DR A VD MERWE by MEYER+VORSTER ARCHITECTS, URBAN DESIGNERS AND INTERIOR DESIGNERS

HOUSE VD MERWE COETZEE 73

GROUND FLOOR PLAN

FIRST FLOOR PLAN

ROOF PLAN


HOUSE IN THE BANHOEK VALLEY, JOHANNESDAL FARM 1026for ERWEE & WILLEMSE by SAOTA – HENRI COMRIE ARCHITECT AND URBAN DESIGNER

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74 HOUSE IN THE BANHOEK VALLEY

GROUND FLOOR PLAN

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ECIA

78 NEW RESIDENTIAL PROPERTY ON THE LITTLE WALMER GOLF ESTATE79 NEW FOUNTAIN ROAD PRECINCT ADVICE CENTRE80 SAPS 10111 RADIO CONTROL CENTRE81 BONNYVIEW 2 NEW RESIDENCE

REGION

Adjudication panelANDREW PALFRAMAN – CONVENORROGER FISHERJOHN BLAIRRORY RIORDON MARY MANGAN


NEW RESIDENTIAL PROPERTY ON THE LITTLE WALMER GOLF ESTATE, WALMER for MR AND MRS SCHOEMAN by JOHN RUSHMERE + ARCHITECTS in collaboration with THE WORKPLACE ARCHITECTS

REGION

AL AW

ARDS

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78 NEW RESIDENTIAL PROPERTY ON THE LITTLE WALMER GOLF ESTATE


NEW FOUNTAIN ROAD PRECINCT ADVICE CENTRE, IN NELSON MANDELA BAYfor NELSON MANDELA BAY MUNICIPALITY by NGONYAMA OKPANUM HEWITT-COLEMAN ARCHITECTS, URBAN DESIGNERS, PROJECT MANAGERS

NEW FOUNTAIN ROAD PRECINCT ADVICE CENTRE 79

EAST ELEVATION

NORTH ELEVATION

SOUTH ELEVATION

WEST ELEVATION

FIRST FLOOR PLAN

GROUND FLOOR PLAN


SAPS 10111 RADIO CONTROL CENTRE

for NATIONAL DEPARTMENT OF PUBLIC WORKS by THE MATRIX CC URBAN DESIGNERS AND ARCHITECTS

REGION

AL AW

ARDS

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80 SAPS 10111

TYPICAL CROSS SECTION

1. BLOCK A - RADIO REPAIR WORKSHOP2. BLOCK B - RADIO TECHNICAL3. BLOCK C - 10111 CALL CENTRE4. BLOCK D - 10111


BONNYVIEW 2 NEW RESIDENCE, PORT ELIZABETH for THE THOMPSON FAMILY by THEMBELA ARCHITECTS

BONNYVIEW 81

GROUND FLOOR PLAN

FIRST FLOOR PLAN



FSIA

84 PRE-PRIMARY SCHOOL AND CRÈCHE, UNIVERSITY OF THE FREE STATE 85 SIOC – COMMUNITY DEVELOPMENT TRUST OFFICE DEVELOPMENT IN KATHU 86 NEW SKILLS CENTRE FOR THE ALLIED HEALTH DEPARTMENT FOR THE UNIVERSITY OF THE FREE STATE 87 BLOEMFONTEIN SUPREME COURT OF APPEAL: ADDITIONAL ACCOMMODATION

REGION

Adjudication panelSURETTE PIETERSE – CONVENORGARY WHITEWALTER PETERSHANS HAASBROEK


PRE-PRIMARY SCHOOL AND CRÈCHE, FOR THE UNIVERSITY OF THE FREE STATEfor THE UNIVERSITY OF THE FREE STATE by SM!T ARCHITECTS

REGION

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84 PRE-PRIMARY SCHOOL AND CRÈCHE, FOR THE UNIVERSITY OF THE FREE STATE

1 2 3 4

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SECTION DD

1m 3m 5m

2m 4m

1m 3m 5m

2m 4m

SECTION AA

SECTION DD


SIOC – COMMUNITY DEVELOPMENT TRUST OFFICE DEVELOPMENT IN KATHU for SIOC CDT by CUBE ARCHITECTS

SIOC 85

EAST ELEVATION

WEST ELEVATION

GROUND FLOOR PLAN

FIRST FLOOR PLAN


NEW SKILLS CENTRE FOR THE ALLIED HEALTH

DEPARTMENT FOR THE UNIVERSITY OF FREE STATE for THE UNIVERSITY OF FREE STATE by CUBE ARCHITECTS

REGION

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86 ALLIED HEALTH DEPARTMENT


BLOEMFONTEIN SUPREME COURT OF APPEAL: ADDITIONAL ACCOMMODATION for DEPARTMENT OF PUBLIC WORKS by THEUNISSEN JANKOWITZ ARCHITECTS

BLOEMFONTEIN SUPREME COURT OF APPEAL 87



GIF

A 90 ALEXANDER FORBES,115 WEST STREET91 KING EDWARD VIII SCHOOL LIBRARY AND MUSEUM92 ADDITTION OF A SEATING GALLERY IN THE EXISTING “GEREF KERK, BENONI“

REGION

Adjudication panelKAREN MAILER – CONVENORMOKGWETSI (MO) PHALA JEREMY ROSE MELINDA SILVERMAN GUY STEENEKAMP DANIEL VAN DER MERWE


ALEXANDER FORBES, 115 WEST STREET

for ZENPROP PROPERTY HOLDINGS by PARAGON ARCHITECTS

REGION

AL AW

ARDS

2013

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90 ALEXANDER FORBES


KING EDWARD VIII SCHOOL LIBRARY AND MUSEUM for KING EDWARD VIII SCHOOL by JOY CAMPKIN-SMITH T/A STUDIOJOY+

KING EDWARD VIII SCHOOL 91

GROUND FLOOR LIBRARY AND MUSEUM ADDITIONS

NEW BUILDING EAST ELEVATION

NEW BUILDING SOUTH ELEVATION


ADDITION OF A SEATING GALLERY IN THE EXISTING “GEREF KERK, BENONI“ for GEREFORMEERDE KERK, BENONI by ARC DU PLE ARCHITECTS

REGION

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92 GEREF KERK BENONI




KZNI

A96 RIVERHORSE VALLEY BUSINESS ESTATE

REGION

Adjudication panelTERENCE BRAYRODNEY CHOROMANSKIANDRE DUVENAGEMTHEMBENI MKHIZEJOY BASLERLUYANDA MPAHLWA


RIVERHORSE VALLEY BUSINESS ESTATE

for UNILEVER INDONSA by ELPHICK PROOME ARCHITECTS

REGION

AL AW

ARDS

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96 RIVERHORSE VALLEY




PIA 100 AFRIKAANSE HOËR MEISIESKOOL – ADDITIONS TO THE

EXISTING HALL101 HOUSE FOUCHÉ102 HOUSE STEYN RENOVATION103 NOVI SKIN CENTRE104 HOUSE COETZEE105 HOUSE LITGTHELM106 HOUSE ROOKE107 OZMIK HOUSE

REGION

Adjudication panelISIA ORTNER – CONVENORLONE POULSENLUDWIG HANSENABRE CRAFFORDCHRIS WILKINSONHUGH FRASERMAUNEEN VAN WYK


ADDITIONS TO THE EXISTING HALL – AFRIKAANSE HOËR MEISIESKOOLfor SCHOOL BOARD OF THE AFRIKAANSE HOËR MEISIESKOOL by MATHEWS & ASSOCIATES ARCHITECTS CC

REGION

AL AW

ARDS

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100 AFRIKAANSE HOËR MEISIESKOOL

LONGITUDINAL SECTION (BEFORE)

LONGITUDINAL SECTION (AFTER)


NEW HOUSE IN IRENE

for FOUCHÉ FAMILY by MATHEWS & ASSOCIATES ARCHITECTS CC

NEW HOUSE IN IRENE 101


HOUSE STEYN RENOVATION

for MR & MRS GERT AND LEONIE STEYN by SOLO ARCHITECT(S)

REGION

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102 HOUSE STEYN RENOVATION


NOVI SKIN CENTRE

for DR MARIANNE DUVENAGE by HOLMJORDAAN ARCHITECTS & URBAN DESIGNERS

NOVI SKIN CENTRE 103

GROUND FLOOR PLAN

FIRST FLOOR PLAN

SECOND FLOOR PLAN


HOUSE COETZEE

for DR ETIENNE COETZEE AND HIS WIFE, MRS COETZEEby THOMAS GOUWS ARCHITECTS + INTERIORS

REGION

AL AW

ARDS

2013

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4

104 HOUSE COETZEE


HOUSE LITGTHELM

for DRS NICO AND AMANDA LIGTHEIM by THOMAS GOUWS ARCHITECTS + INTERIORS

HOUSE LITGTHELM 105


NEW HOUSE ROOKE, MONAGHAN FARM

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AWARDS OF EXCELLENCE 2013/2014University of South Africa Phase 2 - ParowMSa Michele Sandilands ArchitectsBabylonstoren Tourism (Pty) Ltd - PaarlMalherbe Rust Architects//hapo_ Freedom Park Museum - TshwaneOffice of Collaborative Architects (GAPP Architects/Urban Designers + Mashabane Rose Associates + MMA Architects)New Addition at St Cyprian’s Girls School - Oranjezicht, Cape TownNoero Wolff Architects (2005-2012) and Noero Architects (2012 to date)Springfield Convent School, Pre-School Campus, Fra Angelico Art Centre and Jasper Walsh Art Gallery - Wynberg, Cape TownCCNIA Charlotte Chamberlain & Nicola IrvingDunkirk all Suite Hotel - Salt Rock, KwaZulu-Nataldesignworkshop: SAHouse Kleynhans, Marble Hall - LimpopoThomas Gouws, Architects & InteriorsHouse Snyders - JohannesburgW Design Architecture Studio CC

AWARDS OF MERIT 2013/2014Auditorium for the School of Agriculture - University of Fort Hare, Alice CampusNgonyamama Okpnum & AssociatesHelenvale Multi-Purpose Community Centre - Port ElizabethThe Matrix... CCWalmer Link: Social Housing Development - Port ElizabethErik VoightDepartment of Architecture Renovations - BloemfonteinTypology ArchitectsWeekend Hide-In - Rosendal, Free StateCarmen DickensDunkirk Beach Clubhouse - KwaZulu-Nataldesignworkshop: SA Studio-Home - Brixton, Johannesburg26’10 south Architects‘African Identity in Post-Apartheid Public Architecture – White Skin Black Masks’Professor Jonathan Alfred NobleHouse ‘Kleine Schuur’ - Parktown, JohannesburgNabeel Essa, Office 24/7SEED Library at MC Weiler Primary School - Alexandra, Johannesburg.Architects of Justice

Hopeville Visitors Centre - Port ElizabethRichard Stretton of Koop DesignTshwane University of Technology, New Architecture Wing - PretoriaCrafford & CraffordTen on Lane - Polokwane studioMASUniversity of the Witwatersrand, Art Museum - JohannesburgNina Cohen & Fiona Garson

COMMENDATIONS 2013/2014Taxi Rank No 2, - Main Road, Diepsloot, Johannesburg26’10 south ArchitectsHouse Gauché - Silver Lakes Golf Estate, PretoriaEarthworld Architects

AWARDS OF EXCELLENCE 2011/2012University of the Western Cape, Life Sciences Department dhk ArchitectsVoëlklip Hermanus SAOTA – Stefan Antoni Olmesdahl Truen ArchitectsUntamed – Kirstenbosch Gardens, Cape Town Daffonchio and Associates ArchitectsUbuntu CentreField Architecture JV John Blair Architects in Association with Ngonyama Okpanum Hewitt-Coleman Circa on Jellicoe – JohannesburgstudioMAS Architecture & Urban DesignInvestec Regional Headquarters - DurbanElphick Proome Architects IncConcierge Boutique Hotel & Freedom Café - DurbanArchitecture Fabrik and Don Albert & PartnersNew Residence in Groenkloof - TshwaneMellet & Human Architects

AWARDS OF MERIT 2011/2012Bhunga Building, Nelson Mandela Museum for the Department of Public Works - Pretoria Osmond Lange Architects & Planners and Impendulo Design ArchitectsKuyasa North Transport Interchange – Khayelitsha Meyer & Vorster Architects, Urban Designers and Interior DesignersUniversity of the Western Cape: Life Sciences Department dhk Architects101 Dorp Gallery and Studio - Stellenbosch Slee & Co Architects

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COMMENDATIONS 2011/2012New Clermont Swimming Pool and Soccer Field Upgrade City Architects, Ethekwini MunicipalityMeetse-A-Bophelo Primary School Geldenhuys & Jooste Architects

AWARDS OF EXCELLENCE 2007/2008Red Location Museum - New Brighton Noero Wolff Architects in association with John Blair ArchitectsEpa Studio - Durban Elphick Proome ArchitectsIgoda View House - East London OMM Design Workshop CCWillow Bridge Lifestyle Centre - Durbanville Vivid ArchiectsCourtyards On Oxford - Johannesburg studioMas Architects & Urban Designers

AWARDS OF MERIT 2007/2008Epa Studio - Durban Elphick Proome Architects‘Dockpoint’ (Restoration Of Row Houses) - Durban Emmett Emmett Architects CCProud Heritage Campus - Durban SoundspacedesignNew Laboratory Complex At Sasol Midlands - Sasolburg Geldenhuys & Jooste Architects University of the Free State (Refurbishment of the Main Building) Bannie Britz Argitek & Stedelike OntwerperTolplan Head Office - LynnwoodThomas Gouws ArchitectsHouse Rosa (Additions & Alterations) - Brooklyn Comrie + Wilkinson Architects & Urban DesignersLoft House - Lynnwood Manor Strey ArchitectsHouse Langenhoven - Irene Gary White & AssociatesIgoda View House - Cape Infanta OMM Design Workshop CCHouse Langham - East London MSa Michele Sandilands Architects CCFynbos House - Betty’s Bay Sarah Calburn ArchitectsWeavers Nest - Oranjezicht, Cape Town Sonja Petrus Spamer Architects

Voëlklip - Hermanus SAOTA – Stefan Antoni Olmesdahl Truen ArchitectsUntamed – Kirstenbosch Gardens, Cape TownDaffonchio and Associates ArchitectsHouse Sow - Genève, Switzerland SAOTA – Stefan Antoni Olmesdahl Truen Architects with Sra Kössler & Morel ArchitectsUbuntu Centre – Port Elizabeth Field Architecture, Jv John Blair Architects, in association with Ngonyama Okpanum Hewitt-Coleman (NOH)Restoration of Pearson Conservatory - Port Elizabeth The Matrix… CCOral Solid Dosage Manufacturing Suite - Port ElizabethThembela Architects (Pty) LtdNelson Mandela Bay Aquatic Centre - Port Elizabeth Thembela Architects (Pty) LtdNew Hangar & Departure Lounge - Bloemfontein Reinier Brönn Architects and Associates CCHouse Venter – Bloemfontein P+ARC ArchitectsFourth Raadsaal - Bloemfontein The Roodt Partnership Architects and TownplannersCirca on Jellicoe – Johannesburg studioMAS Architecture & Urban DesignNike Football Training Centre - Soweto Luyanda Mpahlwa Design Space Africa in association with the Nike Design Team, Andy Walker, Sean Pearson and Ruben ReddySoccer City – Soweto Boogertman & Partners (Pty) LtdThe Folie: Gowrie Farm Estate – Durban designworkshop: SAInvestec Regional Headquarters – Durban Elphick Proome Architects IncConcierge Boutique Hotel & Freedom Café – Durban Don Albert & Partners with Architecture Fabrik Mbombela Stadium – Mbombela R & L Architects & Interiors and Orbic ArchitectsNew Lebone II College (Hall and Refectory) in Phokeng – Rustenburg Afritects Architects in conjunction with Activate ArchitectsKai Kai Show House - Port Nolloth Wilkinson ArchitectsHouse Steyn – Tshwane Thomas Gouws Architects & InteriorsNew Residence in Groenkloof - Tshwane Mellet & Human Architects

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Ella Street Houses - Bo Kaap, Cape Town Team Architects House ‘J’ - Simons Town, Cape Town Team Architects with Kevin Fellingham Architects Mountain and Sea House Cape Peninsula - Noordhoek, Cape Town Visser Thomas Architects Willowbridge Lifestyle Centre - Durbanville, Cape Town Vivid ArchitectsStone House - Pretoria Slee & Co ArchitectsNew Studio At Kromdraai - Cradle of Mankind, Gauteng Louis Louw Johan Bergenthuin Architects Courtyards On Oxford - Forest Town, Johannesburg studioMas Architects & Urban DesignersRed Location Museum - New Brighton Noero Wolff Architects in association with John Blair ArchitectsNew Beach House - Plettenberg BayOMM Design Workshop CC

PRESIDENT’S AWARDS 2007/2008The Artworks Project of Mpumalanga Provincial Legislature Meyer Pienaar Tayob Schnepel Mutual Heights Louis Karol ArchitectsThree All-Weather Pool Pavilions Lupini Architects IncBlouberg Cultural Village Crafford & Crafford ArchitectsElangeni Social Housing Savage + Dodd ArchitectsWarwick Junction ProjectRichard Dobson Architect\Qe| The Power of Rock Art: Phase One Re-Installation of the Iziko Rock Art Collection Iain Low, Roger Van Wyk [Educentric], Jenny Sandler with Metropolis Design: Johnny Jacobsen & Y TsaiIrene Kampkerhof Centenary Memorial Neo Dimensions Architects

AWARDS OF EXCELLENCE 2005/2006The South African Embassy - BerlinMMA ArchitectsSingita Lebombo Lodge - Kruger National ParkOMM Design Workshop & Urban SolutionsThe New Constitutional Court - Gauteng OMM Design Workshop Architects in association with Urban SolutionsBeau Constance - Constantia Metropolis Design

AWARDS OF MERIT 2005/2006Bay House - Bantry BayKrugerRoos ArchitectsNew Residence - De WaterkantMeyer + Vorster Architects, Urban Designers & Interior DesignersNew Holiday House - Paradise Beach, LangebaanGabriël Fagan ArchitectsHouse KennedyPeter Rich ArchitectsBeach House SheffieldDean Jay ArchitectsElphick Studio - WestvilleElphick Proome ArchitectsAudley Gardens Dean Jay ArchitectsHouse Steyn/KunzThomas Gouws ArchitectsBerglust Farm HouseMira Fassler KamstraHouse MillarMathews & Associates Architects CCVineyard Gym & Spa - Cape Town Revel Fox & Partners CCBeau ConstanceMetropolis DesignNew Corporate Head Office, BP AfricaKrugerRoos Architects + Urban Designers in association with Joshua Conrad ArchitectsCape Town International Convention CentreForeshore Architects: an association comprising Revel Fox & Partners CC Architects and Planners, Van der Merwe Miszewski Architects, Lucien Le Grange Architect & Planner, Stauch Vorster Architects (Cape Town) (Pty) Ltd, ACG Architects & Development Planners, dhk Architects (Pty) Ltd, Magqwaka Associates ArchitectsNew Council ChamberMeyer Pienaar Tayob Architects & Urban DesignersDaycare Centre - Delft SouthNoero Wolff ArchitectsUsasazo Secondary School - Western Cape Noero Wolff ArchitectsUCT Chemical Engineering Departmentdhk Architects (Pty) LtdUCT Institute of Infectious Disease and Molecular MedicineGabriël Fagan Architects in association with MLH Architects and PlannersUFS Thakaneng BridgeThe Roodt Partnership

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Bannie Britz/Roodt Vennootskap; Linda Mvusi Architecture & Design; Project Coordinator: Sydney AbramowitchWestcliff Estate - Johannesburg studioMAS Architecture and Urban DesignNew Magistrates Court - Blue Downs, Cape Town A Arch Architect CC; Jonker & Barnes Architects; Mike Smuts Architects & Urban Designers CCMutualpark West Campus - Pinelands, Cape Town BlueprintInformation Centre and Entrance Kiosk - The Boulders, Simon’s Town Piet Louw Architects in collaboration with Anton Roux and Sam McLennanUnicity Alterations and Additions to the Civic Centre - Cape Town ACG Architects and Development Planners; KrugerRoos Architects and Urban Designers; Lucian Le Grange Architects and Urban PlannersFisherman’s 19 - Llundudno, Cape Town Stefan Antoni Architects

AWARDS FOR EXCELLENCE 2002Absa Towers North - Johannesburg TC Design Group Architects and Urban DesignersThe Castle of Good Hope - Cape TownGabriël Fagan ArchitectsNew Office Accommodation - Kloof, Cape Town OMM Design Workshop

CONSERVATION AWARDS 2001The Castle Of Good Hope Gabriël Fagan ArchitectsDistrict Six Museum & Stepping Stones Children’s Centre Rennie & Scurr Architects CC

AWARDS OF MERIT 2001Tokara Winery Van Biljon & Visser ArchitectsStratford’s Guest House & Conference Centre Ter Morshuizen & Stratford Architects CCNew Office Accommodation - Kloof, Cape Town OMM Design WorkshopAbsa Towers North Corporate Office Building - JohannesburgT C Design ArchitectsBopitikeo Community & Cultural Centre Peter Rich Architects

New Faculty of Law BuildingKrugerRoos Architects + Urban DesignersChapel of LightComrie + Wilkinson Architects & Urban DesignersDiamond Hill Toll Plaza Mathews & Associates Architects CC in association with Karlien Thomashoff ArchitectBaobab Toll PlazaMathews & Associates Architects CCMpungubwe National Park, New Tourism InfrastructureCrafford & Crafford ArchitectsSingita Lebombo Lodge - Kruger National ParkOMM Design WorkshopThe New Constitutional Court - JohannesburgOMM Design Workshop & Urban SolutionsSouth African Embassy - BerlinMMA ArchitectsRed HouseSlee & Co

AWARDS FOR EXCELLENCE 2004New Medical Research Facilities - Somkhele Village, KwaZulu-Natal East Coast ArchitectsThe South African Apartheid Museum - Johannesburg GAPP Architects & Urban Designers, Mashabane Rose Architects, Bannie Britz/Roodt Vennootskap, and Linda Mvusi Architecture & Design with project coordinator Sydney AbramowitchWestcliffe Estate (Residence) - Johannesburg studioMAS Architecture and Urban Design

AWARDS OF MERIT 2003 Heuwelskans - Waverley, BloemfonteinSmit ArchitectsUnilever Head Office - La Lucia Ridge Office Estate, Durban Boogertman Krige (Pretoria) and Urban EdgeNew Medical Research Facilities - KwaZulu-Natal East Coast ArchitectsThe Mpumalanga Provincial Legislature & AdministrationMeyer Pienaar Tayob SchnepelNew Buildings For Kromdraai Valley Farm - Gauteng Louis Louw Johan Bergenthuin ArchitectsSouth African Apartheid Museum - Johannesburg GAPP Architects & Urban Designers; Mashabane Rose Architects;

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AWARDS FOR EXCELLENCE 2000The International Convention Centre A consortium comprising Stauch Vorster Architects, Hallen Custers Smith, Johnson Murray Architects, and Philip Cox (international consultant from Australia)The Royal Bafokeng Sports Palace Waterston Weyer Roon Architects

AWARDS OF MERIT 1999House LaterganSlee & Co ArchitectsHouse BritzBannie BritzHouse SteynHenri ComrieHouse Van GarderenHein Van GarderenHouse BlumTasker & Schumann ArchitectsTree HouseAnya and Macio IszewskiAeci Head OfficeRFB Consulting ArchitectsCeramic Industry CentreStauch Vorster ArchitectsBrand Engineering BuildingKMH ArchitectsDurban Metro Electric Training CentreMcCaffrey Wilkinson & Little MEG OfficesMEG ArchitectsMunich Insurance Head OfficeStauch Vorster ArchitectsRitters JewellersKohler Brown DesignInternational Convention Centre - DurbanStauch Vorster Architects in association with Hallen Custers Smith, Johnson Architects and Philip CoxKariega Park Rural Conference CentreJohn Rushmere ArchitectsMpumalanga Parks BoardTom Hatting ArchitectsKwamakutha LibraryElphich Proome ArchitectsPaternoster Community CentreJaco Visser

Phokeng Sports CcentreWaterson Weyer & RoonMewway Sports HallLucien Le Grange Architects and Urban Planners with Mike Smuts ArchitectsQuarry Lake InnOsmond Lange MosienyaneMaribu PlaceBaumhaus ArchitectsRust En Vrede Farm ComplexVan Biljon & Visser

CONSERVATION AWARDS 1999Heritage Square – Cape TownGAPP Architects & Urban Designers in association with Trevor Thorold ArchitectsCape ArchivesRennie Scurr ArchitectsStratford Road Community CentreEmmett Emmett Architects CCKingswood College SchoolhouseRonald Hicks ArchitectsThe Harbour Board Building – Port ElizabethJohn RushmereMaria Ratschitz Mission – KwaZulu-NatalRobert J W Brusse

AWARDS FOR EXCELLENCE 1998Johannesburg Athletics StadiumArup Associates, London & RFB Consulting Architects Hartleyvale Sports ComplexGAPP and ACG Architects & Developmental PlannersSAB Visitors Centre - NewlandsGabriël Fagan ArchitectsHouse Uytenbogaardt - KommetjieUytenbogaardt & Rozendal

AWARDS OF MERIT 1997Klein Rivier Retreat - HermanusKrugerRoos Architects. House BackVan der Merwe Miszewski ArchitectsMichells Plain Town Centre LibraryDarryl Coome, City of Cape Town

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CONSERVATION AWARDS 1997Quarters - DurbanEmmett Emmett Architects CCHuis Van Rensburg - PhillipolisKobus du PreezGencor Head Office - JohannesburgTaljaard Carter Design GroupSAB Visitors Centre - NewlandsGabriël Fagan Architects

AWARDS FOR EXCELLENCE 1996Thulamela: Workers’ Library & MuseumAlan Lipman & Henry Paine

AWARDS OF MERIT 1995Residence Van VlugtLouw Apostolellis BergenthuinHouse StaudeKate OttenFunda Community CollegeJo NoeroWalberton ManorJo NoeroVaal Triangle Technikon GrandstandGeldenhuys & JoosteRicardo Mulder Public LibraryFloris Smith & Meyer PienaarPFG Glass CentreTaljaard Carter with Henri ComrieSanton Library and Art GalleryGAPP with Floris Smith & Meyer PienaarIvy Villa Stables Conservation & Studio‘Ora Joubert Architect Safmarine HouseLouis KarolHouse SanterStefan Antoni Guguletu Multisport ComplexJo Noero with Meirelles LawsonGlen Towy Holiday Cottage - UnderbergJohan SleeDurban Health and Racquet ClubJohnson Murray Architects136 Victoria EmbankmentInteract

Victory Junction ComplexKCvR ArchitectsBeach House “Philipskraal”Jane Visser & Mark Thomas ArchitectsHartleyvale Sports ComplexGAPP and ACG Architects & Developmental PlannersHouse HolmesRonald HicksHouse RobertsStephanie Volpe in association with Stephan WhiteheadFirmitas BuildingJan Ras Argiteksgroep in association with Househam Henderson Moteane Chartered ArchitectsVictory Faith CentreNeil Murray, Myles Pugh, Sherlock Murray50 Prince Alfred StreetDean Jay ArchitectsHouse Laubscher ‘Ora Joubert ArchitectsGrand Central Water TowerGAPPCactuslandHeather DoddHighveld House, New Multichoice Head OfficeSean Mahoney, ARCJohannesberg Athletics StadiumArup Associates, London & RFB Consulting ArchitectsPharmaceutical SocietyAlfio Torisi ArchitectsSiemens ParkLouw Apostolellis BergenthuinHuis Van RensburgNatus & Cecilia van RensburgVelocity FilmsJo NoeroHouse MabetDerrick de Bruyn with Jack van RensburgPark Hyatt - JohannesburgGAPPAshanti FlatsEugene Barnard, MEG ArchitectsWildlife CollegeDennis Moss PartnershipSandton SquareMeyer Pienaar, Bentel Abramson & GAPP

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MetlifeStafford Associates with Dirksen Blumenfeld & Krause Audio Video GalleryTer Morshuizen & StratfordBarba’s CaféHennie LampbrechtsHouse PearsonErasmus Rushmere Reid with Flint & Lear ArchitectsSt George’s Strand PavilionGraham Parker, GAPP with John Blair, Interplan

CONSERVATION AWARDS 1995Investec Bank - DurbanStafford Associate Architects and Koseff van der Walt ArchitectsClarendon Court - DurbanRobert Brusse ArchitectsNMC Offices - Cape TownRennie & Goddard ArchitectsTshildzini HospitalStauch Voster ArchitectsWorker’s Library & Museum - NewtownAlan Lipman with Henri Payne ArchitectsPlekke En Geboue Van Pretoria Schalk le Roux Uys Greyling Architects

AWARDS FOR EXCELLENCE 1994The Duck Pond Pavilion - St George’s ParkErasmus Rushmere Reid in association with Simpson Heugh, Robertson and BakerSoweto Careers CentreJo Noero

AWARDS OF MERIT 1993Ikhwezi Preschool - UmtataPeter Hunt VARAHouse Swanepoel - HermanusGabriël Fagan ArchitectsHuis Uytenbogaardt - KommetjieUytenbogaardt & Rozendal Springfield Terrace - Cape TownUytenbogaardt & Rozendal in association with Architects AssociatedDuckpond Pavilion - St George’s Park. Erasmus, RushmereReid in association with Simpson, Heugh, Robertson and BakerArchitects Offices TollgateElphick Proome Architects

House Thorpe - MorningsideJohnson Murray ArchitectsHouse Pattundean: Shanti Niketan, House of Peace - Westville Johnson Murray ArchitectsNoorderbloem Twee - BloemfonteinHennie Lampbrechts ArgitekteFlorida OfficesJo NoeroThe PavilionPeter RichHouse MackayBSADH ArchitectsSonneblom Film Studios - JohannesbergM & M Bell ArchitectsWoodmead School - JohannesbergRod LloydDuduza Resource CentreJo NoeroSoweto Careers CentreJo Noero55 Marshall Street - JohannesbergRFBConsulting ArchitectsBophuthatswana Recording StudiosStauch Vorster (Bophuthatswana) Pty Ltd in association with Thomas Rast Architects (Switzerland)Pietersberg Municipality Parks Department OfficesStauch Vorster (Pietersberg)Scheiding Street Bus Station - PretoriaStauch Vorster (Pretoria), Oscar Hirsch, Sylvio Buffler and GAPThe Lost City Wimberley Allison Tong & Goo, Burg Doherty Bryan and Partners, Associated Architects

CONSERVATION AWARDS 1993City Hall - East LondonDirectorate of Planning and Engineering Services, East LondonVergelegenRennie and Goddard

AWARD FOR EXCELLENCE 1992Although three submisssions were received, no award was made.ISAA Award for Excellence announced in 1990 to stimulate public awareness of architecture: ‘We need to identify and display our finest work’

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CONSERVATION AWARDS 1991Cottam Grove - DurbanInterarchConversion To Offices - DurbanInterarchKings House - Morningside, DurbanInterarch in association with Roux WildenboerRenovations to Johannesburg Art GalleryMeyer Pienaar SmithOu Raadsaal PretoriaHolm Jordaan Holm, Van der Lecq Thomas RongaDe Goede Hoof Manor House and EnvironsMunnik Visser Black Fisher & PartnersPierhead Precinct of the V&A WaterfrontDavid Jack & Consultants MLH Architects & Planners, Munnik Visser Black Fisher, Powers Gerstner Architects, Johan du Toit, Derek Jacobs, The Waterfront Landscape Architects

AWARD FOR EXCELLENCE 1990University Of The Western Cape LibraryMunnik Visser Black Fish & Partners

AWARDS OF MERIT 1989Office - 295 Pietermaritzburg StreetCarter-Brown & BaillonSantorini Phase 1Campbell, Bernstein & IrvingFactory Offices and StudiosJohnson MurrayArchitects’ Offices & StudiosStauch Vorster ArchitectsDonor’s Clinic For SA Blood Transfusion ServicesHarris, Fels, Jankes, Nussbaum & PartnersTwo Artists’ Houses - Bezuidenhout ValleyNicholas Sack & Colin Mendelowitz ArchitectsWheat MillPremier Milling, Vereeniging. Michael A Briffa AssociatesAlbert Herbst Kinderhuis - MiddelburgHendrik Vermooten Du Plooy Oosthuizen ArgitekteHuis Ackermann - PretoriaMeiring Van der Lecq Thomas & RongaThe New Colusseum - JohannesburgStauch Vorster ArchitectsTwo Studios - PretoriaTrevor Lloyd Evans ArchitectSA Reserve Bank - PretoriaBurg Doherty Bryant & Partners

AWARDS OF MERIT 1991Southern Life Centre - Great Westerford, Cape TownMLH Architects & PlannersTimber Seaside Holiday House - Nature’s ValleyPeter RichHout Bay LibraryUytenbogaardt & Rozendal Van Zyl House - PaarlWessels Albertyn du Toit ArgitekteOffices For Costa Maningi - DurbanFranklin Garland Gibson & PartnersNorthdale Assessment Centre For DisabledKiran Lalloo ArchitectsHouse ElphickElphick Proome ArchitectsFactory and Offices for Action BoldElphick Proome ArchitectsSupreme Court Conversion to Tatham Gallery - PietermaritzburgSmall & Petit & Robson.First National Bank - King William’s TownOsmond Lange Architects (Ciskei) IncHouse MonyemoreBritz Scholes Abramowitch du Toit HoffeIndustrial Complex For EMLCDu Toit Lindeque Van der Berg IncDie Oord Anton du Toit & Medewerkers‘La Gavina’ House - ParkwoodZonnehoek. Louis Louw, Apostolellis & BergenthuinCradock HeightsHarold le Roith & AssociatesJohannesburg Techincal CollegeMeyer Pienaar SmithStandard Bank GalleryMeyer Pienaar SmithWag ‘n Bietjie - OlympusMeiring Van der Leck Thomas & RongaEconomics & Management Sciences UPSamuel Pauw ArchitectsTwin Houses In MelvilleAlfio TorrisiHuis Van RooydenPhillip van Huyssteen Architect

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Mobil Court - Cape TownLouis Karol ArchitectsUniversity Of The Western Cape LibraryMunnik Visser Black Fish & PartnersUniversity Of Cape Town Campus Design, UCT Planning UnitElliot Grobbelaar Revel Fox & Partners in association with Williams Louw Pearse

CONSERVATION AWARDS 1989 Post Office - PretoriaBurg Doherty Bryant & PartnersMining Commissioner’s Building - RandfonteinHolm Jordaan HolmErasmus Castle - Erasmusrand, PretoriaMeireing Van der Lecq Thomas & RongaJubilee Square - Simon’s TownMunnik Visser Black Fish & PartnersMaritime & Shell Museum - Mossel BayGabriël Fagan ArchitectsQuadrant HouseHallen Theron & Partners

AWARDS OF MERIT 1987SA Permanent Building - GrahamstownErasmus Rushmere ReidOnion Row - Port ElizabethErasmus Rushmere ReidThe Payhouse - DurbanSmall & Pettit & RobsonR & C Pharmaceutical FactoryFranklin, Garland & GibsonVara Studio - DurbanVanderverre, Apsey Robinson & AssociatesHouse Grobbelaar - ConstantiaNeil GrobbelaarLiebenberg & Stander Centre - Cape TownPrinsloo, Parker, Flint Elliot & Van den HeeverKlein Constantia WineryGabriël Fagan ArchitectsBelhar Community HallUytenbogaard & RozendalUniversity of the Western Cape Sports StadiumUytenbogaard & RozendalThree Houses In Sixth Straat - Orange GroveFassler Kamstra and Holmes

Corona Lodge - JohannesburgMontgomerie Oldfield Kirby Denn Grobbelaar24 Chatou Road - Richmond Bannie Britz & Michael ScholesGold Reef CityJarrett & JarrettJohannesburg Art Gallery ExtensionsMeyer Pienaar & PartnersLibrary & Forecourt - Vaal Triangle TechniconMeyer Pienaar & PartnersSapekoe Estate Group, New Administration CentreSamuel Pauw ArgitekteBrandweer Stasie - SandtonLouis Louw Apostolellis & BergenthuinHuis LoubserLouis Louw Apostolellis & BergenthuinOffices for Goldfields of SALouis Karol ArchitectsHouse HermanPiet de Beer Argitek

AWARDS OF MERIT 1985 Operahuis, Sand du Plessis Theater - BloemfonteinJCDK Witthuhn & Maree, Interplan, Daneel Smit & VenoteStandard Bank - WelkomDirk Brink Stucke Harrison & VenoteLMC Sentrum - KroonstadVennotskap Wim PhielixBiblioteek, UOVSVan der Walt, Fourie en VennoteArcadia Park OfficeJohnson Murray ArchitectsMusgrave Medical Centre - DurbanDon Smith ArchitectsSalisbury Centre DurbanGeraghty Little & McCafferyGolden Hours School for the Mentally HandicappedHallen, Theron & PartnersOld Mutual Industrial CentreInterarchBelhar Sections 2 & 3 - Cape TownUytenbogaardt & MacaskillSteinkopf Community CentreUytenbogaardt & MacaskillParliamentary Accommodation, President’s CouncilMunnik Visser Black Fish & Partners

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House Van Straaten - SandtonMichael Sutton & WalkerHouse Butler - WestcliffBannie Britz & Michael ScholesBardays Centre For Management Studies - SandtonLouis Louw. Apostelellis & BergenthuinHouse Kirby - RichmondMontgomery Oldfield Kirby Denn GrobbelaarVillage Place - St FrancisErasmus Going, Rushmere & PartnersTower House Restoration - GrahamstownGoldblatt, Yuill & Partners

AWARDS OF MERIT 1981Robert Leslie Building, UCTMunnik Visser Black Fish & PartnersFederal Theological Seminary - EdendaleRevel Fox & PartnersSasolburg BiblioteekBotha, Simons & Botha House Rosmarin - Upper HoughtonBannie Britz & Michael ScholesStudentsentrum vir Potchefstroomse UniversiteitBannie Britz & Michael ScholesIndian Library - RoodepoortRG FittinghoffNew Offices for Gasworks - Auckland ParkCity Engineers Department, JohannesburgHouse Mosedane - SowetoMichael Sutton & WalkerDie Oord - BritsAnton du ToitRob Ferreiria Holiday ResortChristiana, Gallager, Aspoas, Poplak & SeniorShaft 2 Offices - KrielPKE RoedigerHollard Street Squash Racquet ClubPeter RichHouse DockkratAziz Tayob

AWARDS AND MERITS 1979Gardens Commercial High SchoolLouis Karol ArchitectsDrostdy HotelMunnik Visser Black Fish & Partners

House Philberg - Clifton Ferreira da Silva and SmithCPA - 9 Dorp Street, Cape TownRevel Fox and PartnersBoland Open Air MuseumGabriël Fagan ArchitectsStrandfontein Pavilion. City Engineer Department - Cape TownGraham Parker Staff Amenities Building, University of Fort HareOsmond Lange and othersHuis Kritzinger - Jeffrey’s BayMaritz and MaritzMsobomvu Senior Secondary School No 7 - ButterworthZakzrewewski Associates (Border) IncHouse Doherty - DiepslootBurg Doherty Bryant & PartnersJCI Building - JohannesburgRFB Consulting ArchitectsHouse ChallisRFB Consulting ArchitectsHouse Hilewitz - JohannesburgBannie Britz & Michael ScholesGazebo of St Margaret’s - JohannesburgHallen, Theron and PartnersBerg-En-Dal Kamp - Kruger ParkJordaan & Semra’dBrenthurst Library - JohannesburgHallen, Theron and PartnersIndaba Conference Centre - FourwaysCooper, Messaris & LouwHouse Meyer - JohannesburgMeyer, Pienaar & Partners

AWARDS OF MERIT 1983 Group Housing MmabathoLlew Bryan & John MehlHuis SwanepoelGabriël Fagan ArchitectsMangosuthu TechnikonHallen, Theron and PartnersHouse NkweSoweto Rhodes-Harrison, Fee & BoldEverard Read Gallery - Rosebank, JohannesburgMeyer Pienaar & PartnersSacca Head Office - OrmondeHallen, Theron & Partners

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Westridge Civic HallGraham Parker, City Engineer’s Department, Cape Town City CouncilBaxter TheatreJack Barnett/Leslie Broer Associates

AWARDS AND MERITS 1977Maryland Adult Education Centre - Hanover ParkLA Barac – Barac Hirschman Partnership

AWARDS AND MERITS 1969House Claasens

AWARDS AND MERITS 1958Las Vegas - Snel Parade, DurbanCrofton and Benjamin

AWARDS AND MERITS 1957Student Bed Study Design - Grassy Park, Cape TownJ ArnottState Building - JohannesburgH H Le Roth and Partners

AWARDS AND MERITS 1956Projected Cape Foreshore Scheme

AWARDS AND MERITS 1955Palmer Place - JohannesburgNurcombe, Summerley & Lang

AWARDS AND MERITS 1954Jan Smuts AirportUCT Medical School LibrarySturrok & Thornton White

AWARDS AND MERITS 1952Ingrams Building - JohannesburgCowin & EllisThe Grand Hotel - CapeLightfoot, Twentyman-Jones, Kent

AWARDS OF MERIT 1949Rondebosch Flower Mill - CapeThornton White Architects

1945Pretoria Town Hall - PretoriaNorman Eaton

AWARDS OF MERIT 1938High Commissioner OfficeJohn Perry & LightfootChrysler Building - JohannesburgNurcombe & Summerley

1936Tower Garage - Johannesburg

1935Gas Station - Johannesburg

1931Johannesburg City LibraryJohn Perry

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AWARDS REGIONAL AWARDS FOR ARCHITECTUREsaia.org.za/wp-content/uploads/2014/09/Awards-Booklet-2014.pdf · awards regional awards for architecture ... this is the fourth time that the

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